#its like shia labeouf all over again

[limmastyles]

I don’t think people realize the implications that don’t worry darling not doing well has an Olivia Wilde‘s career. She put her own money into this film and if it bombs at the box office she’s fucked. Remember a Film needs to make three times its budget for it to be considered good. And not only in North America but all over the world. That’s where the issues lie. Also we know that the Kerri Strugg bio pic is shelved currently apparently Olivia still has the job but they were supposed to start filming this year and they didn’t so that’s another issue, also with the marvel deal we really haven’t heard shit about it and I doubt that she has it and apparently she’s directing a comedy for universal.  when the stunt is over and after this movie comes out the only thing people are going to remember her for is cheating on Jason Sudeikis, her beef with Shia LaBeouf and lying on him, her beef with Florence and her movie not doing well. A lot of actors and actresses and producers are watching what’s happening with don’t worry darling and who knows if they’re gonna want to work with her again. She’s been friends with Chris pine for years and he looked like he couldn’t even stand her. The only thing that’s keeping her name in the press is all the negative attention that she’s getting and it’s not going to do her any good. Studios are going to start looking and being like oh you created a toxic work environment why would we want to work with you, you hired and begged abuser stay on set, and your film bombed at the box office so why would we want to work with you again. I don’t think she’ll ever get another huge budget movie and marvel is looking at her now. There’s a reason they haven’t confirmed this film and there’s a reason they haven’t announced it and there’s a reason that Olivia can’t talk about it. Remember that booksmart was praised by the critics but bombed at the box office and if Olivia has to back to back movies that bomb she’s fucked. Studios are going to want to put $20 million behind her again just for her to fuck it up in the future. Also remember that doesn’t matter if you’re a Larrie, or a Harry Stan, or a One Direction stan, or a girlfriend Harrie. When the relationship is over they are all going to turn on her. For the negative attention that she brought to hairy and we all know she’s going to try to trash him and the fan base in the end they are going to turn on her. So you now have a huge group of people who aren’t going to support you and your films and are going to make your life a living hell. If Olivia thought that the fans were mean at the beginning wait until the relationship is over. After the stunt is over the thing that the general public and a lot of people are going to remember Olivia Wilde for is trash in Florence Pugh, begging Shia LaBeouf to come back to that set, her fraudulent relationship with Harry, and cheating on Jason Sudeikis. It’s not a good time for Olivia right now and I think she knows that.

#fauxlivia #holivia #holivia is fake #holivia stunt #pr stunt #publicitystunt #pr relationships #holivia pr stunt #olivia wilde #publicity stunt

[dragons-and-yellow-roses]

HOLY SHIT so my FAVORITE juice in the WORLD is Martinelli's apple juice that comes in little apple shaped bottles. My best friend introduced me to them but I could almost never find them. They taste magical and nostalgic (at least for me, because they come with memories of summer camp and my best friend. No matter what though, they taste magical). I found a couple of packages at the store I used to work at in Michigan, but they were just getting rid of backstock and never had them after that.

But TODAY

I was making my way around Target when I saw them.

Nine-packs of those beautiful little apple shaped bottles. I've never before seen them in Target and I feel like I'll never see them again.

There were only three packages and I bought two, so now I have eighteen little apple bottles. Yes they're overpriced. Yes they're delicious. Yes I'm so happy to have my favorite apple juice in the world.

#you gotta find happiness in the little things #i had three long meetings today #and had to wake up kind kf early for one #it has been such a long hard week #the toilet in my apartment is fucked so i went to target to use their bathroom #and while i was wandering around i saw it out of the corner of my eye #(shia labeouf) #the apple juice #side note #why the fuck is labeouf spelled like that #anywho #its like the universe was throwing me a little bit of happiness to make up for the not so wonderful week #i am so unbelievably happy to have this apple juice again #its been... over a year #maybe more than two years #*chanting* apple juice apple juice apple juice #when all else is shit at least i can rely on apple juice to cheer me up

[mashkaroom]

Lengthy analysis of Holes, as promised!. This will include spoilers, which will be marked. Just gonna go through the book and the philosophy/themes/connections I caught onto this time around. Stuff discussed, in order: connections to Camus, on the question of children’s books, systems, cycles, and why Stanley is gay and jewish 😏

Camus:

The first and perhaps most obvious set of texts/theories it makes sense to put Holes in conversation with is the works of Albert Camus. Holes starts out with a description of the sun and the heat, which readers of the Stranger will remember are major themes there. The heat continues to be a prominent part of the story, though thematically, it functions very differently in the two books. In The Stranger it primarily represents the indifference of the universe (or at least so claim a ton of sources and I’m inclined to agree) and the lack of control we exert over our own lives while in Holes it’s basically the opposite of that. The heat and drought is implied to be a semi-divine punishment for a past injustice and, moreover, the elite adults of the camp have air conditioning and access to shade: the sun does not affect everyone equally in Holes as it does in The Stranger (though even that is debatable: I don’t think this was Camus’s intent, but it’s notable that it’s only the white englishman who’s driven to murder by the sun. This could certainly be read as critique of colonizers who cannot/refuse to coexist with the land and environment and how the indigenous population always suffers for it, but I digress). The other Camusian parallel one is immediately inclined to draw is that, of course, of Sysiphus: there’s the repetitive and seemingly meaningless act of digging holes not to mention that carrying stuff up a mountain is both thematically and plot-wise a very important part of Holes. But, once again, it is eventually revealed that both acts do carry an inherent meaning. Holes does not present the image of an uncaring universe: on the contrary, destiny and semi-divine influence plays a major role. The story may start out with a series of seemingly random and inherently meaningless events, but as the story progresses, people, actions, items, and events become increasingly imbued with meaning. In the Holes universe, one must imagine Sisyphus redeemed, not through the act of rolling the stone but by rebelling against it. I have difficulty imagining that Sachar was not thinking of Camus while writing Holes, or, at the very least, that if he encountered Camus afterwards, he must have been struck by the similarities. I don’t know if there was a specific intent in creating a story so embroiled in Camusian absurdism, especially since the target readership is (allegedly) children who almost certainly are not recognizing specific allusions to Camus, so perhaps the similarities are purely aesthetic — after all, everything that is nominally similar does play quite different thematic roles. However, I would never pass up the opportunity to talk about the myth of sisyphus and I think placing Holes in dialogue with Camus can raise some interesting questions about the nature of meaning.

Is Holes a children’s book?

Speaking, though, of the target audience, the audience for this book is in fact children. What about it makes it a children’s book makes it difficult to say: the protagonists are children (and, I would argue, it is not a coming of age story, despite the claims of one piece of lit crit about Holes in which i disagreed with almost every claim made, but i digress once more) and the writing style is fairly simple: you can read it with a second-grader’s vocabulary. Also, of course, being a children’s book doesn’t (and crucially shouldn’t!) mean that it’s lacking in depth and complexity. However, I think most thematically rich children’s books tend to be quite allegorical. The Little Prince is a good example. Holes is just way too specific for its sole market to be children. It’s either intended to be read by multiple generations at once or for child readers to return to it as an adult. It addresses themes of racism (and not just generic racism, anti-black racism in the reconstruction south), homelessness, intergenerational trauma. and the modern carceral system. These are social critiques that will probably go over most kids’ heads (certainly over mine). However, the themes of the text are not inaccessible for children. You don’t have to understand the particular history of the US criminal justice system or even that Sachar is making a comparison to anything specific to get that the system that he’s portraying is unjust. Knowing the real-world context just adds another layer to the text. Holes also has one of the hallmarks of children’s books that I really like, which is a particular type of absurdism that the child characters come up against. This always rang true to me as a kid and well into my teens, when you start understanding that your life is controlled by some set of systems, but you haven’t quite gotten what those systems are or why and how they came about. Like nowadays, I can say “we did this in elementary school because of a state law, that because of a federal law, that because of the history of puritanism, and this because we got a grant for it”, but as a kid nobody tells you these things or really even cares to explain why the rules are as they are, and the systems that govern your world, often with no small degree of violence and almost always with an inherent disregard for your agency, are ineffable and slippery, and good children’s books capture this really well (Series of Unfortunate Events is probably my favorite example of this, where a secret organization that everything is implicated in and more more tragicomic details about it get revealed until the Baudelaire children find themselves to some degree members with mixed feelings is honestly an excellent coming-of-age allegory. oh, not to mention the constant conflict with bureacracy. god that series is so good, everyone read it). Back to Holes, Sachar weaves the more fantastical ineffable elements in with real-world issues so neatly. Stanley’s family is allegedly cursed, which is why Stanley keeps having bad luck, but he also lives in systemic poverty, which is also why he keeps having bad luck. Sachar eschews neither the allegorical elements common in children’s literature nor the more direct systemic critiques more often found in YA and adult lit, and it creates a really unique vibe. I think the story really benefited from having a children’s author, and I would love to see more authors in both children’s and adult lit do this!

Systems

Speaking of the systems, this book is surprisingly radical. Like it’s full-on an abolitionist text. The law is pretty much only ever presented as adversarial, both in the story of Stanley’s present time, and in Kate and Sam’s story. It’s implied if not stated repeatedly that Stanley and the other boys are pretty much victims of circumstance and have been imprisoned pretty much for the crime of being poor. The hole-digging is shown to be cruel and bad for the boys. It’s noted that in digging the holes Stanley’s heart hardened along with his muscles. This is of course very evocative of the system of retributive justice we have in America. Additionally, Camp Greenlake’s existence can ultimately be traced back to an act of racist violence, also in close parallel with our prison system. Hole’s stance on justice is very restorative. Punishments are never shown to work: only through righting the wrongs can true justice be achieved. Moreover, Holes even gives the opportunity for redemption to a minor antagonist when [minor spoiler] Derrick Dunne, the kid who was bullying Stanley in the beginning ultimately plays a small role in helping Stanley regain his freedom [spoiler over].

Cycles

Cycles are a major theme in holes, and Sachar creates a unique temporality to support this theme. There are 3 interwoven stories: that of Stanley’s in the present date, that of Stanley’s ancestors, and that of the land that Stanley is on (though, as I will delve into later, it’s at least a little implied that Stanley is descended from the characters in that story also). The stories from the past reach in and touch the present. You can’t untangle the past from the future. Looking at this again through a social justice lens, it could be seen as fairly progressive commentary on what to do with regards to America’s past wrongs. The past cannot and will not be left in the past: it must be dealt with on an ongoing basis. Even the warden, the greatest villain of Stanley’s story has a sympathetic moment at the end where it’s revealed that she, too, is stuck in a cycle of intergenerational trauma she can’t break free from.

Stanley is gay and jewish

Ok, I will now talk about how Stanley is a queer Jew, but this entire section will be riddled with spoilers, so read the book first and then come back!

A queer Jew?? i hear you ask. You’re just projecting. Yes, 100%. However, I think that interpreting Stanley as both these things adds to the thematic richness of the text. Let’s start with the Jewish bit: it’s not explicitly stated that Stanley is Jewish, but his great-great grandfather is a nerd-boy Latvian immigrant with the last name Yelnats, and his great-grandfather was a stockbrocker, so, like, ya know. Louis Sachar is also himself Jewish, as was the director of the movie, who cast Jews in the roles of Stanley and his family (dyk Shia LaBeouf is Jewish?? i did not), so I know I’m not the only one interpreting it this way. And honestly, does it not resemble the book of exodus quite a bit? They escape what is pretty much a form of slavery and wander in the desert. Sploosh resembles the well of Miriam, and then they ascend up a mountain to the “thumb of god”, perhaps in a parallel to Moses receiving the commandments. Is this a useful way to look at the text? Who knows. But what I think we do get from reading Stanley as Jewish is a more nuanced discussion of privilege and solidarity. If Stanley and his ancestors are Jewish (or at least Jew-ish), then what placed the curse upon his family (and, we see, Madame Zeroni’s family isn’t doing so great either) is the breaking of solidarity between oppressed people. But also, the fact that you are also marginalized does not wash you of the responsibility to other marginalized groups. I don’t think Sachar intended it this way, because I think he probably would have talked about it more if he had, but I would say this book can be read as a call to the American Jewish community to take an active role in forging solidarity with other marginalized groups and actively righting the wrong you, your ancestors, and your community wrought upon them.

Now, why do I think Stanley and Zero are gay? Before I go into how it augments the text thematically, I bring to your attention this passage.

Two nights later, Stanley lay awake staring up at the star-filled sky. He was too happy to fall asleep. 

He knew he had no reason to be happy. He had heard or read somewhere that right before a person freezes to death, he suddenly feels nice and warm. He wondered if perhaps he was experiencing something like that. 

It occurred to him that he couldn't remember the last time he felt happiness. It wasn't just being sent to Camp Green Lake that had made his life miserable. Before that he'd been unhappy at school, where he had no friends, and bullies like Derrick Dunne picked on him. No one liked him, and the truth was, he didn't especially like himself. 

He liked himself now.

 He wondered if he was delirious. He looked over at Zero sleeping near him. Zero's face was lit in the starlight, and there was a flower petal in front of his nose that moved back and forth as he breathed. It reminded Stanley of something out of a cartoon. Zero breathed in, and the petal was drawn up, almost touching his nose. Zero breathed out, and the petal moved toward his chin. It stayed on Zero's face for an amazingly long time before fluttering off to the side. 

Stanley considered placing it back in front of Zero's nose, but it wouldn't be the same.

Girl, I’m sorry, that’s gay as shit! It’s such tremendous tenderness, not to mention the traditionally romantic imagery of moonlight and the flower petal. There’s also the non-romantic aspects. Stanley’s inexplicable happiness and suddenly liking himself evokes, for me, at least, the experience of coming out to yourself, of realizing who you are. Later in this chapter, Stanley contemplates running away with Zero despite the fact that it would make them lifelong outlaws. This book, remember, was written in 1998, and homosexuality was decriminalized in 2003, and the book takes place in Texas. It would have been, if anything, even more evocative of gayness when it was published. Now as to how this increases the thematic richness of the text: obviously, in carrying Hector up to the thumb, giving him water, and singing the lullaby, he redeems the wrong done by his ancestor, after which his family’s luck immediately changed. However, after Hector and Zero return to camp Greenlake, rain falls there for the first time. What was redeemed here? Remember that earlier on we learn that what caused the drought was the fact that Sam the onion man (who was black) was murdered for kissing Kate Barlow (who was white) — so what would a [post-factum wronging of that right look like? Zero, as we remember, is black while Stanley is white, so them being in a romantic relationship would be a successful interracial relationship to redeem the one Kate and Sam weren’t able to have. It’s also, as I said earlier, implied that Stanley is descended from Kate Barlow on his mother’s side: Stanley remembers seeing the other half of the lipstick tube with her initials on it in his mother’s bedroom. I’d also argue that Sam the Onion Man is implied to be descended from Madame Zeroni (chronology-wise, I think he’d be her grandson). First of all, there’s no follow-up with Madame Zeroni’s son who moved to America, and pretty much all other plot threads are followed up with in Holes. Secondly, Sam mentions water running uphill, just like Madame Zeroni does. Even without these speculations being true, Stanley and Hector being gay would redeem the land they’re on, but If they are, the parallel with the other ancestral redemption arc becomes to much to imagine it was unintentional.

So anyway, those are my thoughts on Holes, now everyone go read it!

#was trying to express my dad that shia labeouf is jewish but couldn't remember how to pronounce his name #so i was like. dyk sheeya labeeoof is jewish? indiana jone's son. shaya labyof. Pap. Indiana Jone's son. you know who he is. Pap come on #when he figured out who he was he asked if harrison ford was also jewish #as a joke #and turns out he fucking is! his maternal grandparents are jews from minsk! #quoth my father: 'they're everywhere. nothing is sacred' #lololol #anyway this fucking booooook you guys

[adorethedistance]

I Do, Do You? - JJ Maybank x Reader Imagine

(I don’t own this image, if it’s yours and you don’t want me to use it, message me and I’ll take it down.)

Request: by anon: It’d be really cool if you could write something about the trend where you kiss your best friend with jj, where the reader does it and jj gets really excited about it

Warnings: This is super fluffy but I can’t really think of any potential triggers. If you find some PLEASE point them out to me!

Words: 993 

Anxious butterflies have settled in my stomach since early this morning when I scrolled through the entire trend of ‘kissing my best friend’ videos. I decided this was it. If I was ever going to try and be more than a friend to JJ, this was my chance.

As I sit next to him on the couch, my heart is flying 1000 mph. I don’t know if JJ can sense I’m acting differently but I hope he can’t. We’ve been lounging around, watching movies all day, surely he won’t think anything of it if I ask-

“Do you want to make a Tik Tok?” He looks at me without picking his head up off the back of the couch. He’s totally on to me and he’s totally going to say no.

“Sure.” Oh.

Standing from my spot on the couch, I extend a paw to pull JJ’s lazy ass off of the couch but instead of counteracting my body weight to pick himself up, he pulls me down on top of him first.

“What are you doing?” I half-squeal, half-laugh. JJ then rolls us both over so that his body weight is practically crushing me, and he slips my phone out of my hand.

“Are we dancing to Doja Cat? What’s the game plan?”

“I already have a sound picked out! Get off me.” He laughs and then blindly tosses my phone at me.

“Ow, my boob. You nailed me right in the titty, JJ!” I wail dramatically as he laughs even harder. Rolling over to get to a seated position, I pull up the audio from the videos I’ve been watching all morning and my hands begin to shake. I prop my phone up on the open box of Cheez-Its we’ve been snacking out of and the countdown to the music seals my fate. As the video is already recording, JJ looks at me confused.

“What are we supposed to do for this sound?”

“It’s about us being best friends so just pretend to like me for a minute.” I forgot JJ’s service payment was late and he’s been out of signal for a couple weeks so he has no idea what this trend is. That should be a relief but my anxiety convinces me that that’s somehow worse.

The beat is about to drop.

“I’ll try but I can’t promise I’ll be that good of an act-” before JJ can finish his sentence, I gently gripped his jaw and very lightly pressed my lips to his. He doesn’t kiss back immediately, probably due to shock. All of a sudden, my nerves get the better of me and I pull away before he can register what’s happening.

When I open my eyes, JJ is already looking at me in surprise. His eyes are wide and his jaw is dropped but I can tell he’s biting back a smile. He then turns to the camera and bellows a loud,

“YEEESSS!” Before standing up and flexing like Shia LaBeouf in the ‘just do it’ meme. He looks back at me and screams again, which makes me laugh even harder. The exhilaration hasn’t worn off in the slightest and JJ squishes my cheeks together in both of his hands, before pressing his lips to mine once more. The kiss deepens and is filled with ten times the passion of before, and then he pulls away grinning bigger than I’ve ever seen in my life.

The memory is one I’ll treasure forever because that day was the start of the rest of our lives. Slipping my right foot into my white shoe, I stand up to look into the vanity mirror in front of me. My hair is styled to perfection, my makeup is exactly the way I like it, and my dress compliments my figure in all the right places. I look so beautiful I almost don’t recognize myself.

Then, a knock at the door pulls me from my self-induced stupor.

“Come in,” I call as I see Sarah and Wheezie have already entered without waiting for a response.

“Oh my gosh you look gorgeous, Y/n,” Sarah sighs and I can see tears welling up in her eyes.

“No, don’t cry yet. The ceremony hasn’t started and you’re gonna make me cry!” I say which makes the three of us laugh. After a brief moment of adoring silence, I take each of their hands and we stand in a huddle, just us three girls, for what’ll be the last time as bachelorette-sisters.

“You don’t wanna be late for your special day, so we need to go,” Wheezie ushers us out the door and into the common area of the townhouse used for Midsummers. Outside on the lawn I see what feels like the entirety of the outer banks, all seated in identical white chairs, facing the water where an arch decorated with white tulle flutters in the wind. Underneath it, I see JJ in a suit that, without a doubt, doesn’t belong to him. He looks so handsome in black. A red rose is pinned to his jacket to match the bouquet in my shaking hands. I feel as nervous as the day we first kissed.

With Sarah on my left arm, Wheezie on my right, and Fallin’ All in You by Shawn Mendes playing softly throughout the courtyard, everything feels perfect. I have my twin and my baby sister ready to give me away to marriage. How could anyone ask for more?

The adoring eyes of family members and friends alike, lift me to cloud nine and I feel as if I’m floating down the aisle. Once I reach JJ, my sisters step to my left side, and JJ and I turn to face our officiant. He begins officiating our marriage, but JJ and I talk under him anyway.

“You’re lookin’ hot in that dress, babe.”

“Four hours. That’s all you get.”

“That’s fine. I prefer you in sweats and my shirts anyway.”

***

A/N: I’M SO SORRY THIS TOOK SO LONG. College apps snuck up on me and made writing not fun for a bit but I think I'm back? Anywho, THIS TOOK A TURN. Lmao I was like haha tek tauk chAllleimge and suddenly ur at the altar. Crazy how life works huh?

#rudy pankow #jj #jj x reader #jj maybank #jj maybank x reader #jj maybank fanfiction #jj maybank fanfiction #jj maybank fanfic #jj maybank fic #jj maybank imagine #jj maybank one shot #x reader #fanfiction #fanfic #fic #writing #outerbanks #outer banks #outer banks fanfiction #outer banks fanfic #outer banks fic #outer banks writing #outer banks netflix #obx #obx netflix #obx fanfiction #obx fanfic #obx fic #tik tok #tik tok prompt

[shirlleycoyle]

How 9/11 Became Fan Fiction Canon

Every fictional character you can think of has experienced 9/11 in fanfiction.

A Clone Wars veteran with two lightsabers is on United Airlines Flight 93 and prevents it from crashing. Ron and Hermione get caught up in the chaos as the towers fall. Buffy the Vampire Slayer and her friends watch the attacks unfold on TV from Sunnydale. We have spent 20 years trying to process what happened on 9/11 and its fallout, and that messy process can be tracked through the countless, sad, disturbing, and sometimes very funny fanfiction left across the internet.

Many of the fanfics written in the weeks and months following the 9/11 attacks seemed to directly respond to the news as it happened, processing the tragedy in real-time through the eyes of characters they loved. In the absence of a canon episode where Daria Morgendorffer paid respects to those lost, writing fanfic about these characters also experiencing trauma helped fans cope.

One YuGiOh fanfic published on fanfiction.net in May 2002 could have been ripped exactly from what this writer experienced that Tuesday morning. “It started as a normal day,” user Gijinka Renamon wrote. Yugi and his friends were in school, where their teacher informed them of the attacks and sent everyone home from school.

“After reading people’s 9/11 fics, I decided to write my own, and put a certain character in it. And Yugi and his pals were my first choice,” the author's note reads, explaining the connection they felt to United flight 93 and the World Trade Center attacks. Given that they lived in Pennsylvania, and “it’s close to New York, I felt really sad about it.”

Stitch, a fandom journalist for Teen Vogue, told Motherboard that this reaction to 9/11 is not at all uncommon in fandom.

"Fandom has always been a place that positions nothing as 'off limits,'" she said. "Historical tragedies like the Titanic sinking and atrocities like… all of World War 2 show up regularly across the past 30 years of people creating stories and art about the characters they love. So, on some level, it makes sense that 9/11 and the following 20-year military installation in the Middle East has joined the ranks of things people in different fandoms turn into settings for their fan fiction."

Reactions depicted in a handful of Buffy the Vampire Slayer fanfics published in the weeks after the attacks ring a little truer to the characters. “Tuesday, 11th September 2001,” written by Anna K, almost echoes the lyrics from “I’ve Got a Theory,” one of the songs in the musical episode that aired in November 2001. “We have seen the apocalypse. We have prevented it. Actually, we’ve prevented quite a few. So we know what they look like,” they write, before taking a darker turn. “They look a lot like…New York today.”

