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assortedpuzzlepieces · 3 years

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Ok, I’m about to go off on a GIANT rant about a specific issue I have with John Winchester & how the show intentionally & canonically portrays him as an ableist, homophobic asshole through his portrayal by JDM, so buckle up.

For the record, this is something I’ve always believed, but after listening to podcast episodes from @otrsupernatural & Carrying Wayward, one super clear example of why has just snapped into place & I feel compelled to share it.

So I want to start by noting a couple things that stand out. First & foremost, I think JDM is an incredible actor & I think he brings his A game with his portrayal of John. John Winchester is undeniably an asshole, & yet JDM balances that so well against the idea of loving parent, to not only make the character more realistic, but also to give real authenticity & depth to the trauma his children experienced at his hands & answer why they act the way they do in regards to him as their parent.

John is someone who, on the surface, appears to be a loving and concerned father, who makes mistakes, but does so because he’s in shitty circumstances & doesn’t have a lot of options or has his own trauma to battle that limits the choices he believes he has.

However, the show also gives us other content that proves there is more to John than that caring but broken man from as early as S1 & into the beginning of S2, & this content screams the truth of his ableism & homophobia, & gives some really strong evidence as to why these are two of the primary struggles of his children through the end of the series.

To explain, we 1st have to look at characters from earlier in S1. In 1x10, Asylum, we are introduced to Dr. Ellicott. He is shown to be someone who is canonically ableist to people with MHI. He sees them as less human, he does unethical experiments on them, he tortures them, just, lots of gross stuff there. On top of that, we see him as a ghost using what appears to be electrical shocks to Sam & Dean to possess & harm them, which resembles electroshock. There are also strong echoes of conversion therapy in this episode.

After this, we have 1x12, Faith, where Sue Ann is using dark magic to attack & murder people she hates, which specifically includes a woman who was pro choice & a gay man. This not only shows that she was homophobic, but that she condemned sexual freedom & bodily autonomy for women as well, which is in relation to homophobia, as well as deeply rooted in misogyny.

So essentially, we are shown a doctor who tries to force people to be less mentally ill or queer by “curing” them, & then a woman who took it a step further & murdered them to “cleanse” the town. We are given two different, but very interwoven ways with which society has tried to get rid of queers & disabled people, & it’s not subtext, it’s literally stated.

Now, in the show, both Dr. Ellicott & Sue Ann are the villains, & while the show demonstrates their ableism & homophobia, it also clearly condemns them for those actions. They are both dead/gone by the end of the episode & their actions are shown as evil. This is SO important, especially for a show that has failed in other episodes to truly state what exactly is the problematic action in the episode (looking at you, Bugs & Route 666).

That said, if Dr. Ellicott & Sue Ann are villains, then we must also extrapolate that ableism & homophobia are intentionally being written as evil in the show, so other characters who demonstrate these actions are also bad. (Yes, I know I’m being super redundant right now, but I just want to be really damn clear on this to demonstrate why I believe John’s characterization is intentional).

Now, in 1x21, John finally “learns” about Sam’s psychic abilities, & I say that in quotes bc there’s reason to believe he knew about it already from Missouri & was just in denial until confronted with the evidence, at which point he has a very strong reaction. As Ali pointed out, it’s interesting that he has such a strong negative reaction, as he clearly doesn’t have an issue with Missouri as a psychic, & yet he’s upset about Sam being one. He demonstrates the mindset of “othering” people outside of his family, which is a common treatment of both people w/ MHI & queer people - the mentality that “those people” are fine in general, but “not my son/daughter/family/me”.

So here in that episode, we are already getting an attitude from him that clearly parallels ableism & homophobia, & that is on top of other comments he made that are clearly rooted in misogyny, like his “that’s my man” to Dean in the flashback in Something Wicked This Way Comes (1x18).

THEN - the final nail in the coffin is the “secret” he tells Dean before he dies in 2x1; that Dean needs to either save Sam or stop him. By now it’s crystal clear he views Sam as something “other”, something not fully human, & his response? It’s literally “cure or cleanse”. Either make him “normal” or get rid of him.

To repeat, John LITERALLY uses ableist & homophobic language & tactics towards him son because he is different, & also tries to force Dean to do the same, passing on that legacy, by trying to erase anything about Sam thats not his personal definition of “normal”, all out of FEAR of who his son is & what he might do.

And the show CONDEMNS this behavior from the very beginning, even before we ever see him act this way!! They make it clear that ableism & homophobia are BAD, show John act that way, & then condemn him AGAIN when Dean tells Sam & it is made clear to the audience that what John asked of him was wrong.

Like… holy fuck. There is literally no way I can watch this & not believe that his characterization was not 100% intentional with him being set up as a bad person & his actions as condemnable. It’s just not narratively possible. John Winchester was intentionally written to be an asshole & we are supposed to see him as one, & any love we see from him is only meant to validate the complicated feelings Sam & Dean have towards him, not undermine the knowledge that he is a bad person. It’s literally in the text.

*Edit - Im adding a point here, since it’s been brought to my attention. John’s concern about Sam being infected with demon blood & possibly corrupted does not detract from the parallel being made between his actions & those of IRL people who are homophobic or ableist. In fact, this is another argument for that in interpretation, & here is why -

For literal thousands of years, mental illness has been viewed as demonic. People w/ MHI were thought to be possessed, evil incarnations, or even just sinfully corrupt & given to wickedness. People w/ physical disabilities were believed to be punished for moral failings, not faithful enough, etc, etc. Queer people were believed to be sexually deviant, witches, destroyers of families, etc.

These beliefs carry across many religions, but especially Christianity, & are present even today in some more extreme sects. And the people that believed these things? Well many of them were parents who “loved” their child & were trying to protect them from evil by purifying them. They too believed they had valid fears & good reasons to torture, maim, & even kill their children.

So to anyone who would argue “well it’s not the same because John had a good reason to be afraid of Sam” - shut the fuck up, because no, he didn’t.

Sam hadn’t hurt anyone. He wasn’t doing anything worth killing him over. He was a good kid who was hurt by someone outside his control & yet he only started doing anything that was truly wrong when he was pushed to it by circumstances that were again, beyond his control, & only then bc he was trying to do what was right!!

Anyone would do that, not just a kid w/ some demon blood powers. So let’s not act like he was inherently dangerous just BC he was different, bc guess what? That’s part of that mindset too. Sam was a good fucking person & John seeing him as less was John’s failing, not Sam’s.

#supernatural #dean winchester #sam winchester #john winchester #i hate john winchester #ableism #homophobia #misogyny #othering #asshole John Winchester

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jerakeenc · 3 years

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many kidfics i’ve read and loved

look who’s reccing a million year old fics now. kidfics, very many. posted to dw for snowflake, thought I’d copy here as well. will be reading most, if not all. if you don’t hear from me again, this list is the culprit.

101 Ways To Get Lucky (In Love) by lenore

18,200 words | SGA, McKay/Sheppard

Rodney McKay is rich, gorgeous and at the top of his game—except someone just moved the goalposts! Now Rodney realizes he is sorely lacking the one status symbol that everybody seems to have…the perfect family. Rodney needs help, so he hires a relationship coach. Single-dad John Sheppard may be an expert, but not when it comes to his own relationships! And every day he spends with Rodney makes him wish that he could be the one to fill the vacancy in Rodney's life…

A Beautiful Lifetime Event by astolat

29,000 words | SGA, McKay/Sheppard

Life is what happens when you're busy making other plans.

An Earlier Heaven by regann

67,400 words | X-Men, Erik/Charles

In the wake of Cuba, Charles and his students are ready to pick up the pieces and work toward achieving Charles's dream of a safe haven for young mutants. Those plans, however, take a surprising turn thanks to a very unexpected complication. As he slowly builds a future for his students and for his child, Charles struggles with the loss of Erik and the secrets he's willing to keep to protect his family, but those strides are shattered when Erik makes a startling reappearance into his life. [mpreg, kidfic, ensemble]

And everything nice by noelia_g

30,200 words | Social Network, Mark/Eduardo

The one where Mark somehow ends up with a child and of course needs a nanny for the amount of time he spends at the office. Only problem is a string of nannys keep trying to get into his pants for what he assumes is his money. Cue Mark's assistant hiring a male nanny, enter Eduardo.

asking to be born by longtime_lurker

26,500 words | Bandom, Pete/Patrick

"Don't worry, it's probably just his big gay freakout," Andy yells cheerfully and unhelpfully into Patrick's ear as they're hustling Pete over to the nearest private clinic.

Better with You by harriet_vane

38,100 words | 1D, Liam/Louis

Based on this prompt at the kinkmeme:

Single parent and solo artist Liam Payne hires Louis Tomlinson to be a full time nanny to his four year old son Sammy. Although the two men don't quite click from the start it's love at first sight between Sammy and Louis. Eventually Louis and Liam warm up to each other and get on like a house on fire, in fact the two become a little too fond of each other.

I refuse to apologize for how sweet this ended up, okay? It's kidfic, I am forever writing kidfic, and this one is even kid-fic-ier than usual.

Can't Get Enough of You (Baby) by eternalbreath

22,100 words | Inception, Arthur/Eames

Eames vanishes from dreamshare and Arthur goes a little crazy looking for him until he stumbles across him -- with a baby.

Chelsea, Chelsea, I Believe by empathapathique

300,800 words | Hockey, Kane/Toews

Patrick meets a girl his rookie year.

Don't You Shake Alone by dsudis

62,180 words | Generation Kill, Brad/Nate

Nate looked exactly like Brad always pictured him: exhausted in the full life-in-a-combat-zone sense of the word.

Dude, what's a bulwark? by kellifer_fic

12,150 words | Teen Wolf, Derek/Stiles

Beacon Hills is the kind of small town where everybody knows everybody, and what everybody knows is that surly diner owner Derek Hale and free spirited single dad Stiles Stilinski have been in love with each other for years. If only they knew it too.

Every Other Beautiful World by rhiannonhero

43,280 words | SGA, McKay/Sheppard

Some things are unexpected but still inevitable in every beautiful world.