Killing demons and vampires doesn’t phase the Scooby Gang, but when preventable human death is brought into the picture, it’s gut wrenching.

“What am I supposed to do…When I can’t do anything to save the world?” Buffy cries  into Spike’s chest, watching the attacks unfold on TV in a fanfic the author described as being “about feeling numb and helpless.”

In “Blood Drive,” Kirayoshi writes about Buffy and her friends saving a van full of donated blood meant for victims of the attacks from a group of thirsty vampires. One Buffy the Vampire Slayer fic even takes a blindly patriotic turn, where noted lesbian witch Tara McClay helps Xander hang an American flag from the window of the magic shop to make Anya feel better.

Experiencing 9/11 as a young teenager was overwhelming not just because of the loss of life. Almost immediately after the event itself, it was as if the entirety of American culture re-oriented itself towards an overtly jingoistic stance. As we get distance from the attacks, seeing the tone of television and movies from the early 2000s is jarring, and some have gone viral on Twitter. In the world of pop music, mainstream musicians like the Chicks, formerly known as the Dixie Chicks, were blacklisted from the radio while Toby Keith sang about putting a boot up the ass of terrorists. On the Disney Channel, a young Shia Labeouf reading a poem he supposedly wrote about the events. The poem concludes with the line, "it's awesome to be an American citizen."

In a world so completely saturated with this messaging, it is not surprising that fanfic authors started including 9/11 in their work so soon after the event. Even The West Wing had a strange, out of continuity, fanfic-esque episode where the characters reacted to 9/11. In some cases, it made sense that the characters in the stories would be close to or a part of the events themselves.

"For characters like John Watson or Captain America, the idea works to an extent," Stitch told Motherboard. "In the original Sherlock Holmes works and the 2011 BBC series, Watson had just returned from Afghanistan. For Captain America and other Marvel heroes, 9/11 was something that was addressed in-universe in The Amazing Spider-Man volume 2 #36. Technically, 9/11 is 'canon' to the Marvel universe."

In “Early Warning: Terrorism,” a fanfiction for the TV show Early Edition in which a man who mysteriously receives tomorrow's newspaper, predicting the future, avoids jingoism, but tries to precent 9/11 from happening. This fanfic remains unfinished; it’s unclear if the characters successfully prevent 9/11 in this retelling.

Largely in fanfic from the era just after 9/11, when many young authors were trying to emotionally grapple with it, the characters don't re-write or undo the events themselves. It's this emphasis on the reaction to tragedy that colors the fanfiction that features 9/11 going forward.

Although fanfiction authors have been writing about 9/11 consistently since soon after the event, whenever that fanfiction reaches outside of its intended audience, it looks bizarre.

A screenshot of a Naruto 9/11 fanfic on the Tumblr subreddit comes without any context, or even more than two lines and an author's note. It’s impossible to suss out if this falls into the category of sincere fanfic without the rest of the piece or a publication date, but modern-day commenters on the Reddit thread see it as classic Tumblr trash.

Screenshot from r/Tumblr

“Bin Laden/Dick Cheney, enemies to lovers, 10k words, slow burn,” one user joked in the replies, underscoring the weirdness of Naruto being in the Twin Towers by comparing it to a What If story about Cheney and Bin Laden slowly falling deeply in love.

It’s hard to tell how much of the 9/11 fanfic and fanart starting a few years after the attacks is sincere, and how much of it is ironic, and trying to make fun of the very concept of writing fanfiction about 9/11.

A 2007 anime music video (in which various clips, usually from anime, are cut together to music) that combines scenes from The Lion King with Linkin Park’s “Crawling” and clips from George Bush’s speeches immediately after the attacks feels like the perfect example of this. Even the commenters can’t seem to suss out if this person is a troll or not.

There’s no way that My Little Pony: Friendship Is Magic 9/11 fanart could be serious, right? Especially if the description pays tribute to “some of the nation's most memorable buildings,” and features five of the main characters as child versions of themselves. The comments again are split between users thanking the artist for a thoughtful remembrance post, and people making their own headcanon for why Twilight Sparkle is surreptitiously absent from the scene.

Screengrab via DeviantArt

There’s Phineas and Ferb fanfic that combines a 9/11 tribute concert with flashbacks to Ferb being rescued from the towers as a baby, written on the 10th anniversary of the attacks. It jumps from introspection to lines like, “‘Quiet Perry the Platypus. I’m trying to listen to these kids singing a 9/11 tribute.’”

The author's notes make it more likely that they meant for this to be a tribute piece, but it doesn’t quite make sense until watching a YouTube dramatic reading of it from 2020, fully embracing the absurdity of it all.

“For me, 9/11 is synonymous with war. It completely changed the course of my life," Dreadnought, the author of a Captain America fanfic Baghdad Waltz that sees Steve Rogers and Bucky Barnes fall in love over the course of the war on terror, told Motherboard. "It’s the reason I joined the military, and I developed deep connections with people who would go on to deploy to Afghanistan and Iraq. These very much felt like my generation’s wars, perhaps because people I graduated high school with were the youngest folks eligible to serve at the time.”

Dreadnought told Motherboard that although they didn't deploy, their career has kept 9/11 and the trauma from it in their mind. After seeing that people who fantasize about Steve and Bucky getting together seemed particularly interested in reading fanfiction that related to 9/11, they decided to try their hand at it.

"I had to do something with all of that emotionally, and I’m admittedly a bit emotionally avoidant. So I learned through fic that it’s easier for me to process those feelings and the knowledge of all the awful stuff that can happen in war if I can turn it into something creative," Dreadnought said. "Give the feelings to fake people and then have those fake people give the feelings to readers!"

To Dreadnought, who is a queer man, the experience of researching and writing this was more cathartic than they first expected, especially as a way to navigate feelings about masculinity, military culture, and queer identity. But they said the research they did, which included watching footage of first responders at ground zero, was what helped them finally process the event itself.

"It was like a delayed horror, and it was more powerful than I expected it would be." Dreadnought said. "When I was eighteen, I was pretty emotionally divorced from 9/11; I just knew I wanted to do something about it. So coming back to it in my 30s while writing this fic, it was a very different experience. Even the research for this story ended up being an extraordinarily valuable exercise in cognitively and emotionally processing 9/11 and all of its second and third order effects."

Fanfiction that features 9/11 provides an outlet for people who still grapple with the trauma from that day. But Stitch warns that the dynamics of fandom and how it relates to politics can also create fiction that's less respectful and more grotesque.

"With years of distance between the stories written and the original events of 9/11, there seems to be some sort of cushion for fans who choose to use those events as a catalyst for relationships—and Iraq and Afghanistan for settings," Stitch said. "The cushion allows them room to fictionalize real world events that changed the shape of the world as we know it, but it also insulates them from having to think about what they may be putting into the world."

The tendency of turning these events into settings or backgrounds for mostly white, male characters to fall in love has the unintended effect of displacing the effects that the war on terror has had on the world over. Steve and Bucky might fall in love during the war on terror, but they would also be acting as a part of the American military in a war that has been criticized since it started. Fanfic writers in other fandoms have come under fire for using real world tragedy as settings for fic before. In the aftermath of the 2010 Haiti earthquake Supernatural fanfiction about the actors Jensen Ackles and Jared Padalecki going to the island to do aid became controversial within the fandom. There have also been fics where characters grapple with the death of George Floyd that is written in a way that displaces the event from the broader cultural context of race in America.

"A Captain America story where Steve Rogers is a 'regular' man who joins the US Army and 'fights for our freedom' post-9/11 is unlikely to deal with the war’s effect on locals who are subject to US military intervention," Stitch said. "It’s unlikely to sit with what Captain America has always meant and what a writer is doing by dropping Steve Rogers into a then-ongoing conflict in any capacity."

After enough time, “never forget” can even morph into “but what if it never happened?” A 19k+ word Star Wars alternate universe fanfic asks this question, wondering what would have unfolded if someone with two lightsabers was on United Flight 93. This fic, part of a larger fanfic series with its own Wikia, considers what would have happened if Earth was a military front in the Clone Wars.

In this version of events, a decorated general who served in the Clone Wars is able to take back control of Flight 93 before it crashes, landing safely and preventing even more tragedy from happening that day. In the end, all of the passengers who made harrowing last calls to their loved ones before perishing in a Pennsylvania field survive thanks to the power of the Force, and are awarded medals of honor by President Bush.

Twenty years after the attacks, it’s painful to think about what would have happened if people got to work 15 minutes later, or missed their trains that morning. There weren’t Jedi masters deployed to save people in real life, but for some of the fanfic writers working today, the world of Star Wars might feel just as removed as the world before September 11, 2001.

Fiction serves as a powerful playground for processing cultural events, especially generational trauma. The act isn't neutral though; a decade's worth of fanfiction that takes place on or around 9/11 shows how our own understanding of a traumatic event can shift with time.

How 9/11 Became Fan Fiction Canon syndicated from https://triviaqaweb.wordpress.com/feed/

[theres-an-impulstor-among-us]

Now that team ITS is playing Phasmophobia on stream (I mean they are when I am sending this) can we get ghost hunters team ZITS?! I'd love to see the full team of morons (affectionate) dealing with ghosts.

I love Team ZITS so much, they’re such morons (affectionate). Just a few notes for this one:

1) CW: swearing

2) This loosely takes place in Phasmophobia. Some details are different/altered to fit the story better

3) Also I would just like to clarify that even though they reference playing Among Us, all my fics are set in the fictional world. I will never write about the real people, only their Hermitcraft characters/personas. 

...

  “Okay, guys.” Impulse addresses his team in the back of their van, handing out pieces of equipment as he talks. “We’ve got a poltergeist living in this house right here. Our job is to get evidence and get the hell out before it kills us. Any questions?”

  Zedaph raises his hand. “Yes, what happens if it kills us?”

  “We die,” Tango says wryly. “Permanently. So don’t get killed.” 

  “I guarantee at least one of us isn’t getting outta here alive,” Skizzleman remarks. “And all the times we played Among Us is telling me it’s gonna be Tango.”

  Tango shoots him a scowl. “Hey!”

  “Well, if you really don’t wanna die first, find some kind of electrical room and send Impulse there,” snickers Skizzleman. 

  Impulse rolls his eyes. “Thanks, Skizz. Anyway, we only have one piece of equipment each so we gotta make sure we work together. Skizz, you’ve got the camera to take pictures of the ghost. Tango, you’ve got the EMF reader so you can gauge the strength of ghostly presences. Zed, you’ve got the temperature tracker so you can check when the rooms get freezing. Everyone understand?”

  “What have you got, exactly?” Skizzleman inquires.

  Impulse holds up the item in his hand. “A flashlight that doubles as a UV light. I’m the one who’s gonna go first into each room and probably get killed in, like, ten seconds.”

  “A true hero,” says Zedaph, nodding. 

  “And don’t forget that the instructions say that if the flashlight beam starts to blink, that means the ghost is hunting,” Tango adds. “We should stick close to you so we know when to panic.”

“Gotcha.”

  The team makes their way towards the dark, dilapidated house. 

  “Man, the only way this could be more stereotypically creepy is if it had cobwebs in the windows,” mutters Skizzleman. “I dunno about you guys but I have zero trouble believing a ghost lives here.”

  Impulse pauses outside the house, glancing back at his friends. “Okay, the name of the ghost is William Thomas. And it said in the instructions that saying a ghost’s name will anger it, so try not to do that.” 

  With that, the four creep into the house. 

  They tiptoe into the first room in the house, Impulse shining his flashlight hesitantly around to make sure they’re alone. He switches to the UV light but no fingerprints show up anywhere.

  “Hey, have you guys heard that song about Shia LaBeouf being a cannibal?” Zedaph asks out of the blue.

  His friends stare at him.

  “No I haven’t, and also, what the hell?” says Tango.

  “I’ve heard it,” Skizzleman says. “What made you think of it NOW of all times?”

  “I was just thinking about how the ghost might be a cannibal and eat our bodies when it kills us, and that made me think of that song and now it’s stuck in my head.” 

  A pause follows this.

  “Aaaaand now it’s stuck in mine too,” Skizzleman sighs. “Great. Thanks.”

  “The image of a ghost feasting on our corpses is stuck in MY head and now I don’t want to move,” Tango says. “So thanks for that, Zed.”

  Zedaph grins to himself. “Anytime.” 

  A tense pause follows this.

  BANG!

  Skizzleman screams. “AHHH, WHAT WAS THAT?!”

  Impulse, heart now racing, instinctively shines his light towards the source of the noise. “I think it came from upstairs! Tango, Skizz, go check it out!” 

  “Why me?!” yelps Skizzleman. 

  “Because you’ve got the camera! Now go!”

  Tango drags a protesting Skizzleman away towards the stairs. 

  “Okay, while they’re doing that, let’s start eliminating rooms as the epicentre,” says Impulse to his remaining friend. “Keep the temperature tracker up.”

  Zedaph nods. “Will do.”

  The two start exploring the downstairs rooms. The kitchen and dining room show no signs of paranormal activity but when they enter the living room, something changes.

  “I’m cold,” Zedaph whispers, the temperature tracker trembling slightly in his hand. “It says three degrees. Not quite freezing yet.”

  “Right, okay… Stay here and monitor the temperature, I’ll go check for handprints by the stairs.”

  He moves off into the hallway and shines the UV light around at the staircase. 

  Upstairs, Skizzleman is clutching the camera so tightly that his knuckles are turning white. “Oh my god, I hate this so much. I feel like I’m gonna have a damn heart attack.” 

  Ignoring him, Tango activates his walkie talkie. “Impulse, can you hear me?”

  “I hear you,” comes Impulse’s crackly voice. “Found anything?” 

  “Nothing yet. We’re just having a look around.”

  “Okay, good. Remember, saying the ghost’s name a lot will make it mad so if you want to aggravate it a bit to get evidence, do that. But make sure you don’t say it too much or it’ll REALLY get angry.”

  Tango nods. “Gotcha. Talk to you later.”

  He puts away the walkie talkie and turns to Skizzleman, who is staring around the dark room with fearful eyes. “H-Hello, Mr William Thomas? Or, uh… Bill? Can I call you Bill?”

  He gets no response from the ghost, so he tries again: “Hey William, do you play Minecraft?”

Tango stifles a laugh.

  A few seconds later, a heavy-looking lamp in the corner tips over and falls all on its own, nearly crushing Skizzleman. 

  Impulse glances sharply up as he hears Skizzleman scream. He immediately hears Tango’s loud voice reassuring him, so he forces himself to relax. Nothing bad is happening. His friends are okay, they’re just a little on-edge, like Impulse himself. He just needs to relax.

  Inhaling deeply, he takes out the plastic water bottle he brought with him. As he sips at the cool water, he hears Skizzleman’s voice yelling from the upstairs bedroom: “HEY BILL, FUCK OFF!”

  Tango’s voice shrieks back, “SKIZZ, DON’T PISS OFF THE GHOST WHO’S TRYING TO KILL US!”

  “IF HE’S TRYING TO KILL US ANYWAY THEN WHY CAN I NOT TELL HIM TO GO FUCK HIMSELF?”

  Impulse chokes on his water. 

  “Impulse, I think Skizz is freaking out,” says Zedaph, peering round the door. “And I’m starting to freak out too. The temperature went below zero, like, six times in a few minutes.”

  “Right, okay, that’s one piece of evidence collected,” Impulse says. “Two more to go, then we can get outta here.”

  As Zedaph opens his mouth to respond, they both hear a loud thumping noise and Skizzleman screaming. 

  His heart leaping into his throat, Impulse and Zedaph dash upstairs at top speed and both almost trip right over Skizzleman on the landing.

  “Skizz, what the hell?!” yelps Impulse.

  Lying face down on the carpet, Skizzleman is glad it’s dark so the others can’t tell how red his cheeks are. “I… tripped over my own feet.” 

  “Oh, I hate you so much.” Impulse hauls his best friend to his feet. “Please tell me you have some more evidence for me.”

  “I got a level 5 reading,” Tango says, standing in the doorway to the bedroom. 

  “Okay, good, that counts. We got freezing temperatures downstairs, so now we just gotta look for-.”

  He breaks off as an ominous noise sounds from downstairs.

  The group stare at each other in terror.

  “Please tell me that was just someone’s stomach,” Skizzleman groans. 

  Impulse’s flashlight beam starts blinking.

  “Run!” Impulse screeches.

  The four scatter.

  Skizzleman and Zedaph dash inside the bedroom and jump into the closet, both breathing hard. They fall silent, listening intently for any sounds outside the closet.

  A minute goes by. Then another. Then a few more.

  “So,” whispers Zedaph. “Come here often?”

  Skizzleman can’t help a quiet snicker, despite the situation. “No, I really don’t. What about you?”

  “Well, oddly enough, this isn’t my first time hiding from a ghost in a stranger’s wardrobe.”

  “That genuinely does not surprise me one bit.”

  Zedaph’s walkie talkie emits a sudden burst of static, giving the two a fright. “Zed, come in. Where are you guys?”

  Zedaph fumbles with the device and hurriedly whispers into it, “Impulse, I think the ghost is still nearby.”

  “Nope it’s not. It’s currently having a very intense staring contest with Tango, so we could do with your help right now.”

  Zedaph and Skizzleman exchange a look of horror.

  Downstairs, Tango has been backed into a corner, frozen with fear as he makes terrified eye contact with the gruesome poltergeist, who is less than three metres away from him. “Impy,” he whispers out the corner of his mouth. “Help me.”

  Impulse dithers by the door, itching to go help his best friend but unsure of exactly how to do that without getting one or both of them killed. 

  Zedaph and Skizzleman appear next to Impulse seconds later. “Can we distract the ghost in any way?” the former asks urgently, as Skizzleman takes a picture of the spirit. 

  Impulse hesitates. “I-I don’t know how we’d do that.” 

  “Well, we have to do something! We can’t just let it kill Tango!”

  The poltergeist moves jerkily to the side, causing Tango to let out a strangled cry and press his back harder against the wall. “Help!” 

  Reacting quickly, Skizzleman snatches the temperature tracker from Zedaph and tosses it at the ghost. It passes right through its body, nearly hitting Tango.

  “Hey, William fucking Thomas, stay the hell away from my buddy!” Skizz yells at it.

  “Dude!” Impulse yelps, as the poltergeist turns on them. “RUN!”

  The three scramble for the door.

  Tango, seeing his chance, dodges around the ghost and follows, almost tripping over at least twice as he does.

  Skizzleman again trips over his own feet on the concrete pathway, and since he’s at the front of the group, the other three promptly fall over him and end up in a heap on the ground, panting hard from fear and exertion. 

  “Oh my God,” gasps out Impulse. “Is everyone okay?”

  Zedaph sticks his thumb up. “Very much below average, thanks.” 

  “My heart is about to die but yeah, I’m fine,” Skizzleman breathes. “I’m gonna have nightmares about this for months.”

  “Months?!” Tango is lying sprawled on his back, his heart still pounding in his chest. “Dude, I’m never gonna sleep well again.”

  Impulse pushes himself into a sitting position and watches the ghost float around angrily in the front doorway. “Looks like he can’t leave the house. PLEASE tell me we got three pieces of evidence.”

  At the same time, all three of the others speak:

  “Temperature,” says Zedaph.

  “Photo,” says Skizzleman. 

  “EMF reading,” says Tango. 

  “Right, then.” Impulse gets to his feet and opens up the back of the van. “Let’s get going. We can process the evidence in the van.”

  Skizzleman is the next to stand up and come to the back of the van. Rubbing his chest, he raises an eyebrow at Impulse. “Dude, we are DEFINITELY stopping at Taco Bell on the way home. We DESERVE Taco Bell.”

  Impulse chuckles. “Oh, you’ll hear no argument from me there, dude.” 

  As Zedaph hops into the back of the van, he grins back at his friends. “Now that was what I call a Shia Surprise.” 

  Impulse frowns and starts to open his mouth but Skizzleman shakes his head. “Don’t even ask, bro.” 

  Finally, Tango hands the EMF reader to Impulse and wordlessly starts to head to the front of the van but Impulse stops him. “Tango, are you okay? I-I’m sorry I couldn’t help you more in there.”

  Tango slowly shakes his head. “It’s fine, don’t worry. I’m just a little shaken up, that’s all.” He gives a pale grin. “Just promise me that next time we get the urge to do something stupid with the paranormal that we’ll use a oujia board like normal people.”

  Impulse laughs. After that experience, he’s just happy his friends are all okay.

  “Deal.”

#impulsesv #tangotek #skizzleman #zedaph #team zits #hermitcraft #phasmophobia #cw swearing #Vaunna writes

[vanessakirbyfans]

Vanessa Kirby suggests we meet on the Mall, the central location for her on-screen triumph as the young Princess Margaret in The Crown. I’m standing outside the shuttered Institute of Contemporary Arts when she strides into view, a slender, leggy figure with bleached hair and brilliant blue eyes, clad in trademark black, but for her gleaming white Converse trainers.

"I haven’t been here since we were filming!" she marvels through her mask, gazing up the processional avenue towards Buckingham Palace. "I was whizzing up the road on a motorbike, holding onto the back of Matthew Goode [as Antony Armstrong-Jones] and feeling so exhilarated about what on Earth was happening to my life – being in a job I loved, playing someone I loved."

Her ebullient mood was dented when Margaret’s handbag, into which she’d put her own phone, was blown away from between her feet, and an opportunistic passer-by ran off with it. "By the time I could check Find My iPhone, it was already in Leicester Square," she says. "Of course, the costume department were furious because the bag was vintage and a one-off." We both laugh, rather ruefully, for such anecdotes already seem to belong to a more carefree time. This bright, crisp lunchtime in lockdown, the Mall is all but deserted –there would be no need for roadblocks or filming at dawn today – while the roles Kirby is here to discuss are light-years away from her embodiment of a pampered royal party girl.

The morning of our meeting, Pieces of a Woman has launched on Netflix to rapturous reviews and critical acclaim that has seen Kirby, in her first lead role, picked as a front-runner for the award season’s most coveted best-actress gongs.

It is not, however, an easy watch. Kirby plays Martha, a first-time mother whose baby dies moments after being born; the film follows Martha’s subsequent disintegration, alongside that of her close relationships. Her labour, which comes at the start of the film, is some 26 minutes of one unbroken take that manages to be simultaneously intimate and menacing as the camera swoops around the apartment and hovers beside the traumatised protagonists.

Kirby’s performance is astonishingly unselfconscious, which is the more surprising since she never went to drama school (turning down the offer of a place at Lamda in favour of stage roles at Bolton’s Octagon Theatre) and says she couldn't bring herself to dance in front of her friends. "I’m the one who sits in the corner and watches." She describes seeing herself on-screen as "disconcerting", and "not a very natural human experience", and indeed even finds making Zoom calls a trial. "There’s nothing to hide behind!"

For Pieces of a Woman, the director Kornel Mundruczo decided that the birth scene would be the first to be shot, she tells me, as we stroll around St James’s Park, conducting ourselves like a couple of spies in a Le Carré novel. "I knew I’d have to be naked, and literally open my legs and give birth in front of a group of strangers I’d only met that morning. I was actually quite thankful – I thought, the rest of it’s going to be a lot easier."

In fact, she says, she found herself swept away by the emotion of the story. "Normally, it’s so hard to forget there are machines in your face, but I had no idea that a camera was even there." Was it traumatic to act? "The first time we shot it, I was literally sobbing for 10 minutes afterwards. I couldn’t get out of it. My brain was telling me it wasn’t real, but my unconscious didn’t know the difference, especially with having a real baby in my arms.