Forever, Now by harriet_vane

227,100 words | Bandom, Frank/Gerard, Jon/Spencer, Brendon/Ryan, Brian/Greta

Brian rescues kid!Gerard and Mikey from life on the streets, and eventually everyone finds a family.

here comes the sun by oflights

56,600 words | Social Network, Mark/Eduardo

This is a story about growing up, sad 70's rock songs, too much hair gel, "Maxwell's Silver Hammer", a baby with curly hair, a Geiger counter, a dog that isn't named Max, the Chicken Dance, Cheerios, pepper-spray, drugs, sex, and a stuffed chicken named Cluckerberg, nicknamed Cluck. or: Mark raises Sean's accidental baby, and I write the fluffiest thing ever.

I Got a Love (That Keeps Me Waiting) by svmadelyn

163,700 words | Hockey, Kane/Toews

There's a lot of different ways this summary could go, like:

Patrick Kane gets more than a gold medal in Sochi.

Or, the classic: It's too late to pull out now.

Or: Patrick Kane continues to thrive in high pressure situations.

Or: Patrick Kane gets knocked up, goes to White Castle, and finds love, not necessarily in that order.

But, ultimately, all that really matters is this: Patrick Kane is keeping his baby.

I Would Be by cathalin

20,290 words | American Idol, Kris/Adam

AU. Adam and Kris meet a few years down the road, when down-on-his-luck Kris and his young daughter Katherine show up to rent a room from Adam, who never made it to an Idol audition.

Ice Ice Baby by uraneia

51,340 words | Hockey, Claude/Danny

A gold medal isn't the only souvenir Claude brings home from Prague.

OR: The one where Claude gets drunk, gets pregnant, and gets convinced to move in with Danny, whom he's been secretly in love with for years. What could possibly go wrong?

my heart is bigger than the distance in between us by estrella30

15,000 words | 1D, Nick/Harry

Nick chuckles quietly but grabs the remote and follows Emma, Aimee coming up close behind him. It’s indeed Harry on the telly, singing along to his latest radio hit and smiling slowly into the camera far too seductively for half eight on a Friday morning, if you ask Nick. He presses the volume just in time to catch the crowd’s roaring applause and see the pink flush Harry’s cheeks. Nick watches him duck his head as he gives a small wave to the audience, and it hits Nick that Harry is still the most humble and appreciative billionaire Nick’s ever met.

Good job, popstar, Nick thinks to himself.

or, Nick is a single dad and Harry is his bff and it's a bunch of years into the future and they fall in love

Once Upon a Furry Octopus by skoosiepants

11,270 words | SGA, McKay/Sheppard

He was an intelligent, intuitive pet, but he wasn’t going to start sniffing out ZPMs or hidden Ancient weaponry or detailed instructions on how to kill a Wraith with a common household item. A pen, for instance.

Reconcilable Differences by astolat

40,000 words | Smallville, Clark/Lex

Luthor Family Values.

Shelter by harriet_vane

63,500 words | Social Network, Jesse/Andrew

From the kinkmeme prompt: Some sort of AU vaguely based on Shelter! For whatever reason, Jesse has to take care of Hallie and give up his dream of being an actor. He ends up working in a dead end job when former, now successful friend (Andrew) returns home. They fall in love, etc, only Jesse can't go away with him because he has a responsibility to his family. CUE ANGST.

Show Me The Way Back Home Baby by stilinskisparkles

15,000 words | Teen Wolf, Derek/Stiles

In which Lydia and Jackson produce the world's cutest baby, and the pack goes crazy-- the good kind of crazy. Except for Derek, who is afraid of tiny cute babies and Stiles who plans to be the best Uncle ever. Even if Danny called dibs on Godfather.

Skybird by windsweptfic

33,785 words | Inception/White Collar, Arthur/Eames

Arthur and Eames adopt a kid and raise that kid into Neal Caffrey.

Small Cells and Fibers by sevenfists

7,830 words | Bandom, Frank/Gerard

Tuesdays were finger-painting days. Frank made sure to wear his oldest pair of jeans, because even with his full-length apron and his constant reminders that paint belongs on paper and not on clothing, he always ended up with tiny, multi-colored handprints all over his clothes. There wasn't a thing he could do about it, so he just wore pants from 1995.

Small Primes and Square Roots by liviapenn

12,500 words | SGA, McKay/Sheppard

"I hope you picked someone really intelligent, otherwise it seems like it would be kind of a waste. Of incubation time, if nothing else."

So Wise We Grow by deastar

81,250 words | Star Trek Reboot, Kirk/Spock

"Commander Spock, we have located your son," the Vulcan lady on the screen says, which would be great, except Jim can tell by the look on Spock's face that he's never heard of this kid before in his life. "If it is expedient, the child will be sent to join you on the Enterprise within the week."

Something Better by lovelypoet

18,350 words | Bandom, Frank/Gerard

"We all have to take jobs we don't like sometimes, you know?"

The Next Time You Say Forever by Thistlerose

27,300 words | Star Trek Reboot, Kirk/McCoy

After his ex-wife's death, McCoy is forced to leave the Enterprise to look after his teenage daughter. Under normal circumstances, this would be the end of…whatever it is he has with Kirk that's more than friendship, but less than what he wants. But the universe has other intentions.

The Reeducation of Misters Kane and Toews by jezziejay

15,900 words | Hockey, Kane/Toews

In which Kaner sort of has a kid, and Mr. Toews doesn't know which of them is the bigger brat.

AU featuring teacher!Jon and hockey-player!Kaner. With bonus 'Hawks characters, love notes, pasta jewelry, Be Better Pizzas, pirouettes, a sprinke of angst and guest appearance by Derek Jeter.

The Road Delivered Us Home by keelywolfe

117,430 words | Hobbit, Thorin/Bilbo

In the years since Bilbo left Erebor, he has lost his respectability, gained a nephew, and gotten on with life at Bag End.

He'd left aside adventure for the comforts and peace of his little Hobbit hole, and for the love of a child who needed him. Though perhaps, adventures can yet find him.

This Story Was Brought to You by Our Sponsors by scaramouche

29,500 words | Supernatural, Dean/Castiel

Dean's post-apocalyptic life is a friggin' soap opera. Romance! Angst! Separations! Reunions! Pizza Dinners! A Child Dean Never Knew He Had! It's all very dramatic.

throw a little sparkle all over it by etben

26,000 words | Bandom, Frank/Gerard

"Hey, Ma," Mikey says. "No, everything's fine—well, I mean, Gerard accidentally adopted a baby—no, he's changing her now, he can't talk."

Tiny Houses by ohmyjetsabel

77,130 words | Teen Wolf, Derek/Stiles

"So this is what Stiles does. He lies in Scott’s bed and waits for Melissa to say she’s found someone to get it out of him, to cure him of the wrongness and the bad, and he dreams.

God, he dreams.

He dreams of fire and swollen bellies and that scene in Alien, of giving birth to jackals through his urethra, the whole horrific nine yards. His head is a terrible place to be, he can’t imagine his stomach is much better, why anyone would want to put a thing inside of it."

Tip, Slide, Tumble by j_s_cavalcante

42,900 words | due South, Fraser/Kowalski

Ray knew when he found the body in the alley it was going to change someone's life. He just didn't expect that life would be his.

Turn by saras_girl

306,000 words | Harry Potter, Harry/Draco

One good turn always deserves another. Apparently.

Unless it's lies or it's love by sprat

25,300 words | American Idol, Kris/Adam

In which Adam (a rock star) meets Kris (a single dad) at an Emergency Room in Arkansas at the end of a particularly shitty night. Also features: San Francisco, fresh starts, baked goods, OCs, cameo appearances by Matt and Megan, pirates, monsters with garbage heads and a recording studio.

What Child Is This by lamardeuse

30,150 words | Merlin, Arthur/Merlin

A modern AU with Merlin, Arthur, mayhem, a baby and a jingly elf hat.

What to Expect by arsenic

29,200 words | Bandom, Bob/Mikey

Mikey has his band, and his little girl, and that's enough. Really, it is.

Winter's Children by neery

66,890 words | Marvel, Bucky/Steve

When their attempts to recreate the super soldier serum failed, Hydra started trying to breed Captain America clones from his genetic samples. Unfortunately, the serum's effects aren't passed down genetically, so instead of an army of tiny Captain Americas, they get a bunch of tow-headed, asthmatic, allergic, immuno-compromised little Steves.

And then the Winter Soldier stumbles across Hydra's failed experiment...

With Six You Get Eggroll by speranza

31,000 words | due South, Fraser/Kowalski

"Kick 'em In The Head: A Guide To Parenting."

ETA: Bonus! Because I apparently lost my bookmark for this one but have the memory of an elephant for kidfic, so it came to me eventually. :D

A Farm in Iowa 'Verse by sheafrotherdon

166,000 words | SGA, McKay/Sheppard

John inherits a farm, Rodney ends up entirely out of his element, and there is much ado about baseball.

#kidfic #recs

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who-am-i-no-one · 3 years

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Emma. (2020)

I watched this movie in late January. After multiple viewings and re-reading the book, I have a lot of thoughts about this adaptation.

It seems rather strange, given that Emma is part of my holy trinity of Austen novels, that I didn't watched the most recent adaptation earlier. I think it was mostly due to my initial impression that Anya Taylor-Joy's otherworldly looks didn't quite match what I had in mind for the titular character. I decided to give this version a try after watching Queen's Gambit. Not sure that Anya's looks will ever grow on me, but she did impress me as a young actress who seemed to have a maturity beyond her years.

Long story short: really wished I had seen this movie earlier! It is absurd and heartfelt at the same time, imo, the version that best imbues Austen's humor. It is now my favorite adaption, with the possible exception of Clueless, and I'm not quite sure how much of that is just nostalgia.

From the casting to the direction to the script to the costumes to the set to the soundtrack, I could tell the creative team really put a lot of love into this project. It's always a joy to watch something that's made with love and made well.