"Kornel came over onto the bed and held me so tight. He didn’t let go of me for five minutes, and he said, 'Just remember this feeling.' That really helped me for the rest of the movie, when the character doesn’t express anything, but almost has to be doing the howling without speaking a word."

Kirby took her research seriously, even asking a mother-to-be –a total stranger – to allow her to be present in the delivery room at the birth of her son in a north-London hospital. "I remember every single second of it," the actress says emphatically. "I was there, glued to my seat, for seven hours, not even a loo break! I was just amazed, in awe. I saw a woman completely surrender and go on this spiritual journey, which involved indescribable pain, clearly, but also ecstasy. It gave me a whole new respect for women and how powerful they are, and a new empathy for men, because they feel so helpless. And obviously, seeing the baby come out was the most incredible thing in the world I’ve ever seen, by far. After he was born, all of the mother’s colour returned, she looked like an angel, she had a kind of holy glow." Bathetically, it was only then that the couple recognised Kirby. "They were going, 'Oh my God, it’s Princess Margaret! This is so weird!'"

The experience has given her a new philosophy on life, she says. "I was watching the mother go through these contractions, which were excruciating, and the pushing, and then there was a moment of calm, and of expansion. And so, when I’m going through things in my life, I say to myself, this is like a contraction, surrender to it, because there might be something born from it. Sometimes we don’t want that; when we’re feeling something horrible, we want it to pass as far as possible. I’m teaching myself to allow it to be there and not resist or push it away, and that’s because of that woman."

But her character’s storyline also demanded that Kirby understand the experience of stillbirth. A friend introduced her to a woman who had lost her baby Luciana under eerily similar circumstances to those in Martha’s narrative. "She shared everything with me." They have become close friends, and the film’s ending is dedicated to Luciana. Kirby continues to work with Sands, the Stillbirth and Neonatal Death charity, and is voluble in her admiration of the Duchess of Sussex and Chrissy Teigen, both of whom have recently spoken out about their own experiences of miscarriage.

"I feel so close to them and so proud of them for breaking that silence," she says. "Meghan is probably the last person who would feel comfortable sharing her very personal, intimate feelings. It’s that courage that I want to continue to honour. What they’re saying is, if you’ve been through it, we have too, we share your story. I think that makes you feel less lonely. But one in four pregnancies ends in miscarriage, which is far more than I knew about. Society finds it difficult to hold space for that kind of pain."

Her parents, to whom she is very close, have both seen the film and wept throughout, she says. As if on cue, her phone pings, and her eyes soften when she checks the message; it’s a childhood friend who herself miscarried, getting in touch to say how much the film has meant to her.

The integrity of Kirby’s performance has already netted her the Volpi Cup for Best Actress at the Venice Film Festival. "It doesn’t seem real," she says. "I have it in its case – I wouldn’t have it on display, it looks like a football trophy – but occasionally I glance at it and think, 'Did that really happen? Or did I make it up in a weird dream?'" In a similar vein, she is reluctant to engage with the Oscar buzz surrounding her. "I don’t even know when they are," she admits. "My 13-year-old self would have a heart attack. It’s ridiculous, isn’t it!"

Kirby’s other film, The World to Come, is set in mid-19th-century America but touches on the same themes of bereavement and redemption. The central character Abigail, played by Katherine Waterston, has also lost her young daughter, and in her grief, turns away from her husband to have an affair with Tallie, her free-spirited, flame-haired neighbour. "I was glad I was playing Tallie rather than Abigail, because it might have been a bit too much," Kirby confesses – though without giving away spoilers, that role is pretty traumatic too...

The screenplay is taken from the short story of the same name by Jim Shepard, which was inspired by an entry he found in an antique diary: 'My best friend’s moved away, and I don’t know if I’ll ever see her again.' "It was one woman’s voice, like an echo from the past, and we’ll never know who she was," says Kirby. "The World to Come really educated me about what life was like for women not that long ago. They didn’t have a choice about anything they did with their time. You were owned by the house, and the man, and you had no freedom outside that. The best thing about doing this mad job sometimes is having your ignorance illuminated. I gravitate towards things that push beyond my experience, I want to go to places I don’t know, I’m not familiar with."

The experience of making both films has changed her profoundly. "I can’t do anything unless it means something to me now," she says. "It’s a better way to work, because you’re not focused on yourself at all. So maybe I’ll only work once every 10 years!"

To ensure that this is not the case, and in order to find more untold, female-led stories, her ambition is now to set up her own production company. "Even a few years ago, a film about a woman losing a baby would have been unthinkable. There are so many voiceless people, and I have a voice in this industry, and I want to make sure the tribe is represented properly."

It is undeniably awkward, therefore, that her male co-stars in the films, Shia LaBeouf and Casey Affleck, both of whom play violent, abusive husbands, have been called out for their treatment of women. In December, the British singer FKA Twigs filed a lawsuit against LaBeouf, her ex-partner, alleging that he "hurts women. He uses them. He abuses them, both physically and mentally". While LaBeouf largely denied the accusations, he admitted in a statement to The New York Times: "I have a history of hurting the people closest to me. I’m ashamed of that history and am sorry to those I hurt. There is nothing else I can really say."

Meanwhile, Affleck was sued by two female crew members working on his 2010 film I’m Still Here, one of whom accused him of sexual harassment. He denied the allegations, and the lawsuits were settled out of court, but he later told the Associated Press: "I behaved in a way, and I allowed others to behave in a way, that was really unprofessional, and I’m sorry."

Kirby is understandably reluctant to get into any of this. "I can’t comment on a legal case that’s going on in someone’s personal life," she says. "I feel really protective of Pieces, so that’s what I want to speak about. Because it came out at eight this morning, all I can think about is the mothers I spoke to, and wanting them to be my focus. I just know my job is to honour them."

Perhaps counter-intuitively, starring in Pieces has awakened in her the desire for a family of her own. "It’s definitely made me want a baby, for sure," she says; but she hasn’t currently got a partner, having split up from Callum Turner (Frank Churchill in last year’s Emma), whom she met when they co-starred in the 2014 film Queen & Country. "This year has made me think a lot about the home I want to create. I like the idea of inviting someone into a space that’s mine, preferably before I have kids."

In the near future, however, Kirby has nothing on her plate except for getting through a third lockdown. "I’m free as a bird! I’ve read a lot of stuff, and said no to a lot of stuff..." She currently shares a flat in Tooting, south London, with her sister Juliet, an assistant director, and two friends. "I was just about to move out to live on my own in north London – my God, I would have been so lonely! My sister saved me. It was so nice to have routines together. We were trying to take a bit of exercise, cooking together, watching films that made us feel better, drinking wine on Friday nights..."

By now, having circled St James’s Park several times, we are strolling back towards the Corinthia Hotel, where Kirby has a full programme of Zoom interviews lined up for the afternoon. "That’s why I’m so happy to have actually had the chance to go out and meet you in real life," she says enthusiastically. "It’s funny when everything in your life closes down, and you have to sit with yourself, and you suddenly notice all the things you have and you’re grateful for. I hope that feeling never goes away – I will never underestimate how lucky I am."

#Vanessa Kirby #Pieces of a Woman #The World to Come #Interview #Articles

[nobody-knose--archive]

yknow how i go on about not having listened to the solo albums? it’s nat day. i listened to nat. liveblog below

-spooooky ghoooooost

-you know technically this is my first & only 100% complete & utter blind tally hall experience + liveblog. everything else has been an album i've already heard or variations thereupon

-alright well this doesn't sound like tally hall

-hi rob

-boy man this is poppy but it sure is rob's voice singing

-"he don't wanna lose" damn is that a tally hall reference????????/ /j

-this ghost sounds pretty damn relatable

-still sounds like something i'd hear on the radio (derogatory (affectionate))

-does this one have a music video? i'll have to get to those eventually won't i

-oooh funky pronoun shenanigans one of my favorite types of shenanigans

-what baby did rob pick up off the street to provide these backing vocals

-white star??? is that a dw reference???? /j it'd be almost relevant by the time this came out

-i don't know anything about imagine dragons but this reminds me of them

-this is an 80's-ass fadeout

-oh so he's namedropping every track here? just planting the words old bike right in the first verse

-wahoo audio channel shenanigans

-oh there's the hum biddy biddys i heard about

-this is distinctly much less like bicycle race (queen) than i was expecting

-then again i mostly know bicycle race (queen) from lemon demon's cover of it so.

-this does indeed sound like the hawaii part ii of rob cantor

-classic acoustic guitar use. minimal percussion

-nevermind there's the drums & rock guitar everything's changed

-now it sounds like some actual tally hall stuff

-whomst

-guest vocals? i should've seen them coming but didn't expect any in this song at least

-oh there's that lyric. i've seen it plenty of times & always had to imagine what it sounded like

-this in fact indeed giving me 1985 vibes

-is that the year rob was born? it'd be near then at least

[following that comment was an exchange between me & june about birthdays. it told me rob’s born in 1983 but ross was born in 1985 so maybe rob made a tribute to his old bandmate. who knose <3]

-those drums. those synths. he's really going for the 80s alright

-i feel like i'm gradually forgetting this is an album by rob cantor, yellow tie of tally hall

-see, hawaii part ii was produced to the point of feeling unfeasible & unintended for live performances. but this album hits a middle ground where it's like, if this were done by anyone other than rob cantor of tally hall, it could be done live, but it's just rob cantor, not of tally hall, making an album himself, so i just know nothing about this would ever be done live. it's an interesting effect

-this album needs more tmbg influence

-this sounds less like going purple than i was expecting, which can apply to both the whole album & this song right here

-i recognize that voice from hawaii part ii

-i think? i need to check the credits

-stephanie? no not her. the lady from black rainbows?

-i'm blanking on her fuckin name it's on the tip of my tongue

-madison?? alison??? no alison hanna is from another song god what is her name

-yeah madi diaz thanks june

-i don't even know if that's actually her that's just who she sounds like

-what's interesting about this song is (just like hawaii part ii) tally hall didn't do duets very much but this actually sounds like one

-i promise i won't do hawaii part ii comparisons the whole way through it's just what comes to mind

-good god madi has some good range those are high fuckin notes

-OH GOD

-this is faster than i was expecting

-wow okay. this is no longer a jh song alright

-sounds like some terraria synths in here. they could actually be in terarria for all i know

-this is the song they've been putting on all these villain playlists?? i couldn't think of a less villainous song if i tried

-oh thank god the tambourine is back i've been starved for it

-i wouldn’t know, i go on even though

-oh this is the one with that really wild music video isn't it. good old acoustic guitar

-i can actually picture this one on a tally hall album. he's being kinda silly with the percussion but the vocals at least. hm

-honestly what intrigues me most is how it's nothing like the asteroid musical pieces + going purple. those are all i knew of rob's solo stuff until now & i'm not picking up on many similarities. oh and the shia labeoufs/christian bale

-damn he's doing the vocal filters again

-i keep thinking i'm hearing zubin somewhere in the background- wait no that's my cat at the door now

-how many shrimps do you have to eat

-alright now this one's just silly. congrats to it for making me laugh

-if that's real whistling in the background there it's just gotta be bora i know this

-if that's real accordion in the background then it's surely also bora

-this sounds damn near like nonsensical spanish- i thought la telanovela was after this? /j

-he just pulled out all the stops for this album. everywhere.

-you know i kinda thought of extreme vibrato/reverb as a joe thing but i'm really hearing a shit ton of it here so maybe it's a rob thing too. or maybe i should listen to jhjh before i make any conclusions

-who. who's this? i absolutely don't recognize this guest singer. not from hawaii part ii presumably then

-if i can say one thing about this album it's that it's absolutely living up to its cover

-so what does this have to do with telanovelas. i watched que hora es in 9th grade spanish i know what they're like /hj

-oh this is the one about that guy who isn't actually dead. epic

-now this sounds more like the solo viral pieces of his

-i'm pretty sure laughter is the intended reaction to have here so good on rob  for achieving that- wait it's over?

-oh. guess he was taking more influence from tmbg than i thought

-let your mother know is the song i've heard absolutely nothing from other people about. and now. i suppose i can't blame them

-oh you know what my complaint about this album is? it's very little like lemon demon. too many mundane 2nd person ballads, not enough 3rd or 1st person stuff about absolutely nothing

-also from a musical standpoint he doesn't make things stand out super well. it feels a tab bit sanded down. like there are bits in the vocals & instrumentals that feel like they're meant to be a big change, but there's no notable emotional shift in the tone

-ayyyyy this is the one andrew worked on!

-yeah fuck with the tonality of it mess shit up go ham

-i mean if you're going to include flute in a rock album you've got to make it worth it

-i've not heard that song but i think this is meant to be the spiritual opposite to special by jh

-you know what i want from this song? andrdew vocals. it can do whatever it wants i just want to hear my man sing

-definitely bora's whistling no way it's anything else

-showing off your vocal range there mr cantor?

-oh hey this is the one that makes my friends cry

-i've not listened to songs about girls but this is reminding me of it anyway

-this feels like audio taken from a music video that had sfx added to the original song

-like bro. you can let your lyrics stand for themselves. you don't need to dangle me on a rope from a bridge over a highway

-i mean he might as well end the album this way. he might as well.

-ending thoughts, i guess. rob does what he does well but i think he ought to be doing something slightly different

also look at this yt comment i found on the comprehension amalgamation upload

#in conclusion: i don't really remember any of the songs i just listened to other than perfect because technically #ive already heard the celebrity impressions version. it was better because andrew sang <3 /hj #tally hall #loolin liveblogs #tis i #that comment on the album living up to its cover is me comparing the quality of the songs to a fried chicken wing #not a trampoline #god. now all the tags i've written in hall/comp posts about having not listened to a single solo album will be outdated #oh well i knew it was going to happen eventually #to the world and back again

[sinagrace]

Iceman’s been back on my mind lately. It started with the internet rumor that Shia Labeouf was being considered to play the role of Bobby Drake in a Marvel Cinematic Universe version of the X-Men. My DMs and @Mentions on social media were a mixture of intense reaction and then asking my take on who would make a great Bobby Drake (for the record: in my head I always saw him as a younger Antoni Porowski with a theater background, ‘cuz playing the funny guy with a vulnerable streak requires serious acting shops). My mind went back to the time of BC, when I was doing a lot of touring, and answering this very question because of my work on the Iceman book at Marvel. One thing led to another, and I decided to take a trip further down memory lane to look at my favorite volume of the series: Amazing Friends. Now, I know I’ve spent equal amounts of time publicly stating what a gift working on Iceman was, while also calling out the challenges that came with the experience, but the third volume really was a pure blessing. I was able to take every valuable lesson I learned as a writer, and apply it to telling a story that would be interesting to one person: Me. I’ve been a lifelong X-Men fan, I live and breathe comics, so my own expectations for a return to the series seemed like the only ones to really worry about meeting/ surpassing. The first two volumes had been so bogged down by rotating editors, complex continuity, company-wide events, multiple artists… The third volume was my chance to focus on what an Iceman series was outside of so much context. All that mattered was challenging myself to do an X-Men story that focused on the aspects of the franchise I felt were valuable and relevant, meaning: excuses to have Emma Frost be an asshole and finding an opportunity to make fun of Kitty Pryde’s haircut. Before moving on from Marvel, Axel Alonso made time to call me for a pep talk about the series. I wanted to get the series extended, and he wanted to help me succeed with the ten issues he could commit to. First, he offered an eleventh issue to give me more time on the stands. He took a look at everything I had planned, and basically told me to restructure with an eye for ramping up the pace. My writing background comes from prose and essays/ think pieces… both of which are methodical and provide some allowance from the reader to really take your time and set up the world before diving into the meat. That’s not the case with comics. You gotta work fast. Especially in today’s market, there is less and less room for a retailer to say, “give it two volumes, because shit starts really coming together by the third trade.” That was literally my speech for hooking people on such iconic series as Invincible, Fables, and Strangers in Paradise. Nowadays, every single issue is not a brick to be laid down as foundation so much as a bullet in your gun. Conflicting imagery, but that’s the point. Axel told me to think about the Big Moments in my life and sort out how to inject the mutant metaphor into it and make the most compelling comic book story I could. This was epic advice that I took with me into the new arc, but I struggled a bit with what could be bigger than the “coming out” storyline in volume one. Love was off the table because I wanted to keep Bobby single and ready to mingle. Death was off the table too, because my editor felt like we’d done enough with Bobby’s parents in the first two volumes. Upon looking at my own life, and considering the stuff me and my friends were dealing with, I landed on something a bit more reflective than LIFE or DEATH. I wanted to focus on that moment when a gay guy looks outside of himself and realizes the folks around him may not have it so easy. After everything we’ve been dealing with this summer, Iceman’s “big issue” of the arc feels oddly prescient. Bobby Drake had to reconcile his accidental complicit role in keeping the Morlocks down, and he has to investigate new approaches to being a better ally to those who don’t want to or can’t live under the protection of the X-Men. I used the Morlocks to allegorically speak to the issues that the trans/ NB community face today. Considering that trans folks are facing higher rates of homelessness and murder than other members of the LGBTQIA+ community, all I needed to do was find a perfect villain to treat the Morlocks as “lesser-than.” Cue Mister Sinister, who I wrote as particularly Darwinist with a major flair for interactive theater. While Amazing Friends definitely is the most fun I’ve had working on the book, it was also full of the heaviest shit I’ve written about. I’m so grateful that my editor let me use Emma Frost for a story about the trauma of gay conversion therapy with her brother Christian, but I’m still annoyed he wouldn’t let me put her in a sickening Givenchy outfit for her reveal. Similarly, creating the Madin character required that I chat with several mental healthcare professionals and members of the NB community to respectfully portray them as a resilient and fleshed out hero. I included personal lessons that I learned from years of the therapy (the sandcastle / sea image, a Jay Edidin fave moment). My editor and I weren’t always aligned, but we definitely were on each other’s side. He understood what I was trying to do and asked questions when something flew over his head, and he even had the good instincts to stop me from going too heavy handed with the ending. My original idea for the arc’s finale was to have Bobby become permanently scarred in his fight with Sinister, where he’d have a cool ice gash running across his face or something, a la Squall from Final Fantasy 8. The goal was to show Iceman stripping himself of his ability to pass as non-mutant to save the Morlocks, but the Mutant Pride fight scene being a stand-in for the Stonewall Riots kind of already made enough of a statement. Plus, no one in editorial wanted to deal with remembering to track his scar in other books. At first I tried to balk at his point of view, but when I looked over my original notes for the series, the point was to focus on optimism and hope. Giving Bobby a permanent scar and emphasizing the notion of sacrifice was too bleak a message for a series wherein the hero carbo-loads hoagies while riding an ice scooter and mutant drag queens emcee local festivals. Of course, the crowning achievement of the series… my mutant drag queen :) I’ve witnessed a lot when it comes to the world of pop culture and myth-making, and I 100% believe that you can’t plan the success of something. I’ve seen bands forced into breaking up because labels spend six figures failing at making listeners connect with an album. I witnessed firsthand how The Walking Dead was built from relatively humble beginnings as a buzzy cable drama into a literal international phenomenon over the course of its first three seasons. Everyone hopes for the best, but you never know how something will land with audiences. When the Shade character took off, I was truly astounded. Things I posted on Instagram while half-asleep became official quotes on major news sites. Queens and cosplayers were interpreting her like Margot Robbie had unveiled a new Harley Quinn lewk. The impact was so legit and immediate that we had to jump in and give Shade a proper Marvel hero alias, to truly welcome her into the X-Men canon. Hence the name change to Darkveil. (Funny story: I tried to fight hard for Madame X as an alias, but CB didn’t want another Agent X / “X-Name” character. Three months later, Madonna announced the Madame X album. Phew!) There was a time where I felt uncertain that the folks in charge at Marvel would bring Darkveil into any stories outside of the ones I wrote. My understanding was that Hickman was like the Cylons and had A Plan-- one that didn’t include her character. I made peace with my contribution to the Marvel Universe being contained, but then someone on social media pointed out that Darkveil showed up in an issue of Marvel Voices. After breaking down and reading Hickman’s House of X, I saw that his Plan was one of endless possibilities, and that he was moving EVERY character into new and dynamic places. I have hope now that he sees the possibilities with Darkveil, and takes advantage of her and all of her many body pouches. Amazing Friends really is my favorite thing I’ve done for the Big Two. I made a lifelong friend out of artist Nate Stockman (DC, please hire us for a Plasticman book), and I got to run a victory lap with the most encouraging and supportive readers out there. It was worth every dreadful conversation, every shitty thing a person said to me online, and all of the fun nonsense that goes into being creative for a living. Being stuck at home in quarantine has given me a lot of time to reflect on the gift that my career to date has been, and I feel so grateful to be where I am today. Other people may groan when they have to talk about something they’ve moved on from, but not me. I made people happier, I got to work with my favorite characters at Marvel, and and I'll say it again: it’s a frickin’ gift to make people move from your work. So, I will engage every tweet or message asking me my thoughts about who should play Bobby Drake in the Marvel Cinematic Universe… I’ll just never have a good answer.

[back-and-totheleft]

"Hollywood rabble rouser"

Late one night in the summer of 2008, I found what turned out to be a stockbroker’s iPhone in the back of a NYC taxi. Turning it on in order to contact the owner, I noticed that amongst the stock watch apps and currency converters was an icon of Gordon Gekko, the corrupt market raider immortalized by Michael Douglas in Wall Street, Oliver Stone’s 1987 tale of insider trading and corporate excess. Intrigued, I hit Gekko’s pixilated face (it felt good) and a website flashed up with an entire transcription of his infamous “Greed is good” speech — one of Hollywood’s most iconic parables to the pursuit of unrestrained greed. Whoever owned the phone found those words as important as checking Facebook or texting his girlfriend. Gekko was his hero, his daily inspiration.

Watching back Wall Street a few weeks later as news of the Lehman Brothers collapse and global recession spread, it struck me that a whole generation of financiers must have grown up, like Charlie Sheen’s character Bud Fox, yearning to be Gekko. He was the business equivalent of a rapper wanting to become Tony Montana, another Stone creation. And some of these brokers, as we’ve all since discovered, were willing to trade money that didn’t exist in pursuit of pin stripe suits, corner offices, penthouses, boats, women, and stacks of cash. Perhaps the perks made the 22-year prison stretch Gekko received at the end of the film seem like a viable risk. Or they deliberately chose to ignore his downfall.

Inspired by financial fiends like Bernie Madoff, Stone decided to spring Gekko out of prison for Wall Street 2: Money Never Sleeps. Set in 2008, he is a reformed character that tries, and fails, to warn business leaders of the impending credit crunch. Many fans are understandably nervous about Douglas reprising his Oscar winning role, especially since his hair gel and brick phone have long been put into storage. Stone, who only agreed to direct the film because he felt that current financial climate lent itself to a sequel, understandably feels that it’s time for bankers to grow up. As the director of Natural Born Killers, JFK and Platoon he’s used to Marmite reactions. But, after giving Dubya an easy ride in W, will Gordon 2.0 be one step too far? Is the world ready for goody Gekko two shoes? Or will traders across Wall Street be deleting their “Greed is good” iPhone bookmarks forever? As they say on the stock market floor, let the bull charge.

Tim Noakes: When you were 18 your father got you to work on a financial exchange in France. Was that your inspiration for Wall Street?

Oliver Stone: No, it was a great summer job actually, because it was very exotic. My father was always into the stock market, into numbers. He loved that world in New York and I grew up on the fringes of it but I wasn’t particularly attuned to it. So it was a chance to see it first hand but I didn’t do very well as a trader. In those days you’d run from the phone booth in the back to the floor. It was cocoa and sugar. It was violent and busy. They used to elbow each other to get into the inner circle, like matadors. It was a real crush. I elbowed my way through it and got up to be assistant buyer, which was very complicated because you had to make the orders for everything right. You couldn’t screw up. A lot of money’s involved. So then I thought I should be one of the cocoa buyers. I was a little too ambitious for my own good.

Your father died before you made Wall Street. What do you think he would have made of it?

I think he would have appreciated that I had done a business movie. We always talked about it. He loved movies and he took me to them. We discussed them afterwards, which was an invaluable experience, and he would say that there weren’t many business movies. And there weren’t. There was not a specific genre. Hollywood was not into the business movie concept. It’s hard. I can understand why. It’s all financial talk, it’s not interesting to most people and it lacks those human emotions. Money is an interesting subject, however, for America. That’s why I addressed it in 1987. I thought, ‘Americans love money’, and what lengths they will go to get it is what that movie is about. Especially coming off Platoon, which is a different kind of movie. I was trying to prove that I could do something domestic with ‘Wall Street’.

The original was very much of its era.

It was the era of “Greed is good” and Reagan. With Wall Street 2, I’m obviously more mature, I’ve done more films, I have more confidence, I hope. I’m trying something a little bit deeper in the relationship field. There’s no Darryl Hannah in the movie. There’s a real English girl this time (Carey Mulligan). She anchors strongly the emotions of the film, because she is damaged. She’s the daughter of Gordon Gekko, if you can imagine what that can be like.

Michael Douglas once said that your style of directing is like taking people into the trenches. What did he mean by that?

He makes it sound like I dress him up in uniform and have a military hierarchy. Every single actor that I’ve worked with, and there’s obviously dozens now, you’d have to talk to every single one of them to get their perception. I would say some would disagree. Maybe Michael, because he hasn’t been in the military, would regard it as a military experience. I didn’t think of it that way. I think of a movie as an organisation that has to work at a very fluid pace involving a large amount of people who have to move quickly over a landscape. Call that what you will. It could be an adventure party or a military organisation. It’s really a satellite business. You form, you group, you rehearse, you shoot, you separate. It’s very nomadic. In that chemistry you bring together so many conflicting types of people who have different kinds of egos. It’s quite a mix. At the end of the day, if you look back at the — what is it? 19, 20 films — that I’ve directed, it’s just a mix of styles. Sometimes it really works with people. It clicks. I think Michael did great work on both films, so I’m very pleased with his result. My style might not have been good for him, but it works for other people. Some people, like Shia LaBeouf and Josh Brolin, were digging it. They loved the way I worked because it was intense and to the point and relatively fast.

Do you see yourself as a hard taskmaster or a disciplinarian?

No, I’m not a disciplinarian. I’m disciplined with myself and I think I try to lead by example not by imposition of my will. I try to lead by example. That’s just to say that people know that I’m trying to get this thing done. My approach is that we’re all in this together. The idea is king. We all serve that king. It is not a democracy, it is a constitutional monarchy, so to speak, with strong legislative power in the House of Lords. No, but the idea is king. I repeat that. Not the director. The idea. I serve the idea.

How do you balance the logistics with trying to create a piece of art?

Oh boy, if I didn’t tell you I wasn’t humbled so many times, you would not believe it. It’s a very humbling experience to make a movie, because you’re at the mercy of the elements. Of the winds and the weather as well as conditions that can go wrong — disease, sickness, bad tempers. All sorts of stuff can happen. Given that nature, to pull off a movie is extremely difficult. The editing room is another humiliation. All your mistakes are thrown back in your face. No matter how many good choices you make, and making a movie involves thousands of choices, you’re constantly having to question yourself again. I find it a very difficult position. I don’t think I enjoy it. I think I’m more experienced at it but I don’t think I completely enjoy it. I think sometimes it’s so painful you want to scream bloody murder and run somewhere.

What’s the cut-off point? How do you stop?

How do you stop? A famous director once said that every film is abandoned, never finished.

So you just let it go?

Some people won’t but I do let it go. I’m not looking for perfection. I don’t believe in it. I believe that a film is many things to many people and it changes over time. I think you have to feel good about it and about what you did. It hangs together and it’s going to be a story that can move an audience. It’s so difficult to pull off quickly. It takes time.

The world’s moved on since Wall Street. Were you apprehensive about creating a sequel to such a well-loved film?

Apprehensions? No. I’d have had more apprehensions if I’d had to do it in 1990, I think. Twenty-three years is a long time to call it a sequel. I think of it more as a bookend.

Don’t you think that’s laying you open for even more criticism? Look at what George Lucas did with Star Wars..

We’re not going back into that period. The beauty of this thing is that there’s a new period upon us, which is quite different, technically. It’s a different kind of Wall Street. The landscape has changed. It’s no longer 1987. It’s really a computer game now. The money has accelerated at a square root that is beyond belief from millions to billions. Hedge funds invest 30–40 billion dollars. Even to have one billion dollars is an enormous amount of money. When you hear these guys say, “Oh, it’s just a billion dollar hedge fund” it’s unbelievable arrogance. The heights are dizzying, and the losses are dizzying. It’s just unbelievable what happened. By all accounts it was a near-fatal heart-attack.

Were you planning on revisiting Wall Street is the crisis hadn’t happened?

No, that was the catalyst for it. It wasn’t the only reason. It was a wonderful idea for a script, that Gekko would be a different type of person. That he would start from the outside. He didn’t have power or connections anymore. Time had passed. He was dated.

Is Michael Douglas in danger of becoming a pastiche of what made Gordon Gekko good?

I feared that. That’s why we approached it in a wholly different way. Michael is playing it twenty-two years older, he’s coming out of prison. Michael has changed in that interim. He was a charming rogue, certainly, in the Eighties. You saw a lot of that in his subsequent performances. You saw a lot of Gekko in later films, so I think it was smart to move away from that pastiche, as you call it, because it would have been boring after a while. There are flashes of the old Gekko, which I love, but it’s not like the charming reptile, so to speak. It’s a different man now. I’m not saying that he’s a wholly reformed figure looking for a martyrhood, but what’s interesting about him is what he’s going to do, and how he’s going to play the game to get back. He has suffered extensively in prison, his family has fallen apart, his oldest son has committed suicide. It’s very tough on him.

How did you persuade Michael to get back on board?

Frankly, I didn’t convince anybody. I passed on the script in 2006. It wasn’t important for me to make it. I felt, what was the need to make this movie if it was going to glorify the pigs on Wall Street? They were really making money and it was ugly. There was a spate of books too like The Wolf of Wall Street, which was a big hit and they are going to make a movie out of that. There was kind of a surfeit and there was sickliness to it all. I got turned off by it. I passed, and I moved on with my life, and I did W and World Trade Centre and stuff like that. Then there was this crash and the crash changed the equation I think, I hope.

Do you think the original message of Wall Street failed because young traders ended up idolising Gordon Gekko?

That’s a very good question. Frankly, I wondered at times. The original Wall Street came about because of my experiences on Scarface. I was living in New York and I was hanging out with the dealers and the mob. That whole scene in Miami was a very shocking thing in 1982–3. Wall Street, was like Scarface north. I was suddenly seeing people my age, in their twenties, making millions of dollars, so easily, so quickly. Moving inordinate amounts of money. Also, snorting and drinking. The partying scene had really kicked in big time in the 80s. It was all new to me, so that’s how that was born. Then it went to excess. But I was very clear that Gekko was the antagonist in the movie, but as you say a lot of young people caught on to him. I do think, and perhaps I’m retrograde, that although he was not feted at the time the anchor of the movie is Charlie Sheen.

But no-one wanted to be Bud Fox.

Well that’s the movies. They want to be heroes. They want to make money. I did meet a lot of people in their 40s that said, “When I saw your movie I was studying this-or-that at this-or-that school, I was going to do history or medicine or law but then I saw the movie and I moved to Wall Street for that reason.” The the kicker was that some of them were multi-millionaires, one of them was a billionaire, and they had moved to Wall Street because of the movie. I said, “Oh boy, I wish I had a royalty on that.” These guys are really rich.

I find that quite worrying.

I gave birth to some rich people. But some of them did good. Some of them created something. That was the whole point of the original. Not to shit on Wall Street but to basically say, ‘Look, this is an engine of capitalism’. This can work. My father always felt that Wall Street was a good thing. It creates companies, it finances new companies, creates research and development, and it does. It still does, by the way, it’s not forgotten but it’s been buried in the greater picture of making bigger profits and more greed, but it’s still there. Wall Street is a good thing. It was a good thing and it can be a good thing.

Throughout your career critics have said you shouldn’t glamourise the people you put on the big screen. Do you like to provoke that reaction?

No, I like to make bigger-than-life characters but ‘World Trade Centre’ is about two very ordinary men who were real heroes. On Bush I guess you could say I supped with the devil and brought out all the reasons I thought why people voted for the guy. There is this fundamental thing which Americans like in him, and I was trying to root that out and how he became President.

You were criticised for making Bush too likeable.

You can fault that, but he was re-elected. I didn’t like him. I was very clear — I empathised. Empathy means I walked in his shoes, or tried to. As opposed to sympathised. I don’t agree with anything he said. Anything. I think he was a disaster. It was a nightmare eight years.

Do you think you were too soft?

No. I wish I’d done it a year earlier and it would have been more timely. He was out of favour when it came out, because of the economy, but frankly the movie was about the national security state which concerned me more.

Why are you drawn to these anti-heroes?

They don’t do me any good. Nixon, too.

I see a lot of similarities between Tony Montana and Gordon Gekko. In Scarface, Tony says “You need people like me to point the finger at and say, ‘That’s the bad guy’”. Do you think film critics see you in that light?

I think you’re right. I think film critics have me as a punch ball. It’s an easy target, I guess. I’ve been misidentified with the characters, but I think over time you see that there’s a whole assortment of different characters. But I agree, I think that’s true and I think that’s hurt me. It’s hurt my career as well as some of the political statements I’ve made and positions I’ve taken in documentaries I’ve made. They’ve hurt me too and they’ve given me a profile that’s not necessarily me, it’s just a profile. Absolutely.

There’s been huge furor recently that you’re reported to be attempting to humanise Hitler, Stalin and Mao Zedong.

I think it’s out of context. I did use the word ‘scapegoat’ and I think that was an unfortunate word, but frankly it’s a very interesting history that we’re putting together. We’re using the facts that we have, that are known but have been forgotten. There’s no question that Hitler had a big hand up the ladder. He didn’t come out of nowhere. He is a Frankenstein, he is a monster and I have no sympathy for him, but he was created by a Dr Frankenstein. That Dr Frankenstein is a very interesting mixture and you have to study cause and effect to understand history, otherwise you don’t learn anything from it. It’s my fault because I’m interested in the world, and I’m willing to go out there. I’m not trying to provoke, I’m trying to look for the truth. I’m trying to shine a light. For Christ’s sake, I feel like we’ve become so politically correct that you can’t do shit anymore. You’re not supposed to turn around.

Do you feel like you sometimes exploit sensitive subjects too much? More than some people can take?

Well, that’s why I like the English. They’re much more out there and they’re willing to explore subjects that the Americans are not. Having been to war, having seen the devastation America visited onto Vietnam, I cannot just be another typical American and live in isolation. My taxes are going as we speak to blowing up people in Afghanistan. I don’t feel good about that.

Back to Wall Street. Gekko says “Every dream has its price”, what’s the biggest price you’ve paid to get to where you are?

I’d have to talk to my psychotherapist, who I haven’t seen in ages. I suppose the price is that you do have long absences from home and normal quotidian values, at times. Your children grow up and you have to readapt to the fact that you haven’t been the attentive father. That’s a big issue, but I have been as attentive as I can be in taking care of them. Still, there’s gaps there. Divorces have happened. Those things.

I see Wall Street as epitomising the ruthlessness of the Eighties. During that era did you find yourself being a slave to the success that you had earned?

Yeah, I suppose everybody can become a mental slave to the need to produce. Remember, I was on a roll in the sense that I had to get financing for very complicated movies. I felt like I had a mission. To get JFK made in that era was very tough, still. You need heat. To make that movie after The Doors you need to keep rolling. In a sense I worked very fast, and hard, but I knew that I could get things done. Nixon was sort of the end of the line. I was making movies all those years. Platoon was impossible to get made. So was Salvador. Every single fucking one. ‘The Doors’. They were always problems. There were always tremendous issues. You asked what the price is? The price was to keep going fast, before they change their mind. The idea was ‘Wrap it up, get another one done’. These are tough subject matters. With ‘Nixon’ I’d done eleven or ten, I was exhausted. Frankly, I needed to take a break.

What kept you moving on? Obviously the pressures that you’re talking about manifested in different ways. You had your drug problems earlier on, but how did it manifest when the financing started to crumble down? Did you resort to those kind of vices?

I think there’s other factors. There was a lot of living. A lot of pain. Children. Divorces. This and that. But I think I have been very successful. I got movies made that wouldn’t have been done in the normal radar. They were not on the scope.

In Wall Street 2 Shia LeBeouf says, “No matter how much money you make, you’ll never be rich”. With all your success, do you empathise with that sentiment?

Of course I do. I don’t think money is the solution to happiness. Life is complicated, but certainly money can have the opposite effect. It can make you unsatisfied with life, and make life harder for you. There are two effects of it. One is that it leaves you unsatisfied, you always want more, as we see from these billionaires. Two, it leaves you falsely content and over-satisfied.

And you’re not either?

I don’t feel that way, no. I feel like I’m one trade away from disaster.

The new film is called Wall Street 2: Money Never Sleeps. What gets you off to sleep?

What gets me off to sleep? Sonata. Medication. I’m just joking. The best solution for sleep is having lived a full day and tried hard to live life fully. That makes you feel the reward of sleep.

-Tim Noakes, "The Hollywood rabble rouser sets his sights on a new generation of Wall Street wolves," Medium, Mar 3 2010 [x]

#medium #tim noakes #w. #wall street #wall street: money never sleeps #oliver stone

[afterspark-podcast]

Transformers: Revenge of the Fallen: Transcript

[This can also be found on AO3!]

[Intro Music]

O: Welcome back to the madness of King Bay or the second live action Transformers movie, Transformers: Revenge of the Fallen.

S: And our second anniversary episode!

O: [laughs] Yay?

S: I sounded way too perky for that.

O: [laughs] As with the first live-action film if you like Revenge of the Fallen then this may not be the episode for you.  But we'll be back soon with G1 episode 41!  So please join us then.

S: Mm, Revenge of the Fallen came out in 2009, still starring Shia LaBeouf and still directed by Michael Bay-

O: It is- [laughs] Yeah, I know, pity.  Uh, it is frequently considered the worst of the live-action films which is concerning that both Age of Extinction and The Last Knight have even lower ratings on Rotten Tomatoes.

S: That takes some doing.

O: Right!?! [laughs]

S: Uh-huh.  Technically, even Dark of the Moon has a lower audience score than this one, but a higher critic score.  So, um... make of that what you will?

O: Basically, what we're saying is until Bumblebee came out the uh, series hit its peak with its first movie [laughs]

S: Mm-hm.

O: But!  Let's get started today by talking about our initial experiences with this particular film.

S: I don't think I saw this in theaters, and I found it really unmemorable.  Uh, aside from there being a few characters that stood out that I still enjoy, but they're very few and far between.

O: Okay, so if you remember in the last- the previous [Bayverse] episode?  I didn't remember where I saw the first movie.  I remember EXACTLY when I saw this movie because I watched it in theaters for a bachelorette party.  Personally, I found the concept of watching a manly action film for a bachelorette party to be fucking hilarious, and I still do!  But I really wish it had been for a better movie. I don't remember having much of an opinion on it when I watched it, but I also didn't watch the third movie in the series until literally the last couple of years when I was blazing through a fuck ton of Transformers media.  So, I clearly didn't care enough to see the continuation in theaters or even rent or borrow it until well after had been released.

S: We begin, yet again, with narration from the one and only Peter Cullen!

O: According to our opening scene uh, you know, the last movie is not the first time that Earth had been visited by Cybertronians.

S: Ah, shocking!  We are shown some craggy mountains populated by ancient humans with spears.

O: Said ancient humans come across a huge Cybertronian installation of some sort and a bunch of Cybertronians.

S: Mm-hmm.  Ominous.  And then there's a weirdly ancient Egyptian or alien-esque Cybertronian with a staff that's apparently in charge.

O: Several humans are squished, and presumably they're all destroyed before we move on to Shanghai, China in the modern day.

S: Oh, will this be relevant?  Who knows!

O: Maybe!  Maybe!  Maybe.

S: We see the Autobots and the military guys from the last movie now working together to hunt down the remaining Decepticons.

O: The combined group is named N.E.S.T.  Short for, “Non-biological Extraterrestrial Species Treaty.”

S: Oh, that's a mouthful.

O: It is, so hence ‘N.E.S.T.’

S: Yeah.  There have been some additions to the Autobot roster.

O: Which for simplicity's sake we're going to talk about them now, because they don't really do a lot-

S: Yup.

O: -in the movie.  And they do show up (kind of) in that last section but again, very few of them even have lines.  I- I think aside from Optimus, the character with the most lines might actually be Ironhide?

S: Yeah.  Um, Sideswipe, not a lot of his personality from G1 or any other iteration for that matter is carried over in this, unfortunately.  Instead of being a Lamborghini he's apparently decided to channel Tracks and is instead a Corvette Stingray.

O: And yet, still no Sunstreaker to be found, much to my frustration.

S: Jolt, a new character who's not in the movie except at the very end and he has very few fleeting shots in between and has no lines despite his bio saying he's come to Earth to join Optimus’ group in the last two years since the first movie.  He seems to use electric whips. [makes whip noises]

O: [laughs]

S: And ah, promptly dies in the Dark of the Moon prequel comic.

O: So he never really does get to do anything.

S: Yeah.

O: So then we have Arcee, Chromia and Elita One.  They are referred to as the ‘Arcee Sisters,’ or if you want to get really confusing, the ‘Arcee Twins’!?

S: [laughs]

O: Even though there's three of them-- at some point.

S: Yeah.

O: Uh, but instead of, you know, their- them being referred to by individual names.  Apparently, they were written as one entity and while it depends somewhat on what real- related media you're looking at, the three of them are commonly portrayed as a multi-component Transformer much like Reflector.  They have very little personality, and they do very little in the movie.  Their alt modes are all motorcycles.  Arcee is pink or red, depending on the toy, Chromia is blue, and Elita One is purple.  Their robot modes sort of resemble Thrust from Beast Machines as they have no legs and function like weird sentient unicycles.

S: Yep, and then there's Skids and Mudflap.  Oh boy, where do we start with these two?  Well, uh, first, there's definitely someone out there who could have given a better breakdown on this than two random white ladies.  Uh, awkward… sorry.

O: Yeah, just in advance we are both white women, we do not know what we're talking about here from a personal perspective.

S: Yeah, so we're just going to sum it up with an extremely uh- in an extremely generalized way.  There was a lot of backlash for these two characters due to them possessing a number of racist african-american stereotype- stereotypical traits that at worst point to the people involved being racist in their own regard, or at best, really not thinking through how this was going to come across to the audience.  They've been referred to as comic relief in the same vein as Jar Jar Binks at several points.  Which is I think a good comparison for our purposes, and unlike the other five characters we just rattled off, these two will feature somewhat prominently in the movie so we'll talk more about them as they pop up.

O: At least kind of in vague sentences because as we said, none of the characters really do very much in this movie.

S: Yeah…

O: Even the ones that are in there for the bulk of the movie, don't do very much in this movie.

S: Yeah.

O: And then our returning Autobots from the first movie are Optimus Prime, Bumblebee, Ironhide, and Ratchet.

S: Mm-hm.

O: We see N.E.S.T. surround a construction vehicle that transforms into a huge ass robot mode and begins wrecking shit.

S: Yep.  Things go boom and everything's extremely orange and blue regarding the lighting and environment.  The second car Decepticon is spotted nearby and he tries to evade N.E.S.T. but is almost immediately bisected by Sideswipe.

O: We don't even really get to see his robot mode either- like, he sort of vaguely transformed I think, to like, crash through a building and then was- turned back into a car and was immediately killed by Sideswipe.

S: Yup.  Optimus is fucking airdropped from a plane-

O: [laughs]

S: Uh, to take on the construction vehicle Decepticon.

O: I- I'm pretty sure they just really wanted that shot of a semi driving off a damn plane.

S: Yeah.

O: Which I mean, okay, fair, it's a cool shot but still.  Uh, so then we see Optimus transform midair deploying some parachutes that have the Autobot logo on them... for some reason.

S: Is branding that important to the Autobots or their allies?  Plus, uh, someone's gonna need to go collect those later.

O: I wanna know why he landed in the middle of a highway- in robot mode!

S: No one here seems to think critically about any of this stuff when they're effectively undercover.

O: Apparently not.

S: I mean how many people with cell phones are taking photos and video of this? TONS!

O: Tons!  That becomes somewhat relevant later.

S: Even though people are still being evacuated.

O: Well, yeah- it said people were being evacuated but then to all these- all these shots that happen here, you still see a bunch of cars on the road.

S: Yeah.

O: While this is all happening.

S: And people still in their homes.

O: Yeah!

S: Optimus catches the rogue Decepticon who tells him menacingly, “The Fallen shall rise again!”

O: Hey, if it gets me out of this movie faster I for one welcome our Fallen overlord.

S: Unfortunately, we've got like, another two hours to go.

O: [sighs] Fuck.

S: And now in a completely different movie!  Sam is getting ready to leave for college.

O: His parents are having very different reactions.  His dad can't seem to wait for him to leave, while his mom is tearing up at every little thing that reminds her of Sam.  Apparently, his dad's got plans for his room, and I'm thinking, “Man cave- how creative.”

S: Ah, he wants his personal theater system, I guess.  After being hugged by his sobbing mother, Sam comments that, “You see this Dad?  This is how you're supposed to react when the fruit of your loins goes into- out of the cruel world to fend for himself.”  Okay, god that is such a cringe line.

O: I don't want to think about the fruit of that man's loins.  I don't want to think about that man's loins at all, okay!?

S: Neither do I, that's why it's so cringy.

O: Yeah- yeah, thanks- thanks for that Sam.

S: [sighs] We are treated to an awkward moment when Sam's dad spanks his mom on the butt as she walks away.  Sam is disgusted- I guess he is our audience surrogate in this moment.

O: His dad then tries to play it off as, “It's like a coach,” and NO that does not make it better! [laughs]

S: That actively makes it worse!  Sexual harassment is not okay.  Sam is apparently the first Witwicky to go to college.

O: I have questions.  Again, what the fuck does Sam's dad do that allows them to have this huge house that didn't require a college degree at any point!?  Who knows!  Uh, the Witwicky’s have apparently got another dog since the last movie, uh, so just another thing to add to this movie-- dog humping.

S: Lots of dog humping, in their dog condo.  It's kind of unsettling.

O: I don't know why they thought that this needed to be in the movie, but here we are.

S: Mikaela calls Sam, intending to break up with him- she is the most emotionally mature person in this movie.

O: Yep, pretty much!  They talk, uh, Sam insinuates that they're going to be entering a long-distance relationship while he's at college.

S: While they're talking, Sam pulls out an old ripped t-shirt.  His D-Day shirt as he refers to it.  Which is apparently, the shirt that he was wearing during the battle in Central City from the first movie.

O: This is important!  This is a plot point!