Direction

Autumn de Wilde's directing is quite good. I would never have thought this was her first feature. She certainly has a unique and colorful style, which is probably to be expected for such a famous photographer.

Funnily, while watching the movie I kept thinking it reminded me of early Hollywood romantic comedies like Bringing Up Baby (incidentally one of my favorites) or The Philadelphia Story, and then reading interviews and seeing that she had tried to bring in some of that style of humor made me feel rather validated. Also the servants' reactions were awesome!

Absolutely loved the fact that they decided to show that Knightley and Emma were in love with each other very early on in the story, with Knightley more aware of it. I've read some people complaining about the surprise of Emma's being in love being ruined. But come on, did anyone reading two chapters into the book think it wasn't going to be the two of them together in the end?

Loved how much of Knightley's point of view we got in this movie. This is one repressed pinning man. I can totally see this Knightley riding ventre a terre from London in the rain because he thought Emma was heartbroken.

The only gripe I had was the lack of Frank and Jane's subplot. As it seems they shot some scenes for that, I assume it was the director's discretion to take them out. I remember thinking while watching the movie that they must have expected the audience to be familiar with the story because some things just didn't really get explained or extrapolated on a lot. If you hadn't read the book it'd be 30 minutes or more into the movie before you put two and two together and figured out why Mr. Knightley is always at Hartfield.

Script

The script takes most of the dialogue directly from the book, which is awesome. I love Austen's writing because there is a certain musicality to it and retaining that in large part for the movie really made it better for me. The deftness with which Eleanor Catton moved dialogue from one scene in the book to a totally different one in the movie was quite brilliant. Everything flowed so well.

The scenes that differed from the book were also excellent - namely, I really loved the Jane/Knightley duet, the infamous nosebleed and first kiss scenes. 💖 I thought the screenwriter used those changes to quickly establish plot points and character arcs well.

Costume/Hair

Not a Recency expert so can't say much about the costumes and hair as far as period correctness but from reading other reviews it seemed like they were very true to the period. Obviously appreciated them taking the time to show the audience how men got dressed in that time (purely for research purposes obviously 😜).

Emma's dresses were all quite beautiful. I especially loved the black evening dress, the pink one with the roses and the proposal dress. Also loved the little pop of red shoes that went with the proposal dress. As someone who wore red shoes with her wedding gown I heartily approve.

Absolutely loved how Emma's curls unwound as her life unravels. Similarly think they must have done the same for Knightley to a lesser extent. His hair during the card playing scene at the Westons was quite terrible.

Set

I! Loved! Hartfield! It looked just like a doll house. Really most of the sets looked good enough to eat. So much pastel. Reminded me of French macarons.

I liked how everything in Donwell Abbey was shrouded in Holland covers. Makes a good point that Knightley barely lives there at all, that his home has been with the Woodhouses for quite a while now. Which, of course, makes his sacrifice at the end just a little bit less of a sacrifice?

Soundtrack

Isabella Waller-Bridge's music really meshed well with the tone of the entire film. The male and female opera singers, sometimes sounding as if they are bickering with each other and other times seeming to be in duet, was a brilliant touch. The folk music was a little jarring at first but really grew on me.

Johnny Flynn's end credits song "Queen Bee" is amazing. I love that we get Knightley's perspective at the end with a song written and sung by Knightley. It's a lovely coda to the movie. And now, if the next Austen hero doesn't write one for his SO I'm going to think him a very poor sort of lover.

Cast

Anya's Emma was really great. I'm glad they allowed Emma to be her bitchy self. Lol. I haven't watched the 1996 and 2009 versions in a while but I distinctly remember them making Emma too nice. I recall writing after watching the Garai version that Emma was actually mean and they should have let her be mean! If she's not a brat in the beginning, how will we see her change for the better later on? I love what a snob and how manipulative this Emma was and so assured of her place in her little society but still had the vulnerability of almost an imposter's syndrome which I feel most people can relate to.

Her chemistry with Johnny Flynn's Knightley was off the charts. Pretty much every scene they had together I half expected them to reenact the library scene from Atonement lol.

Mia Goth was a wonderful Harriet. She really captured Harriet's inexperience, naivete and diffidence. The orgasmic sounds she was making during the gypsies attack scene were awesome. Although, I could probably have forgone a few of Harriet's scenes for more Frank and Jane.

Not sure why they made Mia go brunette since the book specifically mentioned Harriet was fair? Perhaps having all three leads as blondes was just a bit too much. I'm also not sure if I liked Harriet's ending as I really don't think Emma, even in her most contrite mood, would invite further friendship from a tradesman's daughter and soon-to-be her husband's tenant farmer's wife. This seems a piece of modern day wishful thinking on the part of the creative team.

Bill Nighy was so good as Mr. Woodhouse. He made it so believable why everyone would do everything in their power to accommodate his whims. The gag with the screens was too funny. He was able to sketch out a lonely quirky old man who is afraid to lose those close to him in very limited screen time. Absolutely loved the scene where Emma was heaping blame on herself and he just sat with her in sympathetic silence.

Miranda Hart's Miss Bates was excellent as well. She has long been one of my favorite British comedic actresses but she can also do drama well. Her reaction to Emma's teasing on Box Hill and her forgiveness of Emma later brought me to tears.

Josh O'Connor's Mr. Elton was deliciously creepy. The carriage proposal scene was at once a little scary and hilarious. I actually liked the portrait scenes a little less because I found the acting there slightly affected and veering into 1995 Mr. Collins territory. But as Austen described Elton as having "a sort of parade in his speeches", this was much more forgivable. Really loved Mr. Elton's determination to eat cake during the Eltons' visit to Hartfield.

Tanya Reynolds was an excellent Mrs. Elton and in very little screen time was able to bring to life this meddlesome nouveau riche. Adored her little shimmy during the ball.

Amber Anderson's Jane really looked as if she were in a decline. Callum Turner did a good job as a slightly restless, mischievous and immature Frank Churchill. I did feel his looks were a bit too modern but that's just my personal view.

Given how many scenes they had I thought they used the time they had pretty well with furtive glances and sly smiles at each other to establish the relationship.

Connor Swindells was such a love sick puppy as Robert Martin. Did this role ever get cast in other adaptations? I don't seem to recall at all.

Special shoutout to Oliver Chris's John Knightley. Absolutely had me in stitches.

And last but never the least, Johnny Flynn's Mr. Knightley:

To preface, I will never not fall for Mr. Knightley in any version that I watch. And really, get yourself a good looking enough actor with good enough chemistry with Emma and good enough acting chops and you should have a fairly successful Knightley.

I judge all my Knightleys by the Box Hill scene. And up to that point in the movie, I really liked Johnny Flynn's Knightley. He was playful and sexy and jealous and slightly bitchy as well. The duet scene was lovely because I always appreciate a man who can play instruments and sing well. The sexiness and chemistry of the dance scene was off the charts. That's all well and good. And like I said before, given any well cast actor, I probably would have liked them in those scenes as well, just as I've liked Northam's and Miller's Knightleys.

But, the Box Hill scene absolutely blew me away. To make sure I was not just biased towards the last Knightley I saw on screen, I did go back and compare each version's Box Hill scene and I am, actually, even more blown away. Some of it is a credit to the directing and script, but a large part of it is Johnny Flynn's acting in that scene.

As far a script and directing, the set up to the fight scene was fantastic. Loved Anya's expression changes after she makes the joke. Loved Miranda Hart's Miss Bates as she realizes what Emma meant. The silence that followed. Knightley's shocked face and how sympathetic he was to Miss Bates. Can probably write a whole thing just about this scene alone.

I loved the fact that Knightley had an internal struggle as to whether or not to approach Emma and reproach her for her behavior. I know the book has him tell Emma about his struggle but that just doesn't work as well for me on screen.

During the scene you can just tell how frustrated and disappointed in her he is even though he tries to keep his voice low. But the way he reprimands her does not at all feel lecture-y and I feel like part of it is because it seems like he starts to lose control a little bit as well. His voice starts to crescendo as she stubbornly refuses to admit she was in the wrong and culminates in "badly done, indeed!" with actual fingerpointing. Yikes.

Then he losses steam and looked regretful, almost devastatingly so, at his own outburst and perhaps felt that he was losing her by giving this speech and looked as if he would have said something more - an apology or some words of comfort to soften the blow? - but didn't.

This remorse and the struggle at the beginning really bookended the scene for me.

Absolutely loved his Knightley, and, really, him as an actor after that.

The proposal scene as well was very good. His delivery was just really good. The way he said "If I loved you less then I might be able to talk about it more." with some regret and then closing his eyes as if he can't believe what he just said. Soooo good. Also, he cries very pretty, lol.

The delivery of the three "yes" during the kiss scene as Emma asked for confirmation that he really was ok with giving up his house to come live with them was also brilliant. It just kept getting softer and softer but he never breaks eye contact. Absolute chef's kiss. His closed eyed little smile of content after Emma kisses him just made me melt into a puddle.

Yup, overall I'd say I rather liked his interpretation of Mr. George Knightley. 😜

I did wish they hadn't giving him such sideburns but after watching some Emma interviews I can totally understand. If he didn't have the sideburns there'd be more complaints about how young this Knightley was. He's got such a baby face.

...I seemed to have written an entire essay on this movie...yeah, I just have a lot of feelings and thoughts about this version...

#Emma #emma 2020 #jane austen #movie review #austen adaptations

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taylizmasterpost · 3 years

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Jake Gyllenhaal and Jealous Liz (October 2010 - February 2011)

Now, there’s a lot to say about Jake and Taylor. The time they got together was a time when he was promoting his movie, Love and Other Drugs, and she was about to drop Speak Now. So at first glance, it look a lot like a traditional PR stunt. However, they do not have a first public meeting -- something that Taylor has with a lot of her other PR relationships (think Calvin at the Fund Fair or Harry at the KCAs), and seemed generally more camera shy.

Jake’s costar in Love and Other Drugs, Anne Hathaway, was also single at the time, and arguably a PR relationship between the two of them would’ve drummed up significantly more buzz for the film, so stunting with Taylor seems an odd choice.