S: Yeah, we also have to assume that he has never washed the nasty shredded clothes from that day.  Because, I suppose, he wants to hold them and relive the memories of being chased by giant alien robots that wanted to murder him.

O: [laughs] No clue.  Uh, Sam does try to convince Mikaela to move near the college he's going to, but she refuses.

S: Her father's been released from jail since the first movie, and she insists on needing to take care of him.  That should not be poor Mikaela's responsibility, but she is the most responsible person in this movie as I said.

O: Well, and I get it, right?  Like, her dad just got out, presumably she has not seen- really been able to live with him for years.  She's both worried about him, and probably wants to spend time with him.

S: Yeah, that's fair.  Convenient plot device is convenient, as a sliver of the AllSpark falls off of Sam's shirt while he's on the phone to Mikaela.

O: It seems to zap Sam and then he drops it.

S: When it lands on the floor it burns its way through the floor and into the kitchen bringing a bunch of kitchen appliances to life.

O: They all attack Sam.

S: How did they get ammo?  Does just being brought to life just give them ammo?

O: Uh, dear god, why does one of these things have a penis?  That's my question.  Furthermore, why is it shooting things OUT OF ITS PENIS!?!

S: Because... Michael Bay.

O: I had- yeah, that's all I got, man.

S: Bumblebee bursts out of the garage and begins shooting at the little Decepticons, saving Sam's sorry ass yet again.

O: Maybe Bee should be trying to smash them instead of shooting at them?  They're on the front lawn at this point so all I can think is- their neighbors have to be able to see this!

S: I thought this was in the back lawn, but I'm not sure.

O: I- they're outside, he's no longer in the kitchen.  He's trying to shoot Decepticons outside the house, it probably is the backyard, but I don't know.  Sam yells at Bee to get in the garage.

S: Way to micromanage your giant robot bodyguard slash friend. [sighs] Again, it's like- you'd yell at a dog or something.

O: [laughs] Bad Bumblebee, bad!  Of course, Bee smashed out of the garage, uh, despite having a perfectly good door in front of him and then re-enters through the hole he had previously made.

S: Sam's mother is not happy about the surprise kitchen renovations, but Sam's dad calms her down by telling her that the government will pay for it all.

O: I'm so glad to know that this is where my taxes would be going to in this universe.

S: Well, it's definitely worse than some of the other things that it could be going for.

O: [sighs] I suppose that's true.

S: Sam's mom is like fine, but I want to pool and a hot tub!  And I quote, “And I'm going to skinny dip, and you can't say shit about it!”

O: And quite frankly that woman's put up with a lot of stuff, I- I respect- you know as long as she's got a good fence- her right to skinny dip in her own yard. [laughs]

S: Yeah, they need that privacy fence.  Sam goes into the garage to tell the audience, I mean uh, Bee, uh, how Bee can't come to college with him.

O: For reference, ignore the bit in the last movie where Bee talked because that's just gonna be ignored for like, three freaking movies.

S: Yeah.  To calm Bee down he says, “You'll always be my first car!”

O: Not even, you're my best friend- you're my first car.

S: “Congratulations Bumblebee, you're my possession!”

O: Pretty much!

S: Oh, that's creepy.  Sam gives the AllSpark shard to Mikaela for some reason, because Mikaela shows up at the end of all of this.

O: Right, you know like, everything has exploded, Mikaela's out there looking lovely with a bouquet of flowers.

S: Yep, instead of calling the Autobots or giving it to Bumblebee, nope it is given to Mikaela for safe keeping.  Well, I mean she is the most sensible person out of the civilians?

O: Everyone here?  Yeah, it's not that it- can't make it that- it's not that I don't think Mikaela can keep it safe.  She manages to do so quite swimmingly through this movie, but it's rather… not that she can use it at all, and it could potentially be dangerous for her to have it on her person!

S: Yeah.

O: And Bee is right there!  It's not like he couldn't give it to Bee and tell Bee to take it to the Autobots.

S: Yeah, like, that would be, uh, a lot more sensible.  Though if they'd done that it might have been put in with the other... another thing that happens later in the movie.

O: [laughs] True.

S: Anyway, they smooch, words are said, and a somewhat sappy 2000 era love song plays.

O: Meanwhile, no one seems to notice the toy remote control truck that's being controlled by no one.

S: A remote controlled truck that is somehow communicating with outer space, and somehow this character will be vaguely important

O: Shush!  My boy is here!

B: [laugh]

S: Ah, Soundwave shows up and takes over a surveillance satellite.

O: I'm sure I've mentioned this before at some point because I know I've said this multiple times, at least to Specs, but yes, I actually like the Bay version of Soundwave.  He's not in the movie much, but having him take over a satellite and spend the rest of the movie gathering intelligence and sending troops out? *chef’s kiss* Feels very in character, keep going baby.  His design is still garbage... just like everybody else though.

 S: And his voice sounds very nice.

O: That's because it's actually Welker!  He's allowed to be in this movie, doing a sizeable chunk of the speaking Decepticons even!  This is not a G1 similarity I necessarily expected, but I do find it hilarious.  Apparently, he also did the voice for Soundwave in a bunch of other language dubs too, which while interesting... I have to question why?  It's not like Soundwave's voice would have necessarily sounded the same in those other languages in the original G1 dub.  It just sounds like an odd decision?

S: Money.

O: Money.  I- kudos to him for attempting it at least?  But I still don't know why they did it.

S: Back at the N.E.S.T. headquarters, we see Mudflap and Skids uh, shenanigans, and they're unloading dozens of bodies!   Presumably, soldiers that died in Shanghai, uh- that's, uh, welcome to the morbid stuff that they don't spend any time on it at all.

O: Uh, why Sideswipe silver?  You had one job movie, one job.  Sideswipe is a little red sports car this is like, his defining characteristic- surely this was doable!

S: I don't think anyone involved in making the movie was a very big fan of G1 or wanted to maintain, you know, artistic integrity with regards to that.

O: [sighs] Yeah, I know, what am I saying?  I think the actual reason is I've heard red is harder to film?

S: Oh, that might be right.

O: Like- but- [sighs] I don't- it could be, because I want to say- I'm sorry if I'm incorrect- I want to say that's actually the reason Optimus’ color scheme got changed around quite a bit?

S: Mm.

O: And why he's got more blue on him.

[According to TFWiki: “When Optimus's design was first revealed, many fans of the Generation 1 series objected to the flames seen on Prime's body. When asked in an interview why he put the flames on, Michael Bay claimed he liked them because it was "cool". It was later revealed on a special featurette on the DVD that the flames were added because, apparently, red is not very good to film on camera, so Bay chose a blue truck but used the flames so that when Optimus transformed, the layout would result in maintaining his iconic red chest.”]

S: So, a jumped up government official shows up at N.E.S.T. headquarters.

O: And I think we all know where this is going.  Uh, this will be our bureaucratic bastard for this evening.

S: Yeah, you know, the wimpy suit who keeps getting in the way of the ARMY men and their REAL job- AMERICA!

B: [laughs]

S: Sorry, um, and here we have a lovely shot of Optimus transforming.  It's like some nice rotating thing.

O: Okay, get the robot transformation porn out of the way, next!

S: [sighs] And the bureaucratic weasel confronts Optimus on why haven't the Decepticons left the planet now that the AllSpark is destroyed, like they thought they would?

O: Optimus seems to take the opinion that Daddy Prime knows best.  Weasel's not super happy about this, but Optimus does say the Autobots will leave Earth if asked.  Neither of these groups are handling this super amazingly.  (Yes, even Optimus.)  Both sides have a point, if they'd stop trying to wave their metaphorical DICKS around and actually talk from a position of respecting each other's expertise, I'm betting this would go a whole lot better.

S: Probably.  The N.E.S.T. members back Optimus up.  Our only returning characters here are Lennox and Epps, both played by the same actors from last time.

O: Though I did not realize this at first.  I totally thought Epps was played by somebody completely different, and I'm gonna blame the writing because Epps is not given a lot of things to do here.

S: He was a very memorable character in the first movie.

O: Yeah.

S: Yeah, and uh, anyway back to college!  College away!

O: Sam's apparently going to Princeton, on the government's dime no less!

S: Oh god, he does absolutely nothing with it in later films.  Again, we're assuming due to the filming locations that Sam lives in Southern California or thereabouts so we're a bit surprised to realize he actually decided to go to college on the other side of the country.

O: It certainly doesn't come across like Mikaela is a priority in his life.

S: Yeah.  I mean seriously, he could have gone to school in California there's plenty of good schools in California.

O: Yup!  But uh, are you ready for some booze and boobs?

S: [sighs] We're introduced to Sam's roommates.

O: The only one that will actually play much of a role in the plot will be our buddy, Leo here.

S: I hope you're being sarcastic.

O: I mean- I mostly mean that he's there.

S: Well, no, I meant with the buddy bit.

O: [speaking while laughing] Uh, yes, that was sarcasm.

S: Yeah.  Uh, Leo runs a conspiracy theory website called The Real Effing Deal which is currently scrambling to get a- footage of the fight from Shanghai.  Uh, from earlier in the movie up on their site.

O: Which again, is ABUNDANT!  Because Optimus landed in the middle of a highway.

S: Yup.

O: Anyway, they're trying to do this until another person, Robo-Warrior, one ups them and gets the footage up, I think on a different site, first.

S: Yeah.  Sam does his best to play cool and blow Leo and his friends off because it's all, “Fake.” [laughs]

O: Also, I'd like to take- take a moment to note the era accurate Naruto poster decor among the sea of boobs.

S: Yeah.  Leo makes a comment that he and Sam are poor.

O: Alright!  Sit down and buckle up because this legitimately pissed me the fuck off.  So to rant for a moment, let's go back down the checklist of Sam's white fucking privilege, shall we?  He lives in a big house in a nice neighborhood.  In what we are assuming is Southern California, which is not a cheap place to live.  His parents have enough time for leisure activities and in fact, go on vacation in Paris after dropping Sam off.

S: Yup.

O: His dad bought him a car in the last movie and yes, he was very much implied to be being a cheap ass at the time, but at no point is there any indication he couldn't have bought Sam a nicer car.

S: And the car that he's driving when he like, jerks him around on what type of car he's going to get him, it looks like it's a fancy expensive car so...

O: That's also true!  Speaking as someone who grew up in a lower income rural area, and I say this not even remotely being the worst off in that area.  Our floors were rotting out, every time we had a heavy rain we had to run to the windows with towels because so many of them leaked, and more applicable in this situation- my family did not have the money to save up for college for me, or any of my siblings.  Yes, I realize the government is apparently paying for his tuition, but that just proves my point even more, because Sam's gonna come out of this with no student loan debt!

S: Yup!

O: So poor my fucking ass!

S: Uh-huh.  Sam's mom shows up in his dorm room high is a goddamn kite because she apparently bought and ate some brownies from the bake sale not realizing that they were weed brownies.

O: And she's just gonna be a punchline for the next several scenes, sorry.

S: Yeah.  To just list a few of the things that his high as a kite mother does: She talks about him losing his virginity loudly, and kind of at length to various women in the hallway.  [nervous laugh] And in the surrounding environs, mentioning that his car is a talking robot, tackles a dude for some frisbees, and petitions Sam's dad for sex on the campus green.  Considering how much she ate it's very likely she will need to go to the hospital because her knees may attempt to kill her.

O: Uh, then we cut the Soundwave, apropos of nothing, uh, ejecting Ravage into space.  Look, I get him for 10 seconds I'm going to fucking enjoy it.

 S: Ravage’s design here is very prominent with the pointy bits and teeth.

O: Rawr. [laughs]

S: And he lands near a US military base and runs over to a pipe sticking out of the ground and basically- uh, ralphs up a bunch of itty-bitty bots?

O: Into the pipe.  Uh, you know.  So I’m just saying uh, Soundwave’s baby had babies, this clearly makes Soundwave a grandad.

B: [laugh]

S: All the bots fall down the pipe and once they're at the other end meld together to form a new bot that is...gah.

O: He's interesting!  At least, visually, in that he is basically flat, so he can be borderline invisible when he's looking head-on at something.

S: He looks like a knife raptor.

O: Uh, this thing's name is Reedman and he doesn't show up except in this one scene.  Uh, he also brings our ‘Decepticons voiced by Frank Welker’ count up to three after Soundwave and Ravage.

S: Reedman?

O: Reedman, yeah!  I looked at the wiki!

S: [laughs]

O: I looked at the wiki, and I was like, “That's a terrible name!” but that's the name!

S: I am judging whoever named that character, so hard.

O: [laughs] Aren't we just judging the entire movie?

S: Oh yes, but…Reedman?

O: Fuck if I know, man.

S: Another piece (aside from Sam's piece) of the AllSpark is being held here so, uh, Reedman gets to work stealing it.

O: Alarms begin to go off and several military guys arrive at the bunker and shoot at our knife raptor.

S: Ravage begins firing at the base to distract them.

O: I'm very amused he's got his tiny little hip missiles too!

S: Meanwhile, back at the plot we're all absolutely dying to continue- cough, cough, no, cough.

O: [laughs]

S: Sam's been dragged to a college frat party by his roommates?

O: It looks like a frat party.  I don't even know why they want to bring Sam uh, they don't even seem to like him.

S: Eh, they want to have someone less cool with them so that basically they can be like, “Hey, look at that lame guy, we're much cooler.”

O: Well, Sam is definitely the least cool person in the area right now due to mommy shenanigans.

S: Yeah, while at the party Sam is missing his first video call with Mikaela.  God, you are such a sucky long distance boyfriend, Sam!

O: Right!?  You had one job!  So we see Mikaela getting ready, taking her hair down and talking to her doggo while getting her computer set up.

S: Sam's- uh, promptly begins to spazz out by the uh, snack table and draws strange symbols with food.

O: These symbols are Cybertronian and the AllSpark fragment has helpfully downloaded a bunch of stuff directly into Sam's brain.

S: [sighs] We've upgraded from they want the glasses to they're going to want the brain, aren't they?

O: Something along those lines, yes!  Quite frankly, again, I think they can have it. [laughs]

S: One partygoer notices Sam's new hobby and saunters over to seduce herself to him.

O: [laughs] Uh, blondie's name is Alice, and don't worry we'll get to see her panties later because what the absolute fucking fuck Bay!?!

S: [sighs] Bay, why- why'd you hurt me so? [sighs] There's a discussion about girlfriends and Sam says, “kind of,” in regards to having one.

O: Kind of?  KIND OF!?!  Sam, you dick waffle!

S: [sighs] The quintessential jock yells, “Who drove the freaking yellow Camaro!?”

O: Sam’s Bee senses tingle, and he leaves the party.

 S: Bee is waiting outside on the lawn, or possibly the bushes but…

O: In that general vicinity! [laughs]

S: Yeah, but Alice follows him down and hops into Bee's passenger seat.

O: Bee attempts to communicate to Sam that this woman is ~baaaad news~ using various voice clips and songs.  And this would have been a really interesting bit if Bee did have his voice back and he had to communicate with Sam like this because he's doing it in front of Alice!

S: Yeah, like, that would have been interesting and a neat way of utilizing his past experience to communicate.

O: Yeah, because I- I don't know remember if we've talked about this super much but there- there's nothing wrong with Bee still relying a bit on that because it is kind of funny and entertaining to see.  It's- just make it so he has to use it in scenarios with other people around?

 S: Yeah, god, he could do so much with musical lyrics.

O: Pretty much!

S: Alice seems to know something is up, as Bee makes her as uncomfortable as physically possible as he can, including spraying her with a icky yellow liquid and slamming her into the dashboard.

O: She exits in a huff before Bumblebee takes Sam to a graveyard where the rest of the Autobots are waiting.

S: So that was night.  Now we are inexplicably in the daytime, I think?

O: Morning.  Early morning it looks like.

S: Yeah.  Optimus tells Sam the last piece (or as much as he is aware) of the AllSpark was stolen and attempts to convince Sam to remind the other humans why the Autobots are necessary and why they're trying to use a college student for this is a big question.

O: I don't know- and Sam says no, because he's just a normal college student.  I don't understand this, I feel like I would jump at a chance like this?  Like, dude, does it have good health insurance?  Does it have a pension?  Yes?  Sign me the fuck up!  But I want to ask, why the heck didn't Sam tell the Autobots here about the fragment he gave to Mikaela!?

S: Because he's a shitty little baby- I mean, obviously.

O: Oh, [unintelligible].  Then out in the middle of the ocean in a different movie… Over the Laurentian Abyss, which is where the dead Cons were dumped in the last movie.  Several Decepticons have stowed away on what looks like a cargo ship.

S: The fact that it's going directly over where they need to go is uh... they probably hacked it.

O: Wouldn't shock me.

S: Yeah, so who the Decepticons are is absolutely unimportant.  The only recognizable one is Ravage.

O: And I think only one other one will actually get named.

S: Yeah.

O: Uh, so they all jump off the ship and into the water, and I have to you know, bring up- they specifically said they dumped the dead bodies into this trench because of the pressure and cold in the last movie.  So, why are all these Cons just perfectly fine with a little skinny dipping?

S: I mean, maybe it's just supposed to keep- I don't know, whatever self-repair systems the dead ones have from working and it doesn't do shit to like, perfectly fine robots?  I don’t know.

O: They were using cold as a weapon against them in one though. Like, against Bee.

S: That's absolutely true, but I mean, if cold didn't [did] do anything to them how would they operate in space?

O: I don't know, but they clearly had Megatron on ice.

S: Who knows... yeah.

O: And he got frozen in the Arctic!

S: Yeah, I know, the entire thing is garbage.  It may be- maybe water- maybe frozen water is their kryptonite?  God. [laughs]

O: Welcome to Earth! [laughs]

S: Why didn't they dismember the Decepticons, or incinerate them?  Or you know, take important parts, crush them, destroy them or whatever.  Like, throw them in 100 different places- that would work a lot better than this!  Run them through a trash compactor or something, before they dump them down into the Laurentian tre- Abyss.

 O: I’ll tell you exactly why.  Uh, because the government put out a bid for trash removal and the lowest bidder won.

S: The government does stupid things, many times. [sighs] We see a military sub monitoring this area, reading the five Cybertronian life signs.

O: They reach Megatron and a little doctor bot (whose name is Scalpel), starts uh, poking around at his corpse.

 S: [sighs] He shouts about his need for parts, and one of the nameless Constructicons is offed.  The parts and the AllSpark fragment are all shoved into Megatron.

O: So Megatron's back.

S: Yup.

O: And yet, still voiced by Hugo Weaving so I don't care.  No offense, Hugo Weaving.  Uh, get back to me in two movies.  Also notice they didn't kill Ravage here, because I'm entirely convinced Soundwave would end them.

S: Probably, because I mean, they did like- the little doctor boss specified, “Kill the little one!”

O:  It- to- pointing to a random Constructicon.

S: Yeah.  Fun bout of bad continuity, the radar shows the five life signs, as Ravage and Scalpel are both too small to show up, and then uh, when they come up they have six life signs but uh, you'll remember they had to kill a Constructicon down there.  So uh, it should be this same number, even with Megatron in tow.  Or maybe they brought the other Con- Decepticons back to life, I don't know?

O: I don't think so, we never see them.  They could have brought Blackout back to life, but we'll get into why they didn't later.

S: I mean maybe they brought uh, shoot- Scorponok?

O: No, Scorponok never died in the first movie.

S: Oh… well… yeah.

O: He just- they got his tail like-

S: Oh, that’s right.

O: The- the army guys cut off his tail but then he disappeared.

S: Oh, that's right.  Mm.

O: Megatron's apparently salty enough at humans though, in general, to smash through this- the military sub on his way up, so all those people are dead now.

S: He'd do that even if he wasn't feeling salty, you know that.

O: Oh yeah, he's a bastard, but you know.

S: Uh, Megatron flies to one of Saturn's moons where the Nemesis is being uh, well, it's parked and is used as a base by some of the remaining Decepticons, which includes our old buddy Starscream.  And he knocks Starscream around for taking over the Decepticons while he was ‘away’.

O: You know, while he was literally fucking dead. [laughs]

S: And so we are introduced to the Darth Sidious to Megatron's Darth Maul.

O: Including liberal use of the word ‘disciple’!

S: [sighs] So much sighing.  This is the Fallen whose name we will not find out in the movie itself because it would be really fucking confusing to have Megatron, and his master, Megatronus, running around.

O: Also, um, a bunch of little baby robots in pods?  On the wall.

S: Robot eggs.  So many robot eggs.

O: But no really, I'm not sure we can explain that any better than we just did- so just roll with it.

S: Yeah.  Anyway, the Fallen isn't shown to have an alt mode in this, but once you see him you do realize he was the Transformer that was shown at the very beginning of the movie while Optimus was monologuing.

O: And as kind of mentioned previously, he looks vaguely like the queen from Alien, but you know, with eyes and a huge staff he fights with.

S: And less arms and no tail.

O: Yeah.  Apparently though, only a Prime can kill the Fallen.  Don't ask us how the fuck that works!

S: I guess only a Prime can kill a Prime?  Because wasn't the Fallen a Prime?

O: Yes, he was considered a Prime but I don't- I still don't know how the mechanics of that work is what I'm getting at.

S: Is it just a weird cultural hangup?

O: I- I don't know!  That's what I'm saying, it's never explained!

S: I know, I know.  This will get weird in a bit.

O: [laughs]

S: It will! [sighs]

O: But they're like, “So if we remove that one pesky remaining Prime we’ll be off scot-free!” [laughs]

S: Yep.  The Fallen explains that the AllSpark cannot be destroyed it can merely be transformed.

O: Everything transforms on Cybertron, but right now the AllSpark is currently living rent free in Sam's head.

S: And I think he wants some goddamn rent, but I think we all want some goddamn rent for having this living rent free in our heads.

O: [laughs] Right!?!  Bay, you should pay us for watching this movie!

S: [sighs] So, the Decepticons are going to go after Sam (again), kill Optimus, or at least make another attempt at it (again), and presumably somehow use Sam's brain as they AllSpark.

O: But then Starscream walks in holding a dead robot baby, waving it around and saying they need more Energon or all the hatchlings will continue to die.

S: Well, someone apparently… uh.

O: I just don't know why this is here. I'm sorry, I don't- I don't know why they felt the need to have Starscream motioning while holding a dead baby!

S: [laughs] Being a very bad nurse maid-

O: Yes!  But now it's time to go back to school.

S: I already want to hit someone in this class well, multiple someones.  Sam is setting it in on his physics class.

O: With the absolute creepiest, filthiest, fucking professor I have seen in a good long while.

S: Ah, innuendos, a god complex, this man is so many sexual harassment lawsuits, and a restraining order waiting to happen.

O: This is not appealing!  Who the fuck does this appeal to?

S: I don't know but I'm ace, so I'm possibly not the best person to ask.

O: Is this a straight woman thing!?  Where the hell are we gonna find one of those this time of night?

B: [laugh]

S: Sam starts freaking out like he was uh, doing at the party, writing equations, and stuff all over the board.  He basically gets up, and bowls his way into- up to the front of the class and basically shows up the shitty professor.

O: Uh, Bulkhead did this in Prime, I'd like to personally nominate Bulkhead as our main character instead of Sam.

S: Oh yeah, Bulkhead would be a much more fun character.  Sam is promptly kicked out of the class uh, because showing up the professor and also the fact that the dean is apparently there.  So he's been- that professor has been like this while the dean is there.

O: Yes, so, uh, obviously he's sleeping with the old lady too, is what I'm getting from this.

S: That's creepy, it's even worse!  I mean, this is a female dean.

O: Yeah, female dean not just a random like, male dean, I mean an older female dean!