Jake also reportedly annoyed Taylor with how much he wanted to hide from the press, which is interesting. I’m not totally certain if they were real or not, but I’ll put all of their stuff in here, because it’s interesting to note Liz’s reaction to all of it, despite her relationship:

23 October 2010 - Emma Stone hosts SNL. Both Taylor and Jake G show up to support her, supposedly they’ve already started dating at this point and this was their first public appearance together.

"They walked around together backstage, but they were careful not to be seen too close. It was hard to tell if they were together, but everyone was shocked that she brought him," a source told People magazine.

Notice the lack of public meeting. Strange that they just showed up together dating.

24 October 2010 - Liz tweets about listening to Never Grow Up

October 2010 - Taylor writes All Too Well, the first of the three “Nashville songs” -- All Too Well, State of Grace, Stay Stay Stay-- that were written for the Red album before she moved to LA, based on the fact that she said she started writing for Red slightly before Speak Now was released.

We also know All Too Well has to have been written in 2010 because what the copyright record for it says:

Now, it seems to me that this is too soon to be about Jake. It’s obviously a breakup song, and Taylor and Jake have only just started dating (unless they had a secret dating history we don’t know about). It would be weird for her to be writing all this about him while they’re still dating.

All Too Well could be about any of the three women I’ve spoken previously about in this masterpost. However, I’m going to try to make the case that this song is for Liz:

All Too Well is Liz’s favorite song from Red. She has said so on multiple occasions. Years later, when she came to watch Taylor’s Reputation tour in Glendale, Taylor even played it for her as the surprise song. Sure, it could just be that Liz is just a fan, but the song fits where we are in the timeline. Liz has moved on with someone else. Taylor is trying to get over it, but she can’t help but think back to the past she remembers “all too well.”

If the song is about a woman, lines like “back before you lost the one real thing you’ve ever known” reads to me as Taylor making a (possibly unfounded) dig at closeting. All Too Well also carries the bad driving metaphor with “almost ran the red,” which runs throughout a lot of the other Liz songs on Red, and which Liz will later reference herself in her own music. The lines in the bridge about “asking for too much” and “running scared,” remind me of Taylor insisting she was single during Valentine’s Day, despite spending it with Liz, only to turn around and miss her once Liz got a boyfriend. Lines about loss of innocence are also interesting, when we think about that L Chat post about Liz from earlier...

Of course, obviously, you can think this song is about whoever you want. If you wanna claim it for JH or Joe Jonas or Taylor Lautner or maybe even some girl Taylor went to high school with, be my guest. I personally don’t buy it being about Emily in a post-Dear John world, and the timeline doesn’t read as Jake to me, so I’m giving it to Liz!

25 October 2010 - Speak Now is released. In the album’s prologue, she specifies that the song “Long Live” is for her band, which is interesting to me, considering that the bridge of the song sounds like it might be about a relationship, and the secret message of the song is “For you,” which sounds oddly specific:

Will you take a moment? Promise me this That you’ll stand by me forever But, if God forbid, fate should step in And force us into a goodbye If you have children someday When they point to the pictures, Please tell ‘em my name

The secret message for Mine is “Toby,” which is the name of the actor who played her love interest during the song, making it make no sense for the song to be about him (and, in my eyes, making it more likely she was trying to cover up who the song was really for). We’ve already discussed Story of Us having “CMT Awards” and Back to December having “Tay,” so I won’t beat you over the head with those.

Unlike the original handwritten lyrics to Sparks Fly, which featured the lyric “Get me with those brown eyes, baby,” the version that Taylor put on the Speak Now album had the lyric “hit me with those green eyes, baby,” with the eye color presumably being changed because Liz has green eyes:

The secret message for Sparks Fly is “Portland, Oregon,” which is where Taylor and The Agency covered Tom Petty’s song American Girl in May 2009 during the height of early TayLiz.

26 October 2010 - Taylor and Jake are spotted together in Brooklyn getting lunch with Emma Stone:

Liz does a sound check for Taylor for the Today Show. A video later gets posted on YouTube and someone leaves this comment noting Taylor and Liz’s chemistry:

31 October 2010 - Taylor and Jake are spotted in Big Sur together and stay at California’s Post Inn Ranch.

Liz spends Halloween with her boyfriend:

1 November 2010 - Taylor’s appearance on Ellen airs. Ellen asks her about Jake. Taylor says “I’m always optimistic about love. Yes, always, sometimes.”

2 November 2010 - Taylor and Jake are spotted in Santa Barbara together. They get ice cream, interact with fans, and Taylor reportedly laughs at everything Jake says.

16 November 2010 - Jake attends the Love and Other Drugs premiere alone. This is interesting to me, considering if this was a PR relationship you would’ve thought he’d bring Taylor as his date. Still, Paula made some weird decisions in her time as Taylor’s publicist (like putting her with a carousel of 18 year olds), so this could just be Paula thinking that Taylor showing up at the premiere with him would be too obviously read as a stunt. Doesn’t rule it either way. Still, I think Anne would’ve been a better choice for PR for this.

Mid November - Perez Hilton alleges that Jake has picked up Taylor on his private jet to fly her to London because she was “feeling lonely.” Jake was in London promoting Love and Other Drugs so this seems very stunty to me personally.

22 November 2010 - Taylor attends the American Music Awards and wins Favorite Female Country Artist.

Liz tweets congratulations at her and seems generally excited.

24 November 2010 - Love and Other Drugs is officially released in theaters.

25 November 2010 - Taylor and Jake spend Thanksgiving in Brooklyn with Jake’s family.

26 November 2010 - Liz seems to have spent Thanksgiving with Jason:

27 November 2010 - Taylor and Jake are spotted in a coffee house in Nashville:

And, maybe in response, Liz makes this weird and vaguely jealous Tweet:

Now, I don’t know what this means. Maybe the “you” refers to Liz and she’s having what Carly Rae Jepsen would call “boy problems” -- feeling torn and overburdened between a best friend and boyfriend:

youtube

Or, perhaps, the “you” in this Tweet refers to Taylor, and Liz is trying to say that Jake is “using her up,” maybe meaning taking up her time. Or maybe Liz wasn’t referring to any of this. We can’t really know. Still, it’s interesting.

29 November 2010 - TayLiz hang out and Liz tweets about it. Perhaps to make up for the lack of time spent together since they both got boyfriends.

30 November 2010 - Taylor and Jake have coffee in Nashville:

1 December 2010 - Taylor writes a MySpace post about the CMTs.

Liz tweets about watching Glee, meaning she’s the one who got Taylor hooked on the show and therefore interested in Dianna. Hilarious.

2 December 2010 - Taylor calls Love and Other Drugs a “good movie” when asked about it, and won’t say anything more. She also adamantly refuses to talk about her personal life (This gives me 2018/19 Joe vibes, whatever that means).

3 December 2010 - Liz tweets that her favorite song on Speak Now is Last Kiss. She also tweets at Jason about his cooking:

5 December 2010 - Jake is asked about Taylor and says this:

“One of the greatest parts about being in a relationship is the intimacy you share, but it can be difficult if you’re being watched the whole time.”

This reminds me so much of what Taylor’s currently saying about Joe. Interesting, looking back on it.

7 December 2010 - Jake and Taylor do the “maple latte” pap walk stunt in Brooklyn with Maggie and her daughter. This is the only series of photos of them that I think was a set-up, but that means it’s pretty gross this is the one they chose to bring a child into:

I think the reason this was so obviously a pap walk was to get the “maple latte” in the shot. I’ve already speculated that Taylor had written All Too Well prior to her relationship with Jake, and this stunty pap walk would make sense if she needed to use him to cover for it.

8 December 2010 - Liz makes another weird vague possibly jealous tweet:

Now, in the context of Mine possibly being about Liz and Taylor saying that song is about her “tendency to run from love,” it’s possible Liz is shading Taylor’s pap walk with Jake the previous day. This tweet feels very “back before you lost the one real thing you’ve ever known.”

However, maybe she’s just really happy with Jason. I don’t know. I don’t know these people.

9 December 2010 - Taylor and Jake drive around LA, Jake yells at the paps.

Compare these to those photos with Taylor Lautner earlier in the timeline. These are not nearly as staged. Take away from that whatever you will.

13 December 2010 - Taylor turns 21. Liz and Caitlin bring her a pizza. Liz tweets at Taylor that she’s changed her life. This is supposedly the birthday that Jake didn’t show up to that The Moment I Knew is about. Liz and Caitlin bringing her pizza if she’s sad about it would make sense...

31 December 2010 - Taylor and Liz spotted together in Nashville. They get Pei Wei and JustJared calls Liz a “gal pal.” Taylor seems upset, possibly about her whole Jake birthday thing. Or possibly something else.

Liz tweets about going for a run and listening to Speak Now:

5 January 2011 - Taylor and Jake break up.

19 January 2011 - Taylor and Jake are spotted together by fans in Nashville, first at a coffee shop and then at dinner. Jake did not have any other business in Nashville, so it can be assumed he came there to talk to Taylor:

CONCLUSION: Were Taylor and Jake real? I don’t know. They really only ever did that one pap walk and didn’t seem to publicly promote each other’s work, as far as I could find, despite both releasing projects while together. The one pap walk they did seems to maybe have been to cover for All Too Well, which had possibly already been written (likely about Liz) before Jake and Taylor started dating.

Were those tweets from Liz jealousy? Or am I reading too much into it?

Either way, Taylor’s had her fun, and now it’s time to maybe start thinking about getting back together with Liz. There’s just one problem: her boyfriend.

The Speak Now Tour Begins (February 2011 - May 2011)

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uomo-accattivante · 4 years

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Fantastic (but long) article about Theater of War’s recent productions, including Oedipus the King and Antigone in Ferguson, featuring Oscar Isaac. The following are excerpts. The full article is viewable via the source link below:

Excerpt:

“Children of Thebes, why are you here?” Oscar Isaac asked. His face filled the monitor on my dining table. (It was my partner’s turn to use the desk.) We were a couple of months into lockdown, just past seven in the evening, and a few straggling cheers for essential workers came in through the window. Isaac was looking smoldery with a quarantine beard, a gold chain, an Airpod, and a black T-shirt. His display name was set to “Oedipus.”