S: [sighs] Oh god.  Sam calls Mikaela mid freak out, and realizes that the AllSpark has caused his little problem.

O: Uh, so he asks her to bring the AllSpark fragment to him on the East Coast.  Uh, by the way I would just like to take a moment to tell you this very important information, Mikaela's dog's name is Bones.

S: Uh, the little remote controlled truck Decepticon, who we regret to inform you is this universe's version of Wheelie, uhh, is stalking around the garage where Mikaela is.

O: Wheelie, uh, clearly hasn't gotten the memo on you know, Mikaela taking out a Decepticon with a power tool in the first movie, decides to be a dumbass and say, “You're hot, but you're not too bright,” as he attempts to steal the AllSpark fragment.

S: The fact that Wheelie has some sort of metric for human um, attractiveness is honestly, really concerning.

O: Just a little bit.

S: [sighs]

O: Uh, predictably though, Mikaela fucks him up with a welding torch, including taking out one of his optics.

S: Wheelie begs for mercy from the Warrior Goddess.

O: At last Mikaela is given a proper title.

S: Uh-huh, and then Mikaela shoves him in a box and hops on a plane.

O: Metal box, I feel like it's important it does actually hold him.

S: Yeah, a metal box, and hops on a plane with him and the AllSpark.  And honestly this feels like something that she couldn't successfully do after 9/11.

O: Which is hilarious, because this was definitely filmed after 9/11.  So we just have to go with she's so sexy that she was able to get the big metal box on the plane without having to go through an x-ray.

S: Except that everything that goes on the plane when you check it should go through x-ray…

O: I know, I know!

S: Or-

O: Boobs!  The power of boobs!

S: Never mind that the power of boobs should not, you know, somehow affect the people that do not get exposed to the boobs.

O: See- see this is why uh, this movie would have been stopped in its tracks if one of the TSA agents had been a woman- a straight woman.

S: Or one of the people who sorts stuff or- because like, just imag-

O: It looked like it was her carry-on.

S: Now I'm just imagining that the people, because like you know how they sometimes go and randomly open bags to go through the contents? [laugh] I'm just imagining someone doing that and then there being a major freak out because out comes a stupid remote controlled car that’s yelling at everyone.

O: [laughs] Yeah… yeah.

S: Uh, then we cut to a short segment showing that all the Autobots are heading to locations on the East Coast as the rest of N.E.S.T. mobilizes.

O: But wait!  Decepticon pretenders are afoot at Princeton!

S: That's not ominous at all.  Sam is in his room going nuts and writing stuff on the wall.

O: Uh, and then Alice pushes her way into Sam's room and attempts a rather forceful seduction. 

S: She straight up picks him up and tosses him on the bed.

O: Which really should have been his first clue that something was very wrong!

S: Yeah, because Alice is not uh, portrayed as a…

O: A big woman.

S: Yes.

O: She's very slight and conventionally attractive.

S: Yeah, so she gets on top of him, and then we get the most awkward shot of Decepticon panties as the metal tail comes out from underneath Alice's extremely short dress.

O: Thanks for that Michael Bay.  I always, always wondered what brand of underpants Decepticons were wear, given the chance.

S: [sighs] She kisses Sam, apparently with tongue, and Mikaela walks in and is understandably pissed.

O: Alice asks if she's his girlfriend and Mikaela just says, “Ex,” and walks out, and I'm just like, “Yes, girl DRAG him!”

S: And meanwhile, Leo is sort of fluttering around in the background.

O: Yes, uh, because Alice pushed past him to get into their dorm room.

S: Sam attempts to follow, but Alice is 99% done with his dumb ass.

O: Uh, she attempts to strangle him with her suddenly very long and metal tongue.

S: Ah, that has apparently been places I do not want to think about.

O: I do not want to think about any of this, yeah.

S: Yeah.  Sam is able to escape, and we see Alice transform into a very obvious robot.

O: Sam, Mikaela, and Leo run into a nearby library where Sam and Mikaela begin having a whisper argument.

S: They're busy whisper shouting this entire time.  Alice catches up and smashes through the library, still chasing them.

O: I'm surprised this thing still has hair in robot mode.

S: Hair?  I mean its still got boobs!

O: Bay, what the fuck!?

B: [laugh]

O: So they hop in the car, Mikaela saves both their butts by hot wiring it, and slamming Alice into a lamp post before running her over again with the car.

S: Where was Bumblebee during all of this?

O: Uh, he was actually with the Autobots a few- the other Autobots a few scenes back, so he's definitely not here.

S: Yeah unfortunately Sam and company don't get very far and are captured by Grindor who picks them up like, so you know those uh, claw machines-

O: [laughs]

S: At grocery stores?  Grindor basically does that and then he carries them off, like- they’re his claw machine loot.  Nearly losing one in the process.

O: I mean, truely, they kind of are.  So, uh, you- to- get- you know how I just mentioned that they definitely couldn't have brought Blackout back to life?  That is because Grindor looks exactly like Blackout, but he's not Blackout.  Because Blackout died at the end of the last movie, and we totally thought he was Blackout and he's even listed as Blackout on some of the toys and a good chunk of promotional material, but- but he's a different character.  I don't know why they did this.

S: I don't know they wanted to keep the trademark in use, maybe?

O: [groans]

S: For the Grindor name, because they used it- I think, in anime- Armada.  I think they used it in Armada, so this was probably just blatant patent-

O: It was bad though. [laughs]

S: Oh yeah, I know.  Or um, trade- name trademarks?  I don't know.

O: But he makes a Decepticon number four voiced by Welker.

S: Mm-hm.  So, the car is dropped into some kind of warehouse where Sam is confronted by the now very alive Megatron.

O: Who's definitely holding a grudge against Sam for the whole ‘killing him in the last movie’ thing.

S: Yep, Sam is laid out on a concrete slab and Scalpel gets to work.  Starting with shoving a metal squid down Sam's throat, uhh…

O: No, no, no!  No, no, no, no, NOPITY, nope, nope, nope nope!

S: Yeah, this is uh, pretty gross and I don't like it and I don't think anyone else likes it either.  A metal squid uh, exits his mouth and projects images of what's in Sam's brain. [groans]

O: But!  This is apparently not all the information in his brain, as Scalpel definitely intends to remove it from his head.

S: Sam is saved just in time by the Autobots.

O: I want to know how Megatron even got into this warehouse.  There's not any like, big holes that we can see or anything, aside from the one Grindor- when Grindor dropped the car through.

S: Yeah, there really don't seem to be any openings big enough for him that we can see.

O: Okay, just going to assume mass shifting in this continuity for no good reason, okay.

S: Either that or he did the stupid ‘I'm a contortionist’ through the door, which seems way more respect for the -

O: [laughs] Robot limbo!

S: That seems to be way more uh, respect for the integrity of this building than Megatron should feel.

O: Yes!

S: Ah, so, um, Leo and Mikaela escape in Bee while Optimus takes Sam.

O: So they're separated, and Optimus has to fight Megatron alone.  And Megatron turns into a tank for a split second!  I didn't even realize this version of him could BE a tank!

S: Yeah, he's a multiformer?

O: Apparently!

[In the background crowd noises are heard as the hosts begin speaking like sports announcers.]

O: But now, it's the match of the century here at the Forest Fighting arenaaaa!

S: It's Megatron versus Optimus tonight, folks!

O: The Warlord himself versus Optimus Fucking Prime! [laughs]

[A wrestling bell rings in the background to signify the start of the match.]

S: Optimus gets a good right hook in.

O: Right before being tackled by Megatron!

S: Is that legal?

O: Hell if I know!  It's giant robots, it's all the same amount of legal!

S: Oh!  He's got the tree!

[The crowd increases in volume.]

S: Optimus has got the tree!

O: What a hit, you know that one must have hurt!

S: And now it's a sword fight?  They both are up and swinging away!

O: It just turned into a three-on-one match, folks!

[The crowd begins booing.]

S: Oh no- no, Optimus- Starscream and Grindor have joined the fray!

O: Wait, somehow a human's gotten into the arena.

S: Starscream and Megatron are chasing him down.

[The crowd increases in volume]

O: But Optimus has intercepted them and has taken them both on!

S: Starscream has been tossed out of the arena- out of bounds, out of bounds!

O: Optimus has gone through a tree!

S: Now the Cons are all just taking turns hitting him.  You hate to see it folks, you hate to see it!

O: Optimus is eatin’ dirt!

S: But he's back and now dual wielding blades!

O: Grindor’s lost an arm!

S: Megatron’s taken a good one to the kneecap.

O: And hit to the face!

S: That's it!  That's it for Grindor!  Hook, line and sinker!

[The crowd roars.]

O: Oh, he must have a splittin’ headache!

S: Or at least he would if he still had a head.

O: But Optimus is distracted before taking the blade to the chest!

[A wrestling bell sounds to signify the end of the match.]

O: That's it!  It's all over!  Optimus is down, I repeat- Optimus is down!  Megatron's the winner!

[Applause and the crowd noise fades out]

O: No really, Optimus is dead now, because Bay wants to make us feel things.

S: Except very badly, and unfortunately, this Optimus didn’t back up his brain on a floppy disk.  And I mean there is no pathos here!

O: Of course somehow during all of this no one ends our suffering by squishing Sam accidentally or otherwise.

S: [sighs]

O: [laughs]

S: The rest of the Autobots drive up just in time to see Optimus body.

O: Where the fuck were they!?!

S: Being useless.

O: Yeah, that checks out.

S: Megatron and Starscream flee and land on a skyscraper in the middle of a city, and then argue about what to do next.  And we cut to Soundwave doing what he does best, remotely managing resources.

O: Which in this case means tracking Sam's parents down in Paris as they enjoy some fine parisian food, and prank calling them.

S: Yeah, his mom is not impressed about the heavy breathing.  Such as it is.

O: We then see several Decepticons, including The Fallen, fall to Earth taking out several air carriers and buildings as they land.

S: One of these Decepticons captures Sam's parents.

O: The Fallen sends out a tv broadcast basically spelling out that he wants Sam turned over to him in order to spare the rest of the planet.

S:  Ah, the news story is shown, letting us know that worldwide the number of casualties is in the ballpark of seven thousand, and well, that's not as horrifying as it came across initially, but mmm…

O: Just seven thousand, for the entire world?  I, for one, welcome our Decepticon overlords.  In case you're watching this in the future, we're recording this at the tail end of 2020 and we live in the US.  That's literally less than 30% of the US’ current Covid death count at this point- eh- while we were researching this episode.  It's probably more now.

S: Sam, Mikaela, Leo, Bee, and the Twins are hiding out in, and around some abandoned buildings.

O: Leo's upset, but Sam tells him to suck it up because he's involved now.

S: A helicopter dumps Optimus’ body over at N.E.S.T., and that was not a respectful handling of a dead body.

O: To be fair, he is very big, and the humans are very small, and that was not an Autobot helicopter.

S: Yeah, but that was effectively a world leader.

O: Yeah, Ironhide is upset and uh, begins to get antsy with his guns.

S: Mr. Government Weasel shows up and shuts N.E.S.T. down.  Lennox gets upset when he realizes the US government is planning out to hand Sam over.

O: And they're right to consider it!  You should (theoretically speaking) hand over one person if has the possibility of stopping a massive amount of death!

S: The problem is it wouldn't stop the massive amount of death, and it would just let them basically strip mine the planet because the Decepticons- the name starts with deception.

O: Fair, but the only ones who would know that are the Autobots and possibly members of N.E.S.T.  From the perspective of government officials, who do not have this information, it makes sense.

S: Yeah.  Skids and Mudflap clue the group in on trying to find someone who can read the Cybertronian text the AllSpark downloaded into Sam's brain.

O: Leo has decided to join them on their uh, “adventure”.

S: In quotation marks.  Which is probably uh, for the best because he knows a guy who might be able to help.

O: Remember the rival internet guy from before?

S: Guess who's back from the first movie, and it might not be your first thought!

O: That's right, Agent Simmons from the first movie, who is no longer- is a no longer an agent, is Robo-Warrior.

S: I feel like the tech guy from the first movie would have probably made a better Robo-Warrior.

O: Yeah, I do too... I do too.

S: [sighs] So, Sam and company arrive at Simmons’ mom's deli, or possibly his deli that his mom works at too or something?  I don't know it…

O: It's not very clear.

S: Yeah.

O: Uh, come to find out that Simmons has held on to some old Sector 7 documents.

S: Not just some, uh, he stole a lot of shit from Sector 7.  Like, enough to fill like a sub basement.

O: [snorts] Uh, now Mikaela pulls out Wheelie, who has been in tow in the metal box.

S: Uh-huh.

O: Uh, smooth talking him into helping them.

S: Wheelie also can't read the writing from before, saying that it's in the ‘language of the Primes’ and that they need a Seeker.

O: I had completely forgotten they referred to these guys as Seekers until we watched this again.  I kind of had a ‘what the fuck’ moment.

S: Same.  Seekers, in this continuity are ancient Cybertronians that had been tasked with traveling the galaxy, looking for stars to use as energy sources for the AllSpark.  This is a little bit of a hint, hint, hint, for uh, something that might happen later.

O: In a convenient coinkydink, some of Simmons’ old documents show several of these Seekers in their alt modes.

S: Wheelie is able to identify an SR-71 Blackbird in the National Air and Space Museum as a Seeker.

O: So off the gang goes to Washington DC.

S: Outside the National Air and Space Museum, Simmons rips off his pants, revealing the Sector 7 thong to the audience... and then turns around so we can get the view from every angle.  That’s-

O: No, no, no.  I did not need to see robot balls.  I did not need to see hairy man balls, and I certainly did not need to see hairy man ass!  I'm not even sure why he did this!?  I assume he changed pants but I don't know why he did that right here, in a parking lot, in front of everyone!

S: For the pain, I don't know.

O: [laughs]

S: And thus, they come up with the most amazing scheme to get into the museum as it's closing.  Leo's being a coward and Simmons intimidates him a bit.

O: Oh god!  That man is pressing his man meat against that man's meat!

S: [sighs] Inside the museum, Leo comes out of the bathroom with his pants… mmm, like, down around his ankles, looking for toilet paper.

O: Why did they want to do this to me?  I am feeling personally attacked by the quantity of hairy man I am seeing in this movie!

S: Why are they doing this to us?  It’s not just to you-

O: Why are they doing this to everyone!?! [laughs]

S: Yeah.  The security guard escorts Leo back into the bathroom, chastising him about how this is a family museum.

O: Yeah, the only one guy doing their job here is the security guard, okay?

S: Yeah, and [he] attempts to hand them toilet paper over the top of the stall.

O: Leo then zaps him with a taser and the man falls to the ground.

S: Of course Leo manages to uh, taze himself with the taser too and falls down, kind of by the guy, and is unable to move.

O: Simmons comes in and drags Leo, still twitching, out of the bathroom.

S: I am hoping that his pants are up, but god who knows with this movie-

O: I don't think they were when he started dragging him. [laughs]

S: God, why?

O: Oh, there was butt- his butt cheeks were ALL over that floor.

S: [sighs] So, they run through the museum and find the correct jet, and then Sam uses the AllSpark fragment on that jet.

O: You would think that perhaps, perhaps, before using an AllSpark fragment to wake a Cybertronian up you might check his goddamn faction badge first but, NOOOO!  It’s only after the jet begins to transform they notice the goddamn Decepticon symbol.

S: We are introduced to easily what is not only the best robot character in this movie, but quite possibly the best character in the movie, period.

O: Meet Jetfire!  He's old, he's cranky, he's a delight, and he's got a pretty sweet looking beard.

S: Yep, and a cane made from his alt mode’s landing gear.  You know, for extra old man points.

O: Now bit of a tangent, but in G1 you will remember Skyfire.  Our big sweetie pie scientist.

S: Starscream’s ex, you can't forget that.

O: Can’t forget that, and also frequently utilized as a taxi service by the Autobots.

S: Well, Skyfire is often named Jetfire instead, depending on the continuity.  You know, name stuff is weird...

O: Yeah, and- but this Jetfire doesn't have too much in common with our big old scientist, I just wanted to point out that he was clearly referencing him.  Um, but the one thing he does have in common and the most important thing to the idiots we're following, is that he is a Decepticon defector.

S: Mm-hmm.  Jetfire attempts to fire at a large door to get outside but is uh, having some uh, ‘performance issues’ with his equipment.

O: [laughs] Uh, he is able to get outside, so our party follows him um... into Arizona.  And yes, we know that movies often have to be shot at other locations, or fudge locations and make certain events work.  But I find this one particularly jarring as they are clearly in a desert with mountains off in the distance which does not line up with the geography around Washington DC.

S: Yeah, considering that it was what, a swamp?

B: [laugh]

O: Definitely not a desert with mountains!

S: Yeah, ah, this part was actually filmed at the 309th Aerospace Maintenance and Regeneration Group, or The Boneyard, in Tuscan, Arizona.

O: Jetfire gives a speech about how being an Autobot or a Decepticon is a choice.

S: An intensely personal choice, even.  And Wheelie's like, “Holy shit it IS!?!”

O: And proceeds to start humping Mikaela's leg, charming.

S: [long drawn out sigh] So many sighs.

O: [laughs] I don't understand all the humping in this movie Bay, I really don't.

S: Juvenile male humor?

O: I guess?

S: Guys think humping shit is funny, somehow?  I don't know. [sighs] Jetfire shows his uh, senility a little bit talking about his parents.

O: “My father?  Why he was a wheel!  The first wheel, and you know what he transformed into?  Nothing!  But he did so with honor- dignity, damn it!”

S: And that is a direct quote-

O: [laughs]

S: Straight from the man himself!

O: He's a delight.

S: [sighs] Sam pulls out a knife and begins carving the uh, Cybertronian symbols into the ground.  I mean, where- where'd he get the knife?  I have questions.

O: Thong man?  Probably?

S: Disconcerting- disconcertingly, yes, that is probable.  Um, Jetfire blabbers off about the Dagger's Tip before generating a space bridge, and teleporting everyone to Egypt with uh, very little warning.  I mean the only warning he gives them is, “Hold on or you'll die!” to the nearby squishies

O: I also feel like we need to preface, Dagger's Tip as in a location, not talking about the- the knife Sam is holding.  Realize that might be a little confusion without- confusing without context.

S: Yeah, and are Bumblebee and the Twins… are also here?

O: The Twins are also here translated- trans- translated?  Transported.

S: Okay, because yeah, they apparently showed up after they they exited and mass translocated to Arizona. [sighs] Life is weird in this movie.

O: Yeah, so uh, then Jetfire informs us that once upon a time, in a galaxy far far away… The original seven Primes had arrived on Earth to build a device called a Star Harvester which can create Energon by destroying suns.  Wait, seven!?!  Did they just pick a number at random!?

S: Probably.  I don't think whoever it was making this movie cared about the lore that was in other parts of the series.

O: At least seven is also a prime number…

S: Yeah... I mean, heck, I don't remember if they had a different number in [the] Cybertron [tv series]?  Because Cybertron I think, did have a list of Primes.

O: I think the number’s are usually 13.

S: Yeah, but it's just- I don't remember when that number came up-

O: Mm- that’s fair.

S: If it was before or after this.

[Okay, this is mildly confusing, (as Transformers lore often is) but the rough concept for The Thirteen has been around since 1999, but was really only solidified in 2004-2005 into specifically, Thirteen Primes.  All that being said, even if that wasn’t established in the first movie, it certainly would have been by the time they were creating the sequel. Also, several adaptations of this movie do have thirteen Primes, not seven, and designs had been created for 12 (non-Fallen) Prime heads, so who knows what the heck happened with this behind the scenes. ~O]

S: Yeah, and while they had a rule about not destroying suns that supported life, the Fallen decided that the humans sucked, and tried to turn it on anyway because-

O: He's a dick! [laughs]

S: He was basically the equivalent of a pissy house proud lady who, with a- whose house had a mouse infestation and he wanted to demolish it anyway but… The humans are the mice in this metaphor.

O: [laughs] Uh, the Primes tried to fight him but were unable to actually defeat him.

S: Considering that only a Prime is supposed to be able to defeat the Fallen this is somehow extremely disappointing.  So they took the Matrix of Leadership and sealed it in a tomb made of their own bodies.

O: The Matrix of Leadership is a reoccurring McGuffin in the Transformers lore, but for some inexplicable reason in this continuity it is basically just a ‘key’ for the Star Harvester.

S: Well, I think it also has some other purposes, considering what they end up using it for later… but yeah, it's primarily just the horse- blah, the Star Harvester key.  Jetfire conveys that Sam needs to find the Matrix of Leadership or they're all fucked.  I mean, what happened?  Did turning on Jetfire completely destroy the AllSpark fragment or is it just... dead now?  Could they use that to re-awaken Optimus body?

O: I mean yeah, you would think right!?  Because like, they- they did- they- that's how they brought Megatron back but nobody thought of this!

S: I mean didn't they already have a thing that they could have used to just, wake Optimus up?

O: Maybe?  I don't know.  I don't know.  Moving right along!  Um-

S: I want answers!  Sorry...

O:  We're not gonna get ‘em.  And then presumably, they leave Jetfire in the desert because he needs a good long nap after generating a whole ass space bridge.

S: Well, he basically tells them to get lost before any Auto- before any Decepticons show up.

O: Yeah, because assumably he's gonna take a nap.

S: Yeah, I mean- I think another Decepticon does show up at some point in the novelization, but who knows. I think grandpa beats his pants- or beats his ass.  Sam reaches the conclusion that if the Matrix of Leadership can activate the Sun Harvester then maybe it could reactivate Optimus, like some sort of robot activating skeleton key.

O: Seems like a bit of a reach, but alright.

S: No one knows what's going on here, so I guess, sure!  Let's run with it.

S: They stop by a nearby village allowing Simmons to contact N.E.S.T. and somewhat covertly tell them that they need to bring Optimus’ corpse over to Egypt.

O: [laughs]

S: [sighs] Oh, this is going to be so many… ugh, so many problems.

O: Soundwave is still able to figure out what the fuck they're saying though, and deploys the Decepticons to the same location that Simmons had given N.E.S.T.  You know, do you think his back hurts?  You know, from carrying his entire faction?

S: Probably, but I mean, he's in space so there's not much weight up there right now.

O: [laughs] Probably lessens the feeling a little bit.

S: Using some gibberish about the ‘three kings’ and also, astrological knowledge, Sam is able to figure out where the Primes’ tomb is and uh, the group heads towards the mountains of Petra.

O: Lennox's group has also brought the government weasel with them along on their ‘Definitely Not Transporting a Giant Robot Corpse’ mission, and then they fool him into jumping out of the plane.  So they can carry on without interruption.

S: Slightly less jumping out of the plane and slightly more uh, fooling him into opening the damn parachute that uh, they got the man to wear and then he gets swept out because--

O: It was a parachute. [laughs]

S: Moving plane, open door, there goes the- there goes the parachute.  Oops!  So much wind.

O: And it really might be one of the funniest scenes in the entire movie.  It also reads entirely too close to something our DND group would pull.

S: Oh yeah, yeah.

B: [laugh]

O: Ask our DM!

S: Oh, any one of our DMs.

O: Any one of our DMs, but I'm particularly talking about when my poor husband had to DM.

S: Yeah, I'm thinking about the ‘whale’ incident.

[My husband regretted that our party had the ability to summon large creatures and portals on that day. ~O]

So Sam and company arrive at Petra.

O: For the non-documentary nerds among us, uh, Petra is an ancient city in Southern Jordan.  While it does contain more structures than the treasury (which is what I think they show here) uh, this is probably one of the most famous.  You may recognize it as the resting place of the Holy Grail in the Indiana Jones movies.  And as we were watching, I had a minor panic attack at the giant robots possibly breaking things.