Isaac was one of several famous actors performing Sophocles’ “Oedipus the King” from their homes, in the first virtual performance by Theater of War Productions: a group that got its start in 2008, staging Sophocles’ “Ajax” and “Philoctetes” for U.S. military audiences and, beginning in 2009, on military installations around the world, including in Kuwait, Qatar, and Guantánamo Bay, with a focus on combat trauma. After each dramatic reading, a panel made up of people in active service, veterans, military spouses, and/or psychiatrists would describe how the play resonated with their experiences of war, before opening up the discussion to the audience. Since its founding, Theater of War Productions has addressed different kinds of trauma. It has produced Euripides’ “The Bacchae” in rural communities affected by the opioid crisis, “The Madness of Heracles” in neighborhoods afflicted by gun violence and gang wars, and Aeschylus’ “Prometheus Bound” in prisons. “Antigone in Ferguson,” which focusses on crises between communities and law enforcement, was motivated by an analogy between Oedipus’ son’s unburied body and that of Michael Brown, left on the street for roughly four hours after Brown was killed by police; it was originally performed at Michael Brown’s high school.

Now, with trauma roving the globe more contagiously than ever, Theater of War Productions had traded its site-specific approach for Zoom. The app was configured in a way I hadn’t seen before. There were no buttons to change between gallery and speaker view, which alternated seemingly by themselves. You were in a “meeting,” but one you were powerless to control, proceeding by itself, with the inexorability of fate. There was no way to view the other audience members, and not even the group’s founder and director, Bryan Doerries, knew how numerous they were. Later, Zoom told him that it had been fifteen thousand. This is roughly the seating capacity of the theatre of Dionysus, where “Oedipus the King” is believed to have premièred, around 429 B.C. Those viewers, like us, were in the middle of a pandemic: in their case, the Plague of Athens.

The original audience would have known Oedipus’ story from Greek mythology: how an oracle had predicted that Laius, the king of Thebes, would be killed by his own son, who would then sleep with his mother; how the queen, Jocasta, gave birth to a boy, and Laius pierced and bound the child’s ankles, and ordered a shepherd to leave him on a mountainside. The shepherd took pity on the maimed baby, Oedipus (“swollen foot”), and gave him to a Corinthian servant, who handed him off to the king and queen of Corinth, who raised him as their son. Years later, Oedipus killed Laius at a crossroads, without knowing who he was. Then he saved Thebes from a Sphinx, became the king of Thebes, had four children with Jocasta, and lived happily for many years.

That’s where Sophocles picks up the story. Everyone would have known where things were headed—the truth would come out, and Oedipus would blind himself—but not how they would get there. How Sophocles got there was by drawing on contemporary events, on something that was in everyone’s mind, though it doesn’t appear in the original myth: a plague.

In the opening scene, Thebes is in the grip of a terrible epidemic. Oedipus’ subjects come to the palace, imploring him to save the city, describing the scene of pestilence and panic, the screaming and the corpses in the street. Something about the way Isaac voiced Oedipus’ response—“Children. I am sorry. I know”—made me feel a kind of longing. It was a degree of compassion conspicuous by its absence in the current Administration. I never think of myself as someone who wants or needs “leadership,” yet I found myself thinking, We would be better off with Oedipus. “I would be a weak leader if I did not follow the gods’ orders,” Isaac continued, subverting the masculine norm of never asking for advice. He had already sent for the best information out there, from the Delphic Oracle.

Soon, Oedipus’ brother-in-law, Creon—John Turturro, in a book-lined study—was doing his best to soft-pedal some weird news from Delphi. Apparently, the oracle said that the plague wouldn’t end until the people of Thebes expelled Laius’ killer: a person who was somehow still in the city, even though Laius had died many years earlier on an out-of-town trip. Oedipus called in the blind prophet, Tiresias, played by Jeffrey Wright, whose eyes were invisible behind a circular glare in his eyeglasses.

Reading “Oedipus” in the past, I had always been exasperated by Tiresias, by his cryptic lamentations—“I will never reveal the riddles within me, or the evil in you”—and the way he seemed incapable of transmitting useful information. Spoken by a Black actor in America in 2020, the line made a sickening kind of sense. How do you tell the voice of power that the problem is in him, really baked in there, going back generations? “Feel free to spew all of your vitriol and rage in my direction,” Tiresias said, like someone who knew he was in for a tweetstorm.

Oedipus accused Tiresias of treachery, calling out his disability. He cast suspicion on foreigners, and touted his own “wealth, power, unsurpassed skill.” He decried fake news: “It’s all a scam—you know nothing about interpreting birds.” He elaborated a deep-state scenario: Creon had “hatched a secret plan to expel me from office,” eliciting slanderous prophecies from supposedly disinterested agencies. It was, in short, a coup, designed to subvert the democratic will of the people of Thebes.

Frances McDormand appeared next, in the role of Jocasta. Wearing no visible makeup, speaking from what looked like a cabin somewhere with wood-panelled walls, she resembled the ghost of some frontierswoman. I realized, when I saw her, that I had never tried to picture Jocasta: not her appearance, or her attitude. What was her deal? How had she felt about Laius maiming their baby? How had she felt about being offered as a bride to whomever defeated the Sphinx? What did she think of Oedipus when she met him? Did it never seem weird to her that he was her son’s age, and had horrible scars on his ankles? How did they get along, those two?

When you’re reading the play, you don’t have to answer such questions. You can entertain multiple possibilities without settling on one. But actors have to make decisions and stick to them. One decision that had been made in this case: Oedipus really liked her. “Since I have more respect for you, my dear, than anyone else in the world,” Isaac said, with such warmth in “my dear.” I was reminded of the fact that Euripides wrote a version of “Oedipus”—lost to posterity, like the majority of Greek tragedies—that some scholars suggest foregrounds the loving relationshipbetween Oedipus and Jocasta.

Jocasta’s immediate task was to defuse the potentially murderous argument between her husband and her brother. She took one of the few rhetorical angles available to a woman: why, such grown men ought to be ashamed of themselves, carrying on so when there was a plague going on. And yet, listening to the lines that McDormand chose to emphasize, it was clear that, in the guise of adult rationality and spreading peace, what she was actually doing was silencing and trivializing. “Come inside,” she said, “and we’ll settle this thing in private. And both of you quit making something out of nothing.” It was the voice of denial, and, through the play, you could hear it spread from character to character.

By this point in the performance, I found myself spinning into a kind of cognitive overdrive, toggling between the text and the performance, between the historical context, the current context, and the “universal” themes. No matter how many times you see it pulled off, the magic trick is always a surprise: how a text that is hundreds or thousands of years old turns out to be about the thing that’s happening to you, however modern and unprecedented you thought it was.

Excerpt:

The riddle of the Sphinx plays out in the plot of “Oedipus,” particularly in a scene near the end where the truth finally comes out. Two key figures from Oedipus’ infancy are brought in for questioning: the Theban shepherd, who was supposed to kill baby Oedipus but didn’t; and the Corinthian messenger to whom he handed off the maimed child. The Theban shepherd is walking proof that the Sphinx’s riddle is hard, because that man can’t recognize anyone: not the Corinthian, whom he last saw as a young man, and certainly not Oedipus, a baby with whom he’d had a passing acquaintance decades earlier. “It all took place so long ago,” he grumbles. “Why on earth would you ask me?”

“Because,” the Corinthian (David Strathairn) explained genially on Zoom, “this man whom you are now looking at was once that child.”

This, for me, was the scene with the catharsis in it. At a certain point, the shepherd (Frankie Faison) clearly understood everything, but would not or could not admit it. Oedipus, now determined to learn the truth at all costs, resorted to enhanced interrogation. “Bend back his arms until they snap,” Isaac said icily; in another window, Faison screamed in highly realistic agony. Faison was a personification of psychological resistance: the mechanism a mind develops to protect itself from an unbearable truth. Those invisible guardsmen had to nearly kill him before he would admit who had given him the baby: “It was Laius’s child, or so people said. Your wife could tell you more.”

Tears glinted in Isaac’s eyes as he delivered the next line, which I suddenly understood to be the most devastating in the whole play: “Did . . . she . . . give it to you?” How had I never fully realized, never felt, how painful it would have been for Oedipus to realize that his parents hadn’t loved him?

Excerpt:

If we borrow the terms of Greek drama, 2020 might be viewed as the year of anagnorisis: tragic recognition. On August 9th, the sixth anniversary of the shooting of Michael Brown, I watched the Theater of War Productions put on a Zoom production of “Antigone in Ferguson”: an adaptation of Sophocles’ “Oedipus” narrative sequel, with the chorus represented by a demographically and ideologically diverse gospel choir. Oscar Isaac was back, this time as Creon, Oedipus’ successor as king. He started out as a bullying inquisitor (“I will have your extremities removed one by one until you reveal the criminal’s name”), ordering Antigone (Tracie Thoms) to be buried alive, insulting everyone who criticized him, and accusing Tiresias of corruption. But then Tiresias, with the help of the chorus, persuaded Creon to reconsider. In a sustained gospel number, the Thebans, armed with picks and shovels, led by their king, rushed to free Antigone.

“Antigone” being a tragedy, they got there too late, resulting in multiple deaths, and in Isaac’s once again totally losing his shit. It was almost the same performance he gave in “Oedipus,” and yet, where Oedipus begins the play written into a corner, between walls that keep closing in, Creon seems to have just a little more room to maneuver. His misfortune—like that of Antigone and her brother—feels less irreversible. I first saw “Antigone in Ferguson” live, last year, and, in the discussion afterward, the subject of fate—inevitably—came up. I remember how Doerries gently led the audience to view “Antigone” as an illustration of how easily everything might happen differently, and how people’s minds can change. I remember the energy that spread through the room that night, in talk about prison reform and the urgency of collective change.

###

Again, the full article is accessible via the source link below:

#oscar isaac #theater of war #oedipus the king #antigone in ferguson #creon #frances mcdormand #john turturro #jeffrey wright #david strathairn #frankie faison #bryan doerries #sophocles #zoom #the oedipus project

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douxreviews · 5 years

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Constantine - Series Review

I come not to praise Constantine, but to bury him.

Well, okay. A little of both.

In a fairly short amount of time from when this is posted, season four of DC's Legends of Tomorrow will premiere, featuring Matt Ryan as a regular cast member playing our favorite bisexual petty dabbler in the mystic arts; John Constantine. This makes it a great time to mention two things. First, if you weren't aware, Doux Reviews has a regular reviewer of Legends of Tomorrow who's both insightful and terribly sexy, so you should definitely check that out. Second, Constantine's one and only season as an independent property is ripe for a fresh look, now that we know we have more trenchcoated goodness coming our way.

So, let's take a look at Constantine's thirteen episode run, in light of what we've learned about the character since, shall we?

The series is now available on demand, so let's go episode by episode, while we count down to his next appearance.

'Non Est Asylum':

Re-watching this episode – and for the record, I re-watched it three times while trying to sort out how I felt about it – two things become very clear. Almost everything in the episode is brilliant, and they absolutely should have thrown away all but the last two minutes and started from scratch there, even if it meant only getting twelve episodes on air.

The issue, as most of you who care will remember, comes down to studio interference. 'Non Est Asylum' exists to establish two characters, John Constantine, and Liv. Liv is the daughter of a friend of John's who mysteriously died recently, has a mysterious magical cabin which is not at all like the TARDIS as owned by John Dee, will serve as the show's home set, and has all sorts of mysterious hints about why he abandoned his daughter and what his story was. All of this is clearly meant to set up Liv's character arc as 'female Neo who fights demons instead of robots'. That's her character brief, and it couldn't be clearer that it was meant to carry the season.

But at some point the studio clearly insisted that they cut Liv's character and replace her with a different type of female lead that they thought would fit the vibe of the show they wanted better. This isn't an inherently terrible thing and is totally within the studio's rights. The exact same thing happened with Big Bang Theory, and if you've ever watched the abandoned pilot of that show with Not-Penny, you know that it was a change for the better. But they absolutely needed to cut this episode loose as a result of that decision, because the scars of Liv's removal really, really show.

You can identify without effort the one single scene that was changed. In the original plan, John has Chas drive Liv past the place she scryed about earlier to see that something terrible had indeed happened there. Obviously this was meant to affirm her commitment to helping people despite her fear of the magical world. Instead, they inserted a scene to follow it wherein other characters discuss how she was so scared by the realization that she left the area, moved to the other side of the country, and would never be mentioned again. Good thing that she left the keys to her dad's cabin, so we still have a home base, huh? It's a sloppy edit that leaves the whole episode feeling wasted, and they absolutely should have scrapped the whole thing, starting the new pilot with John's encounter in the alleyway where he ignites his hands, because that's an amazingly strong image, segueing into the introduction of Zed drawing that same image, which should have, and would have, been a strong intro to her character if it didn't feel so much like a back pedal away from Liv.

It's all a shame, because like I said, the rest of the episode has a lot of wonderful stuff. The dialogue is absolutely cracking, specifically lines like, 'Where do you come from, John?' 'Oh, the sordid passions of my parents.' The effects are beyond first rate, specifically all the flashes to skulls and zombie/demon makeup, which is really tricky to not overdo and they stuck the landing every time here. And finally, the performances, even Liv's, are better than you should usually expect from a pilot. Anyone who thinks that Matt Ryan is just playing himself as John Constantine would do well to watch his portrayal of the electricity demon dressed up in John's body to taunt John. He's playing two entirely different characters arguing with one another, one of which is in what could easily have turned into Halloween makeup, and he completely crushes it.

Other thoughts about this episode; it was a mistake to rush that much information about Astra in right at the beginning of the series in what was already a pretty full episode. Ritchie was a fun character, but they really shouldn't have introduced both him and Chas in the same episode because that reads as a bit of a wasted opportunity for later. And speaking of Chas, now that we know that John is bisexual, do we suppose that he and Chas have had sex? Clearly, the answer at this point appears to be yes, but we'll keep checking in on that point as the season progresses.

'The Darkness Beneath':

Jesus Christ, yes. This. This is what the show should have been directly out of the gate. Just look at how much less we know about Zed than we did about Liv, and yet how much fuller and richer a character Zed is simply by virtue of the fact that we aren't being force fed studio notes back story about her for the entire episode. Ditto for John Constantine. This, apart from being set in the US instead of England, is exactly the sort of situation he'd have been mixed up in in the pages of Hellblazer, and the show was rarely stronger because of it. The absence of Harold Perrineau helps as well, since all he really accomplished in the pilot was to loom menacingly and say, 'I'll be important later.'

If they'd had the balls to completely throw out the pilot and start with John Constantine in the alley with his fists on fire segueing directly into this episode, we would currently be enjoying the premiere of season five of this show. I have absolutely no doubt about that.

'The Devil's Vinyl':

Satan cuts a demo. Reviews are mixed. I suspect that this is the version of the show that the network wanted to have; basically The X-Files with demons for aliens and a warlock/psychic combo for FBI agents. It's not terrible, as monster of the week episodes go, and it provides a good intro for Papa Midnite, but you can't help but feel like the show is rushing to introduce as much Hellblazer back catalog as they can to make up for the pilot episode misstep.

And Chas brought John orange juice because he was worried about his blood sugar. They didn't just have sex in the past, they're currently still at it. John even called him 'Daddy.' Can Chas show up on Legends? Because I am shipping them so hard right now.

'A Feast of Friends':

For thirty-eight minutes of screentime, we get a pretty standard demon of the week wrapped up in a not particularly subtle addiction metaphor. Good enough television, but nothing groundbreaking. But then John walks his old friend Gary into a theater, fully aware that he was leading him to his slaughter just because he couldn't think of another way to win, and we get our first real glimpse in this series of John Constantine: Hellblazer. The interesting thing about Constantine in the comics is that he is always a man who fully expects every single thing he encounters to be the shittiest possible version of itself, and is rarely disappointed. But contrary to how that sort of character is usually portrayed in fiction, that knowledge neither makes him bitter and cynical, nor longing for hope. It makes him pragmatic. And pragmatic is scary and interesting, because it's rarely seen as a virtue and never portrayed as aspirational. Except in Hellblazer.

I hate to keep focusing on sexuality, but it would be fascinating to know what Matt Ryan thought about John's sexuality while filming this series, because we keep encountering moments like John's kiss to Gary's forehead which display an extraordinary level of comfort with male on male physicality while at the same time not glamorizing it or making it feel exploitative. At the very least, I bet Matt Ryan is a hell of a kisser.

'Danse Vaudou':

Jim Corrigan! Dammit, I'd forgotten that they were setting up the Spectre and never got to pay it off. I know I've been saying this almost every story, but can Jim Corrigan please, please, please, show up on Legends?

This is the episode that almost broke me as far as re-watching Constantine goes. There's just so much rich potential and setup that we know is never paid off. The rising darkness that never happens, the live action realization of The Spectre that they were clearly building up to and would have been amazing, Papa Midnite who they had properly set up to be as compelling and layered a character as he had been in the comic books. It's just heartbreaking.

'Rage of Caliban':

A fairly standard Halloween filler episode, the likes of which The X-Files had been banking for most of the 90s. The title exists solely to allow me to make a poncy literary reference for the sole sake of validating my English degree, which I'm going to hold off on for the moment. But the scares are genuinely scary, the child actors aren't irritating, and the twists are pretty good.

Chas, meanwhile, has taken to arguing with Constantine like an old married couple while he's under the influence of the truth telling sword. But then he goes and raises questions by mentioning someone named Rene, so I guess the implication is that John is his rebound relationship? Yes?

'Blessed are the Damned':

Apparently there is a rule that all genre shows are required to do at least one show about snake handlers and one show about faith healing. Sensing that their run would be limited, Constantine does both at once. And, it's pretty much your standard genre show about snake handlers and faith healing, to be honest. Zed's sudden desire for faith stands out as a little out of character, but that's because it only happens for the sake of making us fall for the 'grab the feather' fakeout later on.

It is interesting to wonder what Manny thinks is going on in this episode, with the benefit of hindsight. Were he and Imogene working together? Did he pull out her feather? Or is it just a coincidence that two different angels are up to shady dealings simultaneously? Don't hold your breath for an answer on this one, I'm afraid.

'Saint of Last Resorts, Part 1':

This is the moment you can see the show figuring out what it wants to be. As an added bonus, as the scripting and themes are gelling, the cinematography is absolutely gorgeous and there are a couple of directorial flourishes that are just beautifully handled. The DP on this one was Scott Kevan. I will be looking up his CV later, because his work here is so much better than we usually get.

'Saint of Last Resorts, Part 2':

It's a little odd how completely the naming ties these two episodes into one coherent two-parter, because really they have very little to do with each other as far as plot goes beyond this one picking up where the last one left off. But then, this one picked up the previous episode's cliffhanger from before the holiday break, so that's not so unusual.

By the end of this episode, all the pieces are in place for what the show should have become. Zed's backstory is just roughed in enough to allow for a lot of future development. We've explored why John makes the choices he does through the time honored technique of taking a different character and watching them get forced into making those same choices so that we can better understand how John got there. And Chas continues to prove that he's John's one true soulmate. I've started referring to them as Chastantine, if anyone would like to join me in shipping them.

'Quid Pro Quo':

In which we meet a really fun potentially recurring villain, the pathetic, elderly, also-ran magician Felix Faust, who you just know they would have found a way to bring back repeatedly as a sort of Mudd/Quark hybrid. Plus we finally hear Chas' backstory, in which we find out how he basically became Captain Jack with a countdown clock, which is a great idea and could have been explored in a thousand interesting ways.