S: Oh, and the giant robots definitely break things.  The Twins fight, and hit a wall or a fresco.  Revealing a hollow area behind it with uh, very noticeable giant robot bits.

O: [laughs] Then Bee takes aim at the wall and I have another panic attack.  Though to be fair, he's got very good aim and only makes what is arguably a very small hole.

S: Through the giant robot bits.  Sam enters the new hole in the wall and finds the Matrix of Leadership on the floor.  I guess, cradled in the hands of the Prime corpses?  Which- this is super morbid!

O: [laughs]

S: When he picks it up, uh, it crumbles into dust.  So, Sam does the only thing he can think of, he sweeps all that dust into his sock.

O: Time to go resurrect Optimus with dirty sock dust!

S: Is it the sock of destiny?

O: It is now.

S: I guess it awakens giant robots, but leaves buildings standing.

O: [snorts]

S: All the while uh, he talks about there having to be some sort of reason for everything that's happening.

O: Uh, to quote a much better character, “It's possible to commit no mistakes and still lose,” so Sam you're full of shit.

S: Yep, back with N.E.S.T. uh, they yeet Optimus’ corpse out of the plane and I believe Optimus has parachutes again here?

O: Probably.

S: I mean, if he doesn't that is just so much corpse desecration.

O: [laughs] And it seems like we arrive back where we started in the first movie, as it looks like they're back in that little desert town where the fight with Scorponok took place.  You know, they just- they're just gotta destroy it again.

S: And if that's not that same town it looks extremely similar.

O: Starscream begins firing on Sam and co as they head to the rendezvous location with N.E.S.T.

S: [sighs] The group splits up in order to draw the fire away from Sam.

O: Leo, Simmons, and the twins head off. Bee heads off in another direction, and then Sam and Mikaela head towards Optimus’ location on foot.

S: This seems like a bad allocation of resources but, ohh-kay.

O: [chuckles]

S: N.E.S.T. also spots Starscream, but he has released an EMP burst, cutting off all their communication.

O: Government weasel however, has landed safe and sound and is able to reach (and annoy!) the N.E.S.T. headquarters.

S: Yep and N.E.S.T. uh, headquarters is frustrated that weasel can contact them but they can't contact Lennox's group.

O: Simmons group stops uh, once they realize Starscream has stopped following them.

S: Megatron and Starscream (none too gently) land on the Great Pyramid.

O: God damn, more defacing world heritage sites?

S: Well, the Egyptian authorities would definitely have um, a case against them for this.  Because you know, they they charge people with doing dumb ill-advised things on the pyramids

O: I dunno how you're gonna get money out of Megatron but, alright! [laughs]

S: Eh, I'd go with the blood from the stone thing, and literally selling off materials from his body, but who knows?  That's also very morbid.  Um, Megatron orders an attack and Devastator forms out of more than the requisite number of constructicons from G1.

O: And Devastator makes our last Welker voiced Con for the day, bringing our number up to five-

S: And it’s-

O: -out of 12.

S: And spoiler alert uh, Devastator looks nothing like G1 Devastator, and also this is in like- the same location that Simmons and Leo are at.

O: Yep.  Sam and Mikaela though are continuing their march towards N.E.S.T.  All the while trying to avoid Decepticons, and thus hide in one of the nearby houses.

S: Ah, I like the lighting in the scene, the lighting is very nice.  So one wall is mostly structured from uh, glass bottles.  You know, provides some very nice ambient lighting without the need of electricity.  It just- it's very pleasant.  It's a very pretty look

O: Then we get a really nifty scene of the Decepticons looking for them that's basically, one big long continuous shot of it going out of a hole Sam is looking out, going around the scene and then going back through I think, the keyhole?  For the door to the house they're in.

S: Yeah, that sort of continuous shot's very nice.  You don't see those very often.  Sam catches a tiny Decepticon bug that comes through the hole, leading to them being found, and the house's roof being ripped off by Starscream.

O: They attempt to escape.

S: The Twins uh, begin to fight Devastator, while the combiner tries to eat everybody with his horrifying trash-compactor-crusher mouth.

O: Mudflap is eaten, but doesn't go down easy and punches his way out of Devastator's mouth.

S: The Decepticons reveal that they are holding Sam's parents hostage.

O: But they're all saved by the timely arrival of Bee.

S: Ravage is killed when Bee rips his entire body off his spine??

O: How does Ravage keep ending up in two pieces in these things?

S: I think technically he might be in more than two pieces, but ughhh...

O: Meh, I'm just saying- there was the spine in one hand, and the rest of them in the other hand, at least from my memory.

S: I know, it's just- god, unfortunately this feels a whole lot like shucking an ear of corn.

O: [laugh] Oh, god- yeah... yeah... yeah.

S: [sighs] I'm sorry for that image.

O: Sam uh, tells Bee to take his parents out of danger once they- he- they've gotten them away from the Cons.

S: Uh, Sam's dad argues with him in what we're assuming is supposed to be a counter to his no caring attitude about Sam going off to college in the movie.  One of the only positive things is his dad's care- for his dad's character is that he does seem to want to take care of- take care of his son.

O: Pity doesn't show more.

S: Yeah.

O: Okay, tangent, but you may have noticed we're being less descriptive about things that are happening at this point in the story.  That's because we basically hit a point where the remainder is a gigantic action scene and not really much else.

S: Yeah, it's a whole lot of punch, punch, switch scene, punch, punch, switch scene.

O: Yeah, so-

S: Shoot, shoot, shoot.

O: We're trying, but if something doesn't really make sense it's because stuff is swapping and not a lot is happening.  Oddly enough this movie is actually a good example of why you should keep things simple, from a storytelling perspective.  And yeah, I know if you examine the basis of this movie's plot it is pretty simple, but instead of just, you know, actually going from point a to point b there's just a ton of waypoints kind of getting in the way of the action that’s actually happening.  Uh, like, “Oh well, we'd better go over to this set for yet another action sequence!”  Nothing that's happened in the last 30 or so minutes has really mattered to the overall plot because it's just action sequence, action sequence, action sequence.

S: Yup, dirt, explosions, running, falling down.

O: Rinse and repeat.

S: There is nothing of substance here.  Speaking of pointless, it's back to Simmons for absolutely no reason.

O: Uh, Megatron's been on top of the Great Pyramid doing nothing this entire freaking time and now he chooses to shoot down a helicopter.

S: I don't think he's even been monologuing.

O: Yeah, he hasn't!  He has- that's what I mean, nothing!  He's not even doing anything interesting!

S: Simmons takes the radio from the pilot of said downed helicopter and follows after Devastator as he heads toward the Great Pyramid.

O: American Army porn.

S: And Air Force.  And Navy, [sighs] probably?

O: [groans]

S: Sam and Mikaela are spotted by Ironhide and the three Arcees.

O: Two Arcees are downed by some Cons after their one speaking line in the entire freaking movie.

S: Devastator begins climbing the Great Pyramid.

O: Is Megatron waiting up there for Devastator?!  Is- is it just too much work to wreck the pyramid by himself?

S: He's got all of these lackeys, he wants the lackeys to do shit for him.

O: Oh, lord.

S: Simmons follows and contacts the Navy.

O: Okay- okay, the only thing I can think of here is that they needed Simmons to do something.  Otherwise, why the heck do they call in military reinforcements then call in yet more military reinforcements!?

S: More American Army porn.

O: [sighs] Devastator demolishes the top of the pyramid.  Yes, yes, destroying more history, yes, yes.

S: Yet more American Army porn!

O: And then Megatron chases Sam and Mikaela as they approach N.E.S.T.

S: After many, many, MANY, explosions, Sam and Mikaela reach Lennox.

O: Who's like, “You'd better have a good reason for us to be here!”

S: “I got a sock full of dust!”

O: [laughs] Yes, you do Sam.  Yes, you do.

S: [sighs] Jetfire shows up, taking out a Con with his cane.

O: Then Scorponok, you know, from the first movie, immediately shows up just to stab Jetfire and ruin all of our days.

S: You know, his triumphant return after disappearance in the last half of the previous movie.

O: And now for the moment you- we-

S: [sighs]

O: We've all been waiting for!

S: Ugh… [unintelligable]

O: Do you want me to do it?

S: Yes, please.

O: Simmons says, “I'm directly below the enemy scrotum.”  Why would you say that?  Why would you say it like this?  Why wouldn't you just say, “I am directly below the enemy”!?  Why did you feel the need to add the word ‘scrotum’ to that sentence!?! [laughs]

S: The enemy's anatomy should not be that important, but I guess Bay thinks balls are important- er, hilarious.

O: Important and hilarious.

S: God.

[I am furious that we didn’t know about this clip until AFTER we did this episode, but yeah, this exists.  Bay was SO proud of this joke. ~O]

O: Uh, Devastator comes to pieces after being hit by an experimental Navy railgun from the ship that Simmons has been contacting.

S: Yeah, back with Lennox and company, Epps proves yet again to have one of the best lines in the entire movie.

O: They throw some smoke grenades to provide a target for the Air Force.

S: Unfortunately, this smoke's just a teensy bit too close to the party.

O: Epps responds with, “It wasn't my best toss, okay!?”

S: [sighs] In the ensuing chaos of the airstrike, Sam runs ahead to try and get to Optimus and Megatron appears out of the smoke to shoot him.  Or to dramatically close in on him, I guess.

O: Megatron gets pushed back by some of the N.E.S.T. covering fire and nyrooms away very awkwardly.

S: Except, what's this!?  Sam's dead.

O: [loudly] WOOOOOOOOOOO!

S: Mikaela's not so happy about this though.

O: Uh, sad music plays.  Dialogue can be heard faintly as Lennox and the N.E.S.T. crew begins CPR.  His parents show back up... again.  For what purpose exactly?  I think this would have read just fine with Mikaela just being the only one sad about Sam.

S: I don't know.  If this is their attempt at pathos, but it kind of sucks.  I mean, I know that the audience is supposed to feel bad that this guy's dead but-

O: I don't! [laughs]

S: They did a terrible job of making me care, but now is the moment where Mikaela tells Sam that she loves him.

O: They had a whole thing about this earlier in the movie we really didn't go over but they were having kind of an argument on who should say, “I love you,” first.  Blah- blah- blah- blah-

S: Ah.

O: But now, a window into Sam's psyche.

S: What, you mean it's not just going to be boobs, boobs, and more boobs?

O: No- no the seven Primes appear in a vision to Sam.

S: Oh god, does this make Sam a Prime?  I really hope not…

O: Oh my god!  One of the Primes is voiced by Bulkhead!  And by Bulkhead, I of course mean his voice actor Kevin Michael Richardson.  A man with a huge filmography that I guarantee you've heard at least a dozen or so things that he has done, if not more!

S: The Primes tell Sam that he is worthy of being a Prime.

O: Bulk, why do you have to hurt me in this way, and by extension, EVERYONE?

S: The magical sweaty sock dust reconstitutes into the Matrix of Leadership.  And, I mean, I'm kind of concerned that some of the remaining sweaty sock dust is now blowing away, or maybe this sock will be some sort of horrifying museum relic.

O: Considering what he did with his shirt, I wouldn't be surprised.  Um, but I don't really care, because this just means the movie is getting closer to its inevitable conclusion.

S: Fair.  Sam then takes the Matrix and stabs it into Optimus chest.

O: Stabby stab?  We bring him to life by giving him another stab wound?  Magical stabby stab?

S: I think this is how you get robot zombies.

O: Good thing nobody had any Dark Energon on hand.

S: Or the Hate Plague.  Of course, the Matrix is immediately snatched up by the Fallen.

O: Because we want to have our cake and eat it too.  We need to bring Optimus back to life and also to get the giant sun stun gun going too.

S: So, the Fallen activates the Star Harvester.

O: High levels of shut up and die reached as the Fallen finally reveals some amount of fighting prowess with a bitchin’ anti-gravity staff.

S: Yep.  Jetfire, who has been sort of hanging out this entire time having a giant hole in his chest, sacrifices himself to upgrade Optimus so that he can go fight the Fallen.

O: Jetfire, buddy, sir, you deserved better.

S: He did.

O: Here's one of the few scenes where Jolt is visible as he helps Ratchet get Optimus battle worthy.

S: Yeah, um, the electric whips were somehow needed for this for some reason, somehow.

O: Optimus, having gained the power of flight, begins to fight Megatron and the Fallen.

S: But not before destroying the Sun Harvester.

O: Megatron's face is badly damaged as Optimus moves on to the Fallen and rips off the Fallen's face saying, and I quote, “Give me your face!”

S: Then Optimus rams his hand through the Fallen's chest and uh, rips out and crushes the Fallen’s spark.

O: Starscream, being the sane one here, suggests that he and Megatron flee.

S: Megatron, considering that he is dealing with both a head injury and a missing arm from the elbow down, takes Starscream up on his offer.  The Fallen having been defeated, Optimus returns to the ground and shrugs off all of Jetfire's parts

O: [You] couldn't have kept anything?  The gun?  No, nothing.  Was it a frame thing- did you miss the slimmer frame, Optimus?  Just be honest here, you know.

S: I mean, maybe he considered it kind of morbid having like, corpse parts on him?  I mean that would be-

O: Fuck if I know.

S: That would be kind of morbid, but yeah... it feels like it's just showing disrespect to Jetfire's sacrifice. [sighs] Then we move back to Sam and Mikaela, interspersed with shots of N.E.S.T., the Navy, Simmons, etc.

O: Ah, yes, soldiers, brothers in arms, kissing!  Soldiers, brothers in arms, KISSING!

S: [laughs] Sorry, sorry I was just- like, my brain put those together at first and not what it actually was.

O: [laughs] I mean, to be fair, that would probably be a more interesting movie!

S: Yes.  Optimus thanks Sam for saving his life.  And I have many questions Optimus.  Did you have- what did you see Optimus?  What did you see?  And we end with an Optimus monologue about the two races working together in the future.

O: Ohh, Optimus, you’re- you're just going to be discarded in two movies, sweetie.  Um, don't trust the US Military, we do not have a good track record.

S: Yup.  Linkin Park, much like the first film what plays us out as the credits roll.

O: And thus, we are divided from the rest of the movie.  A New Divide if you will.

 S: Oh, is that a name drop?

O: It's the name of the song. [laughs]

S: Or title drop, yeah.

O: [laughs]

S: Alright, so what's your take?

O: Wow, I really don't like that movie.  The last 30 minutes- hour- whatever, felt like an eternity where the only thing happening was explosions, and robots maybe punching each other and I just didn't care about anything that was happening?  The early part wasn't really much better, but at least the characters, you know, were talking to each other.

Um, the writing overall isn't good for like, dialogue and again, some of the events just kind of feel like why did this even need to happen?  And I do think it's worth mentioning that this was filmed during the 2007 writers’ strike.

Additionally, regardless of how bad I personally find the dialogue, I still have to give props to Peter Cullen's performance of Optimus.  Even the first time I saw this movie, I was sad that Optimus died.  And keep in mind at the time I didn't know anything about Transformers, aside from seeing the first movie.  I feel like Cullen puts a lot of heart to his performance of Optimus, and I really can't think of a time where it's felt like he's phoned it in and I really do appreciate that.  Even here, even with the, “Give me your face,” line.

What did you think, Specs?

S: Well, I don't have nearly as much to say as you did.

O: [laughs]

S: Um, I liked Jetfire.  The SR-71 Blackbird is a very neat plane, and I mean, I liked it before this movie came out.  So, I liked him for more than one reason.  But he was cranky, and delightful, and a jet, and the best part of the movie.  Everything else was just kind of painful.  Yeah.

O: Yeah, I think that's fair.

S: Yeah.  I mean, I liked Mikaela too, but...

O: Yeah, she- say goodbye to her because she's not gonna be in the next movie.  This is the last one with Mikaela in it.

S: I think she got the better part of the deal.

O: [laughs] Pity we can't make as graceful as an exit.

S: Yep.

O: But that's it for us now.  Uh, we will be posting another episode.  Uh, where we go into more detail on what we personally would have wanted to see in this movie.  But we know this is running along as it is, and I think based on our estimates this should be around the same length as last year's episode so we're gonna split it.  We are also aware that you personally may not care about us trying to you know basically fanfic- fix this so…

S: Mm-hm.  Remember to check us out on Tumblr or Pillowfort as Afterspark-Podcast for any additional information, show notes, or links we may have mentioned.  You can also find us on Facebook and Twitter @AftersparkPod (all one word).  And various other locations by searching for Afterspark Podcast, such as AO3, iTunes, Spotify, and Youtube, just to name a few.  And feel free to send us questions on Tumblr, Youtube, or AO3.

O: As always, thank you so much for listening.  Happy (probably belated by the time this is posted) holidays to everyone.  2020 has been a hell of a rough year, so please stay safe and we will be back with more normal episodes soon.

S: Toodles.

[Outro Music]

S: Sam grabs out a knife and begins carving the Cybertronian siblings into the ground um, I mean, where did you get the knife?

O: You mean symbols?  You said siblings.

S: [laughs] God- oh god, I can’t talk!

#transcript #revenge of the fallen #afterspark #afterspark podcast #podcast

[tabloidtoc]

Life & Style, February 1 -- part 1 of 3

You can now buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: Duchess Sarah Ferguson finally talks

Page 1: Photo Flash -- Emma Roberts introduces the world to her son Rhodes Robert Hedlund Page 2: Contents

Page 6: Angelina Jolie may be one of the most sought-after actresses in Hollywood but with six kids at home there's been little time for romance -- she hasn't had a meaningful romance since she split from Brad Pitt and she's been introduced to a few guys and had a handful of dinners but it never went anywhere not that she's in any rush to put herself out there again because Brad didn't just break her heart, he shattered it and it will take a real leap of faith for her to trust someone again -- Angie's entire life revolves around the kids, taking them shopping, making sure they do their schoolwork and when she's not with them she's liaising with her legal team about the custody battle and pouring over her options and how to get the upper hand on Brad -- it's made for an isolating experience and she has very little in the way of a social life and very few celebrity friends and other than the children she doesn't really have anyone else Page 7: Shia LaBeouf has split from Margaret Qualley amid his sexual assault lawsuit -- Margaret broke things off with him to save her own career because it's not a good look to associate with an alleged abuser -- Hollywood has turned its back on Shia too as he was removed from ads for his new movie Pieces of a Woman and fired from the upcoming film Don't Worry Darling and Shia's worried that he'll never work again as producers are avoiding his calls and distancing themselves from him -- he says he does want to get better and says he's going back to rehab -- Shia's been on a slippery slope of self-destruction but after Margaret dumped him he hit an all-time low * Throwback! Matthew McConaughey scored a trophy for Little Mr. Texas 1977 * Biggest Spenders of the Week -- Trevor Noah, Carrie Underwood, Dwayne Johnson, Kourtney Kardashian Page 8: Kylie Jenner recently went on an unfollowing spree whittling down the number of Instagram accounts that she keeps up with to just 28 -- most of her family members including Brody Jenner and Brandon Jenner made the cut along with baby daddy Travis Scott and Scott Disick but close pals like Sofia Richie did not -- Scott is like a brother to Kylie and since there's still a little drama with him and Sofia after their split Kylie decided to make a clean break from her -- the older Kylie gets the more she really only wants to surround herself with family because she's been burned so many times by her so-called friends * Debra Messing is throwing her hat in the ring after it was announced that Nicole Kidman is in talks to portray Lucille Ball in an upcoming biopic -- written and directed by Aaron Sorkin the film focuses on the I Love Lucy star's tumultuous 20-year marriage to Desi Arnaz who will reportedly be played by Javier Bardem -- Debra's been telling everyone that she's the perfect choice for the part because not only is she a redhead but she's also played Lucy before on TV and this is the role of a lifetime and Debra wants it bad -- there's just one problem: Nicole has a Hollywood pedigree that Debra simply can't match and Aaron doesn't have anything against Debra but he insists he wants a big movie star like Nicole attached to the project, not some sitcom star Page 10: The Week in Photos -- The Real Housewives of Orange County stars Shannon Storms Beador, Elizabeth Lyn Vargas, Braunwyn Windham-Burke, Emily Simpson, Gina Kirschenheiter and Kelly Dodd partied it up in paradise Page 11: Demi Lovato showed off her freshly cut and dyed pink pixie cut, Selling Sunset's Christine Quinn struck a sexy pose at a photo shoot for Cosmopolitan magazine Page 12: Demi Moore made friends with a sloth, Molly Sims and husband Scott Stuber threw their son Grey a superhero-themed birthday bash, Jennifer Lopez while paddleboarding in Turks and Caicos Page 13: Wilmer Valderrama rolled up onto the set of The Kelly Clarkson Show in a vintage 1967 Ford Mustang

(continued)

#tabloid #grain of salt #tabloid toc #tabloidtoc #fergie #duchess sarah ferguson #duchess sarah #emma roberts #angelina jolie #brad pitt #shia labeouf #margaret qualley #kylie jenner #debra messing #lucille ball #nicole kidman #aaron sorkin #the real housewives of orange county #real housewives of orange county #rhooc #demi lovato #christine quinn #demi moore #molly sims #scott stuber #jennifer lopez #wilmer valderrama

[crdenhart]

15 for ‘19: My Favorite Films of 2019

Here are my top 15 movies of 2019 and my brief thoughts on each or better yet, my attempts to say more than just “this movie is really good and you should check it out.”

15. A Marriage Story

Stellar performances by Adam Driver and Scarlett Johansson and the rest of the cast. Quite realistic depiction of a married couple going through a divorce.

14. Rambo: Last Blood

I like how this film changes the formula a bit from the past several Rambo movies by having Rambo at home in America and not sent on a one-man-army mission to a foreign country. Stallone gives another great performance as John Rambo even in his old age, and I would like to see him continue the franchise.

13. Us

Creepy, edge-of-your-seat thriller! Interesting commentary on the differences between social classes. I actually have vacationed in Santa Cruz where the film takes place so it was cool to see it on screen!

12. The Peanut Butter Falcon

Shia LaBeouf (who has not starred in anything significant for awhile) gives a good performance. Heartwarming story and fun to watch! There needs to be more “small” movies like this that are just about the adventures of “normal” people and not big spectacles all the time.

11. Once Upon a Time in Hollywood

Tarantino brings the 1960s alive by perfectly recreating the look and feel of the era! When I first saw the movie, I wasn’t sure what to think of it, but after dwelling on the movie since I have come to realize it is a brilliant film.

10. The Two Popes

Incredible performances by Anthony Hopkins as Pope Benedict XVI and Jonathan Pryce as Pope Francis! I like that the film displays the religious ideological differences between the two popes and presents history of Pope Francis I did not know.

9. Richard Jewell

One of director Clint Eastwood’s best movies in recent years (it’s incredible he able to still produce such great work at nearly 90 years old). Intriguing true-life story I knew little about before the movie!

8. El Camino: A Breaking Bad Movie

An immensely satisfying continuation to the Breaking Bad series! Aaron Paul gives yet another fantastic performance returning to the role of Jesse Pinkman. Also, this film marks legendary actor Robert Forster’s final performance; may he rest in peace. I am anxious to see how the events of this film will impact Better Call Saul and future entrees in the universe.

7. Under the Silver Lake

I really like how the movie is essentially a modern Alfred Hitchcock thriller with similar style, tone, and music to films like Vertigo and The Man Who Knew Too Much. Andrew Garfield gives a good performance as well. I would like to see more cryptic mystery thrillers like this film.

6. The Man Who Killed Don Quixote

Yet again more great performances by Adam Driver and Jonathan Pryce. I myself am an independent filmmaker so I gravitate towards films like this one in which filmmaking is a major plot point. Filmmaker Terry Gilliam (Monty Python, Brazil, Fear and Loathing in Las Vegas) continues the style and tone of his previous work, so if you like his films, definitely check this out. The film had been in development for over 20 years so it is wonderful to see it finally completed.

5. Toy Story 4

I have followed this series since I was 2 years old, so these films are very important to me. Toy Story 4 is a very satisfying conclusion to the series (assuming this is the last one)! It was so emotionally enthralling when Woody and Buzz decide to part ways in the end. I also like how the film continues the series’ tradition of pushing the boundaries of computer animation with this film having the most realistic CGI I have ever seen.

4. Doctor Sleep

When this movie was first announced, I screamed “No, please don’t ruin the legacy of Stanley Kubrick’s The Shining!” Boy, was I happily surprised to find Doctor Sleep to not only be a great movie but one that enhances the original film! I love how the film is stylistically identical to Kubrick’s Shining in many parts and that it uses spot-on lookalike actors instead of resorting to uncanny-valley CGI replacements (i.e. Carrie Fisher in Rise of Skywalker). When this movie eventually comes to home video, I want to watch it back-to-back with The Shining to see the “complete” work.

3. Joker

Joaquin Phoenix deserves awards for best actor for his powerhouse performance as The Joker! I also like that the film reminds audiences of the Occupy Movement since politics/media in recent years has tried to make everything “ant-Trump” instead of focusing on issues related to income inequality, which I believe is a more realistic problem our nation needs to address.

2. Parasite

One of the best modern Asian films I have ever seen! Really captures how desperate people can get to improve their livelihood and how people of different socioeconomic classes perceive life.

1. The Lighthouse

Willem Dafoe and Robert Pattinson give incredible performances as keepers of a lighthouse in the late 1800s who gradually descend into madness. The cinematography is incredible with its use of black-and-white and 4:3 aspect ratio to make the film appear like it was shot in the era in which it takes places. Movie also is rich in symbolism and esoteric meanings that I will need watch again and again to pick up on. Definitely best film of the year!

#movies #movie review #film #top 10 lists #best of #best of 2019 #lighthouse #parasite #joker #joaquin phoenix #doctor sleep #shining #stanley kubrick #toy story #adam driver #man who killed don quixote #jonathan pryce #under the silver lake #andrew garfield #richard jewell #clint eastwood #breaking bad #el camino #two popes #anthony hopkins #once upon a time in hollywood #quentin tarantino #leonardo dicaprio #brad pitt #peanut butter falcon

[fiftytwotwenty]

Movie Monday - July 27th, 2020

"Best Sports Film"

A Showdown:

In Honor of the MLB (finally) starting their regular season last Thursday (July 23rd) and with the NBA gearing up for their season this Thursday, July 30th, I thought it be a great chance to reflect on the Best Sports Film of All Time.

When it comes to Sports whether it's in Real Life or on Film - Each comes with its own Fanbase but none is treated equal.

You can't evenly compare a Knockout Haymaker to a Steady Tap of a Put. So how can one compare ever sports film ever made to one another?

Well, I simply pitted every specific sports film against other sports films within their same category. Once I had the Best of the Best from One Sport I then weighed them amongst other Top Contenders in different sports.

I excluded Documentaries as hardly anything can beat a Sporta Doc (sorry Senna, Pulling John, and Hoop Dreams), but I did accept Bio-Pics and stories based on True Events.

Another Disclaimer: Due to Tumblr's photo limit I am only recognizing the Top 9 (sorry Football/Soccer, Cheerleading and Arm Wrestling)

So...

Who will come out on Top as the Best Sports Film:

#9: The Greatest Game Ever Played (2005)

Yes, Shia LaBeouf and Disney top Caddy Shack and Tin Cup as the Best Golf Film of All Time as it actually focuses on the heart of the game.

This Story based on True Events is a great inspiration of following dreams and a lesson of not letting anyone dictate your life.

In my book it's probably some of Shia's best work.

#8: STICK IT (2006)

You have to give Stick It its props. The film is fun, engaging, and lighthearted fun shown upon female gymnastics.

Watching a movie like Stick It makes you wonder why Disney has not made any gymnastic bio-pic yet - there is tons of history they can roll with - Highly recommend they look to Kerri Strug and 1996 Olympic Run.

#7: Remember the Titans (2000)

It's funny how American Football is regarded as the Most Popular Sport in the U.S. but it's extremely difficult to find a great American Football Movie.

Think about it? There are not a whole lot of Football movies out there but they do NOT have the same watchability factor like Baseball Films such ad The Sandlot, Bull Durham, or Major League.

That's where we find Remember the Titans. A good film - watchable, especially for a middle school team bonding - but just not enough to hold up against the rest.

#6: White Men Can't Jump (1992)

Basketball Films, like American Football Movies, are kind out there in limbo.

The best stories are usually told through Docs, but White Men Can't Jump Story stands above the rest as it illustrates one of my favorite faucets about 80s/90s B-Ball...

Trash Talk.

A flick thats shows the High Stakes of One-on-One Basketball with a Witty Perspective.

#5: Warrior (2011)

Move over Karate Kid - Warrior takes the Prize for Best Martial Arts/MMA film... Body Mass Alone, Bro!

In all seriousness, Warrior is a great film which choreographs multiple intense bouts along with excellent in and out if the cage performances from Hardy, Edgerton, and Nick Nolte.

#4: Miracle

Disney is back in the line-up with Miracle.

A True Story recapturing events which led the U.S. to a Gold Medal over the Russia.

A movie that doesn't have the giggle factor of Might Ducks or Slap Shot, but definitely gets you jacked for Hockey.

#3: Ford v Ferrari (2019)

Hey, everybody we got an Oscar Nominee on our hands!

I never in my wildest dream thought a racing movie would be this high up on the list and not include Days of Thunder or Rush.

Prior to viewing I thought Ford v Ferrari would be the next quentessential dad film, but it flew past my expectations.

The Writing, Editing, and Acting are just like Matt Damon's face Post Mole Removal... Smooth

#2: A League of Their Own (1992)

I might get a lot of sh*t about this choice, but I am prepared to defend my choice until my last breathe.

A League of Their Own, a movie about Female Ball Players, is the BEST Baseball Movie of All Time.

Again, Baseball Movies are some of the Most Rewatchable Films period. There are dozens of notable films to choose from

Why A League of Their Own?

They all have great Characters, Stories, and Quotes, but for me it comes down to making my selection I have to go with the film that displays more Love for the game.

The Sandlot gets tied up in a Babe Ruth Baseball Rescue Mission, Field of Dreams is a Ghost Story, Bull Durham is a Love Story, and Major League can be too far fetched at times.

A League of Their Own is purely focused on the Sport of Baseball based on True Events - in the midst of war time people were itching for normalcy and droves of women came together to deliver Americas past time.

Amazing acting from Geena Davis, Tom Hanks, Lori Petty, Rosie O'Donnell, and Madonna who provide warmth, levity, and humor to their roles.

Finally...

We come to our #1 Sports Film...

The Best of the Best...

#1 Creed (2015):

If Boxing Movies were a Personification of a Man they be the Dark, Mysterious, Brooding Bad Boy with piercing grey eyes that you wish you could Tame.

You just can't look away.

Boxing films go beyond Knuckle Sandwiches as they capture the Psyche of Fighter - a bout within the boxer.

With Raging Bull, Cinderella Man, The Fighter, and the Rocky Franchise all preceding Creed it's interesting to see it on top.

But too me, Creed took all the great things from its predecessors and built a fantastic film.

The Best Cinematography, The Best Choreography, The Best Build Up. Coogler (director), Jordan and Stallone should be proud of there work.

The Best Sports Film?

YES!

Creed (like most boxing films) inspire.

Not only did Creed illustrate the love of the sport but also his character's drive and determination to make one's self the best.

Watching this film in theatres I got so jacked I literally jumped out of my seat with fists pumped .

The mentality displayed in Creed can easily translate into other people's lives and serve as role model. An instant classic that which provides that little push when you need inspiration.

#Movie Monday #52 in 20 #Best Sports Film #Best Sports Movie #Sports #Creed #A League of Their Own #Ford v Ferrari #Miracle #Warrior #White Men Can't Jump #Remember the Titans #Stick It #The Greatest Game Ever Played #Boxing #Baseball #Basketball #Football #Gymnastics #Racing #Golf #MMA #Hockey #Sports Film #Sports Movies

[natehoodreviews]

Honey Boy ★★★★

[This piece was originally published in the church newsletter for the First Presbyterian Church of Delray Beach.]

Few Hollywood stars have had careers as tumultuous and transformative as Shia LaBeouf. He first hit the national stage as a child actor in the Disney Channel hit series Even Stevens where his performance as the troublemaking Louis Stevens netted him a Daytime Emmy Award. From there he made an uneasy transformation from tween icon to Hollywood leading man of forgettable second and third string thrillers before again capturing the spotlight as Sam Witwicky, the painfully in-over-his-head hero of the first three Michael Bay Transformers films. But as these roles still left him creatively and emotionally unfulfilled, he moved into the third and current stage of his career as an artistic enfant terrible, shocking the press and public with transgressive performance art pieces and roles in idiosyncratic European art films and American indies. It’s almost as if LaBeouf has done everything possible to move himself away from the squeaky clean image of his early Disney Channel years. Almost as if he was running from something.

Alma Har’el’s Honey Boy seeks to define that something in a film that succeeds not in spite of LaBeouf’s sprawlingly diverse career but because of it. It excavates the root of all his creative nervousness and the emotional agony that’s fueled his self-destructive personal life for nearly three decades. Written by LaBeouf himself during a stint in rehab following a 2017 arrest, the film charts his relationship with his real-life father, an alcoholic Vietnam vet who coached and bullied him in his early years as a child actor. It alternates between two timelines and two Shias, here named Otis. The first sees him as a grown-up in 2005 struggling with the pressures of movie stardom. Played by Lucas Hedges, this Otis is an alcoholic mess who gets ordered into rehab after a drunk driving accident. As he goes through therapy, he flashes back to his childhood in 1995 where he lived in a hotel with his father James, a divorced former rodeo clown with manic anger issues. Fat, unkempt, and saddled with a hair trigger temper, James keeps young Otis in a constant state of fear even as he tries to do right by him as a father. What’s worse, he uses Otis as both a prop and shield against his shameful past, best shown in a remarkable scene where he forces his son to act as a go-between in a phone conversation with his ex-wife, making him relay his screamed abuse to the boy’s mother over the telephone. Small wonder that when 2005 Otis first arrives in rehab he’s immediately diagnosed with PTSD.

Honey Boy ultimately sees the adult Otis come to terms with his fragmented childhood and his father. But this is no Hallmark movie with a chintzy predetermined outcome; this film earns its catharsis with one of the bravest feats of artistic self-sacrifice in recent cinema: LaBeouf himself plays his father James in the flashback scenes, becoming the very object of his childhood fear. What we’re seeing in this film is a complete exorcism of all the hatred and resentment LaBeouf harbored over the years as he dares to humanize the monster lurking in his past. We see not just James’s cruelty but his personal struggles and failings: his desperate attempts to stay sober, his own self-loathing, his jealously of Otis’s success, his terrible, terrible loneliness. These scenes didn’t need to be in the film—LaBeouf could’ve easily made him a two-dimensional, irredeemable villain. But as any therapist will tell you, true healing comes in confronting the truth. So LaBeouf reaches down deep inside his father, finds the humanity alongside his cruelty, embraces it, and becomes it. And then, astonishingly, he loves, accepts, and forgives it. There are many films about forgiveness. But Honey Boy is one of the precious few that feels like an act of grace itself. It’s one of the most humbling film experiences of the year.

#★★★★ #Honey Boy #Shia LaBeouf #Alma Har’el #2019 #Film Reviews

[oh-theatre]

Sycamore High: The Tale of 3 Boys (Chapter 7)

A/N: Alternatively named angst fest. Anyway, this is where things start getting serious, so please, please read/check the warnings before every chapter!! Writing is fun, stories and creating is fun, and reading is fun, but it should never ever cause harm. So please read the warnings. 

summary: Bill returns home after an exhausting day, Ted has something he needs to tell his mom, and Emma finally learns the full story.

words: 2,396

warnings: Death mention, implied child abuse, child abuse mention, anxiety, negative thoughts, swearing, angst

Ao3 link

“Dad! I'm home!” Bill called through the house. He heard some shuffles upstairs and figured his dad was in his study. He went to his room and placed his things in their proper area. I should work on my homework, He thought. 

Why? That snide voice rang through his head. He cringed at the thought. Don't answer it, just focus. He opened his agenda and started planning how he would go through his work that evening. Start with the hard stuff, get that out of the way, end with the easier work. Bill nodded content, sounds like a plan.

Nothing you do matters

“Hey, kiddo!” Bill sighed and looked up to see his father standing in his doorway “Sorry, I was in a meeting, how was school” Bill pondered whether or not he should inform his father of the events that had transpired at school today. Today, Bill decided, was not a good day for either of them so he decided that was a conversation for another time.

“It was adequate, nothing much happened” Bill said “I apologize for being late, traffic” He explained. He was always much more formal around his father. It wasn't required and it wasn't too much of a change from his language around his friends but it was there. His father nodded slowly, he was always good at telling when something was wrong, but he decided not to push his son. Not today, at least.

“Ok well… I should return to my work” He said jokingly copying his son's formality, Bill gave a polite chuckle “I know it isn't what it used to be but, happy anniversary kiddo” He whispered lovingly to his son, Bill felt his shoulders drop. He nodded, he couldn't do this again, he was exhausted. His father stared amount before perking up again “Anyway! We lo-” They both held their breath “I love you Bill” He quickly left the room leaving Bill to return to his work. 

~~~~

Deep breaths, Ted thought. He stood in the doorway to his kitchen watching his mother cook. She hadn't noticed him, humming lightly to the music that played. Ted watched with a smile, why couldn't I be more like her? He watched for a little longer before deciding it was now or never. Why am I so nervous? Ted thought she's my mom, she's loved me my entire life.

But what if this changes that? 

There it was, the thought Ted’s heart ached at. The ‘what if’ of it all, his mouth felt dry. He couldn't swallow, he couldn't move. Just do it, Ted thought like Shia LaBeouf would say. 

Way to reference an outdated meme Ted

Shut up...Me?

Ted shook his head, he's going crazy. He set his things down creating a small noise, his mother turned smiled brightly at the sight of her son. She went to wash her hands and pause her music, ushering him to sit down.

“How was class?” She asked once they had both taken their seats, Ted clenched his fists and felt the sweat dripping from his forehead. “Ted… are you alright?” His mother asked worriedly. 

Great, now you've gone and made her worried. Could you be any more of a failure?

“Ted?” He looked up and the thought disappeared. He took a deep breath and looked at his mom in the eyes. 

“Ok, so girls” He managed. Oh someone give this guy a medal, Ted sat dumbfounded. Really? That's how you want this to go? She's going to think you want the sex talk. 

“Um, girls?” She asked, her brows furrowed “Oh! You- talk? Seeeex?” Like mother, like son, Ted supposed. He shook his head furiously.

“No… No sorry” He searched for the best way to phrase this “I like girls” He began stating the obvious, his mother simply nodded assuming there was more to his statement. “I have always liked girls, and I still do… like girls” If you say girls one more time, Ted thought. “But… um recently- Well not recently- I started… I” He rambled, he kicked himself under the table.

Get it together, man!

“A while ago, I discovered some new- No… um... When I met Bill- No I” He bit his lip in frustration, his mother stared at him shocked and confused. She reached out her hand offering comfort. He pulled away rapidly and slammed his fist onto the table. “I LIKE BOYS TOO” He shouted. Well, that works...I guess. He looked away afraid for what came next, prepared for yelling. He racked his brain for an answer to what he expected to come next. ‘You're a disappointment’ or ‘How fast can you get the hell out of my house?’. He felt a warm body kneel in front of him, he shut his eyes hard, so hard it hurt. A hand was placed on his, he curled in further hoping it wouldn't hurt as much. He prepared for a blow… or a belt or… or-

“Ted” Everything went silent, the thoughts stopped, the room stood still. “Ted, will you please look at me” Her soft voice whispered. Ted hesitated before slowly regaining his posture. He sat a little straighter, still hunching out of shame. He looked at his mother, he felt wet tears burn his eyes as they fell onto his cheeks. She smiled sadly at his demeanor and slowly lifted her hand to his face. He cringed prepared for her hand to fly across but was met with a soft gesture. She wiped his tears away holding his face, he couldn't help but melt into it. “Ted honey… It's ok” She said, he stayed quiet but his mind raced. 

Is it ok? Are you lying? Are you going to try and… ‘fix me’?

“It's ok as long as…” Oh god here it comes, Ted panicked. “As long as you are still the Ted I raised you to be” She told him, still smiling. Ted paused, he recognized that… Ted groaned annoyed.

“You watch too much Greys Anatomy” He told his mother, she laughed, Ted joining soon after. “But… really? It's ok?” He asked quietly

“Of course it is! Sure it will take time to get used too, for you too” She noted, Ted agreed “But that's life, and as long as you are still my son” She said “Who I love very much” She added, he smiled eternally grateful in that moment. “Then I don't care who you bring home, or crush on, or kiss” She paused “I'm still going to be exceedingly over-protective and grill them for hours on end” She bopped his nose, something she used to do when he was a child. “To make sure that they, whoever they might be, are perfect for my son” She claimed, Ted rolled his eyes fondly “So… you like boys and girls?” She asked he laughed softly wiping his eyes.

“I like boys and girls” He claimed, he felt taken aback. The words sat comfortably on his tongue like they just fit there. He beamed confidently nodding at himself, he really was lucky huh?

“What the hell did you just say?” A low voice growled. Ok maybe not so lucky, He thought, panic set in at the sound of knuckles cracking.

~~~~

“Hey! Sorry, I'm late!” Paul exclaimed walking towards Emma. She sat in a chair, her work spread out in front of her, she looked up from her phone and smiled at Paul. “I promise I have an actual excuse this time” He half-joked sitting down next to her. She waved him off and put her whole attention towards him.

“It's fine really, hows Bill?” She asked concerned. Paul arranged his things out onto the table, to parallel Emma.

“He's better now, just exhausted. We took him home and got stuck in some pretty nasty traffic so…” Paul explained trailing off. He had learned how to cut himself off by now, he tended to ramble.

“That's good” She said expecting to feel relieved but she swallowed tasting guilt “I'm really sorry… about everything” 

“No no… don't be! I should have explained something before you sat with us, Ted shouldn't have gone off on you and I should have tried to intervene” He explained “Its just… today is... important, I guess you could say” He continued, Emma looked at him curiously

“Why?” She asked “Ted mentioned an anniversary… or something? Sorry I don't mean to pry…” Falsehood, Emma loved to pry. She cursed herself however seeing the somber look that Paul had taken on.

“It's not really my story to tell but… Bill doesn't like to so…” He thought for a moment. “It used to be a happy day actually” Paul explained, Emma nodded, encouraging him to continue. “Ok well… Bill lost his parents at a really young age” Emma sighed, knowing the pain of losing someone was her specialty. “I mean I guess… he didn't really lose them… They didn't want him so they gave him to an orphanage” Paul recalled, he struggled to remember everything “Anyway, he practically grew up in an orphanage, he was young so he had more of a chance to be… ‘picked’” The word sat uncomfortably on his tongue. “But he ended up being there for… years. Finally though, on this day, Ten years ago he got adopted. He was 5 around the time and this lovely couple Mandy and Corey Dorris took him in. They found out that neither of them could have children so… adoption!” As the story went on Emma could hear the sadness radiate through Pauls's voice. He swallowed nervously “He was really shy, and quiet. His dad- Corey, was a little wary of adopting, but his mother Mandy knew right away. She and Bill just… clicked” Paul looked around, he noticed some eyes on the pair. “ So they took him home, and it was great. Corey got used to Bill and eventually was a lot more comfortable. Bill remained himself, the quiet and shy boy but not in a way that could harm him, ya know? They adopted him around the beginning of summer so he had plenty of time to prepare for school” Paul took a deep breath, Emma couldn't blame him this was a lot “He was smart, really smart so that didn't really phase him too much. That's where Ted and I come in, we met Bill during his first year of school. Ted and I were already friends, we were born in the same week and our mothers met” He shook his head “It was this whole thing, basically we've been friends for a long time” He went on “We were little so we didn't really care much about social groups or cliques we just wanted to play some lego and eat play-doh” Emma laughed, Paul smiled nervously “God I'm dragging this out huh? Anyway, we were friends, we stayed friends. So every year on this day we would celebrate, all three families. It was nice and Bill really enjoyed it…” He trailed off zoning out

“But?” Emma finally chimed in

“But things change” Paul said sadly “Two years ago… Bills mom got really sick. And she… she passed away” Emma felt her jaw drop a small bit, she felt herself exhale. Paul shut his eyes, he didn't want to cry, not now, please. “So we stopped, Bill wanted to stop. We still wanted it to be a happy day so last year, we just got together, Ted and I with Bill for something small… casual” He kept going, his wavering voice slowly stabilized “It was ok but… we dropped it. I think it just hurt too much for him” He stopped, finished. “He has… anxiety… always has. It was really bad when he was little, his mom helped him with it… Ted and I do what we can but ever since his mom…” 

“Oh” Emma said, she processed everything. She, better than anyone, could understand. 

It's not about you though, is it? 

That's not what I meant! Emma claimed, she shook her head and returned to Paul. “So… Ted…?” She asked, allowing the pieces to fall into place

“Is extremely protective over his friends, especially Bill” Paul warned. “I'm not sure what it is, but ever since we were friends… Ted just… he can be a real ass sometimes but-” He laughed “He's an incredible friend” Emma nodded.

“I'm really sorry, I had no idea” She finally said “I make jokes… when I… I make jokes” Great excuse Em. 

“It's ok really, it's just arguments, loud noises, crowds, really anything can set him off” Paul explained, Emma listened taking mental notes, she didn't want to mess up again “I don't want to say be careful of stuff like that. That's not fair to him, to create eggshells around him? But just be...mindful” Paul settled on that word. Emma nodded understanding, understanding so much more than just his anxiety. Understanding more than Paul did, to be honest. Understanding loss. They sat for a while in silence, taking deep breaths. Emma was about to speak up but the table buzzed rapidly. Pauls phone was chiming, he looked down to see message after message from Bill. They just kept coming, his heart started to race as he tried to read them until finally through all the confusion he tapped the call button. He spoke in a low but panicked voice.

“Bill? Is everythi-” He was quickly cut off, Emma could hear a rushed muffled voice through the phone. “Ok... Ok, Bi-” 

Pause

Emma watched as Pauls face dropped into absolute horror. He stood up turning away from her listening carefully to Bill. She stood up and joined his side, not thinking she intertwined her fingers with his and squeezed. 

Pressure 

“Ok...Ok, I'm on my way” He said finally, agony filled his voice. He hung up and stared blankly at the wall before turning towards the table and packing his things in a panicked manner. He finished turning to Emma, his eyes looked at her but… he wasn't really there. “I… I have to… I have to go?” He wasn't sure of anything, he couldn't think. 

“Paul…” Emma started slowly “What's wrong?” She asked. He just gave her an exasperated look, he was confused and scared. He shook his head, his eyes pleaded for help. They stood for what seemed like forever until Paul finally decided what to say

“Its Ted” Was all he could manage. And all he could repeat.

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