Okay, I've been a little puckish about Chas and John's relationship, but this seems like the right time to address the issue like a responsible adult. I think, based on what we've seen this season, that John and Chas have definitely been physically intimate at least once in the past, but purely on a friendship basis. I think that they currently have feelings for another that transcend what we currently think of as friendship but don't really qualify as romantic love. I'd say that they'd reached a pure form of the Greek concept of Philia, but I'd hate to be that pretentious. And I'll tell you why. Because John Constantine would never, ever, think to worry about whether someone was still all right to drive after a night out. But he does for Chas.

'A Whole World Out There'':

And we're back to what's essentially a Supernatural or X-Files monster of the week episode. That's not a terrible thing, intrinsically. As they go, this would have been one of the better Supernatural or X-Files episodes. Plus, Jeremy Davies is always worth watching. It just suffers a little bit from being sandwiched between the previous week's excellent study of character relationships and the knowledge that we're only going to get two more episodes after this.

The show can hardly be blamed for it, but our time with Constantine is rapidly running out, and we don't have time to waste treading water like this. Frustrating.

'Angels and Ministers of Grace':

The evil artifact of the week is a black diamond and not one person made a skiing joke. I find that disappointing.

It's really hard to square this episode with the following week's revelation about Manny. It feels like the whole point of this installment was to humanize Manny and bring him more into Team Constantine's fold, but we learn pretty conclusively in the following episode that that is not where Manny's storyline is going, so what exactly are we supposed to make of what happens here? And what was the long term plan for Zed's brain tumor, which is clearly sitting there in the final scene wearing a tiny t-shirt that says, 'I'm going to be a significant plotline later on', and then never gets the chance to be.

Honestly, as I near the end of re-watching these, the thing that's striking me the most is how much optimism the writing room is showing; diligently moving forward with planting the seeds for long term plans, carefully setting up mysteries inside backstories, all meticulously orchestrated to come into play later on. There's a strange and tragic nobility in the amount of faith they were showing in the show's prospects for a future.

'Waiting for the Man':

This was an amazing season finale. It gelled the developing Constantine/Zed/Jim Corrigan triangle, which we already know to be doomed. We get the foreshadowing of The Spectre, who clearly has very specific wounds that we're going to presumable see inflicted on Jim as he dies and is transformed into his supernatural identity. We get the new information about Manny that completely flips the table on everything we thought we knew about the season's storyline and just begs the viewer to re-watch the season while waiting for answers in season two. Plus we get a stand alone story whose style feels like it could be straight from the pages of Hellblazer; involving ghostly goings-on colliding with the most grotesque and debased aspects of humanity.

This is a heartbreaking series finale for all those same reasons. The showrunners' optimism about the program's future remains unbowed, and no concession is made to the possibility that they might not be renewed. Instead the storyline marchs boldly on, telling a solid standalone story while delicately weaving in the seeds of events to come. If you'll pardon the mixed metaphor.

The closest the show itself comes to acknowledging its situation vis-à-vis renewal is a speech of John's early on in the episode about human life, in which he basically says 'we're here as long as we're here, and then we're gone. It can't be changed, it can't be helped, and it can go screw itself double hard, because we're not going to let fear of that matter.' Which is basically the most John Constantine sentiment ever expressed.

So, now that the charms are all o'erthrown, if I might borrow an appropriate line, what do we make of it all?

This would have been an amazing show, is the closest I can get to a concise answer. It was doing everything right, it was proceeding in good faith and making no concessions to fear, and it got screwed out of continued existence by the most banal and crushing forces. So, in a way, the show Constantine is very much a reflection of Constantine the man.

For those who don't know, or don't remember, the answer to what happened is depressingly simple. The network needed to make final decisions about renewals and cancellations by a fixed date, and Constantine hadn't aired enough of its run by that point to get the amount of positive feedback it needed to survive. It might have made the cutoff if they hadn't tripped out of the gate with the replacement of Liv for Zed, making it feel like the show was already troubled to network executive eyes from the get go. The combination of that initial wobble and the show happening to air a lot of its episodes after the cancellation decision had been made finished it. There aren't really any bad guys in the story, just a confluence of terribly unfortunate factors that no one could change. This is also, in its way, the most Constantine thing ever.

It's ironic that Constantine, the television character, has lived the opposite experience of Constantine the comics character. In the funny books, John was a random factor that occasionally cropped up in other supernaturally flavored books, most usually Swamp Thing. We didn't know much about him, but every time he randomly popped up he got more popular until they eventually gave him his own series. On the television, they jumped right to his own series, and then after that wasn't renewed began using him to pop up in other character's shows as a mysterious magician who served as a random factor in their storylines. Maybe if they'd done it the other way around his own show would have flourished earlier, I don't know. What I do know, however, is that Matt Ryan is clearly beloved, both by fans and by the people making decisions on the TV shows, because a character from a cancelled show on another network just does not get a brought back and given a second chance at life on other shows. That absolutely, categorically, never happens. The closest possible other example is Richard Belzer, and both of his shows were at least on the same network.

So, I highly recommend going back and watching these 13 episodes, because they really are for the most part damn good television. And John would absolutely want a party, not a wake. As to the overarcing plot about the rising darkness, I managed to find peace with it by telling myself that the rising darkness referred to the demon Mallus, who John was eventually able to help defeat on Legends of Tomorrow, and so it all worked out. We still won't ever know what the hell Manny wanted out of the whole situation, but if you squint at it sideways it all hangs together.

Nine out of ten trenchcoats. It's only not ten because the first half of the season is clearly finding its feet, but even so it's fantastic. Now bring on season four of Legends, wherein Chas turns up and helps John summon the Spectre to rescue Zed from the Brujaria.

I can dream, can't I?

Oh, and 'Rage of Caliban' is a quote from Oscar Wilde's introduction to Picture of Dorian Gray. You're welcome.

Mikey Heinrich is, among other things, a freelance writer, volunteer firefighter, and roughly 78% water.

#Constantine #John Constantine #HellBlazer #Legends of Tomorrow #Matt Ryan #DC Comics #Arrowverse #Doux Reviews #TV Reviews #something from the archive

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space-feminist · 5 years

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rewatched the aladdin trilogy because i had free time and there’s a remake coming out and, boy, do i have thoughts:

section 1: aladdin is a normal silly disney movie that happens to be set in Middle-Eastern-Stereotype-Land

i remember there being this big uproar that the actors in the live-action version should be Middle Eastern and i was like, ah yes, this movie set in Middle-Eastern-Stereotype-Land full of scantily clad harem girls and shifty traders in turbans and beards is obviously going to be woke if it has middle eastern people playing the leads. sure.

i’m not saying whitewashing isn’t bad, i’m just saying that if we want to discuss the representation of poc on film in the context of aladdin, we might want to go a little deeper than “cast Middle Eastern actors”. people will argue that it’s not meant to be accurate because it’s fantasy-Arabia, but accuracy isn’t actually what’s at stake when people talk about racism in fiction, they’re talking about dehumanizing stereotypes. dehumanizing stereotypes like giving your villain dark skin and a turban and a beard and an accent while your heroes are coded more white.

a) why is no one talking about this?

i like aladdin. i think it’s a good disney movie, full of fun characters and songs, and of course Robin Williams’s genie is a highlight. that’s probably why it hasn’t gotten the same criticism as other disney movies have. it is a fun movie that just happens to be set in a stereotype-laden world.

contrast, say, pocahontas, which is widely criticized for its representation of Native Americans and of American history. pocahontas just isn’t a good movie. it’s got pretty animation and songs, but pocahontas and john smith are fairly uninteresting characters, and the villain doesn’t have the threat level or aesthetic or motivation of a good disney villain. it isn’t really trying to be a fun movie, it’s trying to be deep and meaningful and real (after all, it’s set in ‘the real world’). when you take into account the actual historical reality, the entire movie falls apart because the setting and message are the only memorable parts.

aladdin doesn’t try to do what pocahontas does so it doesn’t fail in the same way. the plot of aladdin isn’t tied to its setting aside from the maybe the inclusion of a genie, which i believe is a figure specifically from middle-eastern folklore (i’m white though so don’t take my word for that). replace the genie with some other wish-granting magical being, change sultan to king, and you could set it in europe no problem. it’s both completely stereotypical about the middle east and also a totally white-washed version of it.

what i’m saying is that aladdin is an enjoyable story without the window-dressing, and i can’t fault you for enjoying that especially when i enjoy it as well. i also think this has somewhat shielded it from accusations of racism.

HOWEVER

b) the live action remake is going to be a disaster

these disney live-action remakes add new stuff to supposedly “fix” problems, but they also don’t deviate too far because then they can’t pump out the nostalgia dollars. there’s no way to walk that line with aladdin’s problems, so what we’re going to get is a shallow rehash of the original with maybe a token change that really does nothing to fix anything.

with 1992 aladdin, we can go “there’s some good bits in there despite the racism of the setting”, but all the good bits of the new aladdin will also be present in the earlier movie, rendering it devoid of any value at all.

section 2: you remember what i said earlier about how you can separate the story from the seting? now i’m doing that

a) misconceptions and bad takes

people rag on jasmine a lot for not recognizing aladdin at first but in her defense she 100% does and he denies it, plus she believes he’s dead. and then even after the carpet ride, she asks him about abu. she believes his second lie a little too readily, though, but despite being this spunky princess who defies norms she’s still been very sheltered.

this brings me to the thing people rag on aladdin for, which is lying to get into a girl’s billowy pants. this frustrates me similar to the hot takes that claim beauty and the beast is about abuse, like. it’s called a character arc. he regrets his actions and is about to come clean when jafar starts trying to take over the world. please. leave him alone.

b) An Analysis Of Aladdin Through The Lens of Class

“sometimes you just feel…trapped” aladdin and jasmine say in unison. jasmine is talking about the expectation to marry a prince, while aladdin’s talking about poverty and constanly running from police because he steals to survive. aladdin dreams about a life of luxury in the palace, while jasmine dreams of the freedom of living on the streets.

the fact that the movie tries to equate those two experiences is laughable. jasmine is a privileged person romanticizing and play-acting at poverty for fun, so disconnected from the realities of her people that she doesn’t even know that should have brought money when she escaped the palace. aladdin dreams of wealth because it will solve his material needs.

certainly from an anti-capitalist perspective, we can critique how aladdin’s fantasies reflect an embrace of the system that excludes him - rather than calling for an end to the wealth inequality between the people and the ruling classes, he instead dreams of joining the ruling classes. when the prince walks through the town, aladdin says “if i were as rich as you, i could afford some manners!” and in his princely guise the genie gives him, he throws handfuls of gold coins to the public. he seems to believe that it is possible to be both moral and rich.

however, i am uncomfortable with leveling much of my anti-capitalist critique at the character who is in poverty rather than at the ineffectual government of agrabah. a weak, childish king, puppeted by a conniving, power-hungry advisor. the princess isn’t allowed even the smallest interaction with the people she will someday govern. the police force sends out an entire squad after someone who stole a loaf of bread. it’s basically pre-revolutionary france, and someone needs to guillotine the sultan.

in the end, the status quo of agrabah remains unchanged except for aladdin, who manages to achieve the capitalist dream. it’s unclear whether he’ll be able to enact any of the broad sweeping reforms agrabah desperately needs.

ultimately, this is a movie that brings up the issue of class divides, but offers the safe pro-capitalist answer that you’d expect of a major corporation like disney.

c) An Analysis Of The Aladdin Sequels Through The Lens Of Class

in both sequels, aladdin finds himself advocating for a criminal - iago the parrot in “return of jafar”, and his father, casim, in “king of thieves”. jafar mentions rescuing iago from a cage in a bazaar. casim leaves his family to seek fortune, and ends up falling in with the forty thieves. aladdin advocates for them because he understands how poverty and desperation can drive someone to a life of crime. he was there.

he is now in a position where he thinks he can use his privilege to help people, but he doesn’t quite have the privilege he thinks he does. he’s distrusted for trusting iago, and the police force seems delighted to hear he’s related to the king of thieves and that they now have an excuse to chase him down again. notably, he’s called “the prince of thieves” by the police chief - he’s not just perceived as criminal because he’s helping criminals, but because of the circumstances of his birth. aladdin is jay gatsby, discovering that old money is unimpressed by new money.

but yet again, the ending stops short of pursuing this critique to its fullest. aladdin is, in fact, accepted by old money and he ends up marrying his Daisy Buchanan. iago and casim are never accepted into the upper classes. again, we end with aladdin maintaining the current power structures. it is yet again, the safe answer you’d expect from a corporation like disney, that created these direct-to-video sequels simply to pump more money out of the consumer.

section 3: this was super fun

honestly, these movies were legitimately delightful. maybe it was nostalgia or the robin williams, but i thorougly enjoyed myself watching them and writing this post. i’m not saying i recommend watching disney sequels (most of them are bad, and even “king of thieves”, probably the best, has its cringy moments), but i do highly recommend indulging in your nostalgia every once in a while.

#aladdin #disney #nina's personal log #this took so long lol

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neitherlandslibrary · 6 years

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‘The Magicians’ Creators Preview the Groundbreaking Deaf Sequence in Wednesday’s Episode

The crew also breaks down the casting of two deaf actresses to play younger versions of guest star Marlee Matlin. (Source)

“The Magicians” is never boring, and not just because it plays in the realm of fantasy. In fact, Syfy’s adaptation of the popular Lev Grossman novels never rests on its magical laurels — such as using strange mythical creatures or bizarre spells — as shortcuts to telling an intriguing story.

Instead, it constantly pushes itself to conjure up new ways to present its narrative, and the result is often as bewitching as it is bold. Take for example two episodes from earlier in the season. “Be the Penny” explores what it’s like for characters to mourn the loss of one of their own, but it’s told from the perspective of the deceased. The episode directly after, the poignant “A Life in a Day,” plays with the concept of time as two of the main characters literally spend a lifetime on what seems to be a hopeless task.

Six Short Stories

Wednesday’s upcoming episode “Six Short Stories About Magic,” written by co-creator Sera Gamble and David Reed, is split up into six sections, each told from the point of view of a different character. It begins with Penny (Arjun Gupta), who seeks out Benedict (Harvey Guile) in the Underworld and bluffs his way through fake “Game of Thrones” spoilers to achieve his goal. Take a look:

Penny’s task is related to the season’s big quest, finding the Seven Keys, which will somehow restore magic to both Earth and the Narnia-like world of Fillory. It’s this quest that prompted the series to push itself to new storytelling heights for this episode.

“We have this thing that was exacerbated by the structure of Season 3, which is a very classic fairy-tale quest structure in pursuit of something very well-defined: seven keys,” Gamble said in an interview with IndieWire. “You have an automatic cheat sheet as a viewer: either they’re going to succeed or they’re going to fail per episode and then also in the arc of the season. It became apparent to us that we had to really be extra creative with the structure of individual episodes because the last thing we want to do is bore you or become predictable.”

Therefore, David Reed came up with the idea to tell the story from six different characters’ perspectives. This is not quite “Rashomon,” though. The different perspectives are not contradictory nor ambiguously reliable. Rather, with each subsequent story that dovetails slightly with the one before, new layers of insights are added. What makes the episode truly groundbreaking, however, is the final storyline, which belongs to Harriet, played by Oscar-winning deaf actress Marlee Matlin.

The Sound of Silence

Harriet first appeared in Season 2 as the owner of Fuzzbeat, a website that specializes in cat videos and silly articles that turned out to be coded news for magicians. Since then, it’s been revealed that she’s an activist who wants the magical books and information from the Neitherworld Library to be free and accessible to all. Therefore, she’s called in when the gang dreams up a convoluted scheme to obtain one of the Seven Keys that involves knowledge of the library.

In this exclusive sneak peek from Wednesday’s episode, Harriet is trying to convince Alice (Olivia Taylor Dudley) to go along with the plan:

The scene above actually takes place during Alice’s story, which plays out fairly typically when it comes to production and sound. With Harriet’s story, however, viewers will be able to experience the action as if they are that character, both visually and auditorily. “The Magicians” created a full sequence that approximates for the audience what it’s like to move through the world if you’re deaf.

“David and I did a little research into hearing impairment,” said Gamble. “Not everybody who would identify themselves as deaf has 100 percent hearing loss. We tried to replicate the level of hearing impairment that we were being told and educated about, which does include being able to hear certain sounds in a very low register.”

Gamble will delve into the production of that scene further with IndieWire after the episode has aired on Wednesday.

Your Harriets Await

Beyond those production concerns, digging into Harriet’s story also required casting two other deaf actresses who would play younger versions of Harriet in her backstory. Casting directors Carrie Audino and Helen Geier broke down the process of finding the young actresses. Usually the casting department gets about a week’s notice per episode, but in this case, they were notified about a month earlier to give them more time for the search.

“We put out our breakdown first, which is what we do every episode to find actors, and we let the community know that we’re looking for actors that are deaf that need to match Marlee Matlin,” said Audino. “Then we see what you get back. Usually, if they have people if they’re represented by agents, they are usually people that we’re definitely going to take a look at because it usually means they’ve worked before. We start there, see what we get and then we expand the search.”

The search took place in both the United States and in Canada, where the series is shot, and through the usual talent agencies as well as those who specialize in actors who are hard of hearing. The deaf community, including deaf schools and theaters, were also contacted. Both actresses — one who would play Harriet as a child and one who would portray her as a teenager — were sought at the same time.

The role of the youngest version of Harriet went to newcomer Winter Sluyter-Obidos. “She had a brightness to her,” said Geier. “It really came across when she was doing the scene. You could see what she was doing, could see what she was thinking, but she wasn’t just kind of going through the motions.”

Landing the role of the teenager or young adult Harriet was Stephanie Nogueras, an experienced actress who had a recurring role as Natalie Pierce on “Switched at Birth,” the Freeform show that featured many deaf characters and actors.

Signing On

Casting deaf actors in roles written as such isn’t just good for representation and authenticity, but that also meant that they were already fluent in American Sign Language. That was a skill that two other cast members, Jade Tailor who plays Kady, and Mageina Tovah who plays the Librarian, had to acquire quickly for this episode.

Given Harriet’s strong feelings about the Neitherworld Library, it will come as no surprise that she has some sort of past history with it and knows the Librarian in some way. Hence, Tovah, who plays the bespectacled book curator, had to learn massive amounts of ASL and then perform it as fluently as possible.

“She didn’t come knowing she would have 14 pages of dialogue,” said Gamble. “We gave her the script early to practice.”

Tailor, whose character Kady often translates Harriet’s signing for the rest of the gang, had been learning ASL over the course of two seasons. And this is on top of having to use the particular brand of finger-tutting that the magicians use on the show to cast spells.

“Jade had the most scenes with [Marlee Matlin] and Jade had to be fluent,” co-creator John McNamara said. “One of the things that can set in on a show is ennui and predictability. When you suddenly cast a really highly regarded Oscar-winning actress and then say to the actors, ‘You have to learn this whole new skill and make it look like you’ve been doing it your whole life,’ it’s very good for the lifeblood of the show.”

Casting Outside the Box

Although “The Magicians” specifically cast actresses who are deaf to play a deaf character, the show attempts to cast marginalized actors regardless if the role is written that way or not.

Grier said, “Whenever there’s something that isn’t what your typical everyday professional actors necessarily has experience doing, that’s always a challenge and then more fun also because you get to kind of learn about the different worlds and be exposed to it and also think of them for future, not just things that they specifically are needed for.”

“I think as casting directors we always try to do that,” said Audino. “We always try and look for an idea that’s out of the box and try and put someone in the role that you wouldn’t necessarily think of them for, whether it’s because they have a disability or they’re a different ethnicity than was originally intended. That’s the fun part of our job.”

Gamble added, “I think it’s really good that this has been a conversation that has been in the media for the last couple of years because we all really needed to hear it. We really needed to hear that we’re the gatekeepers of opportunities and that we should be mindful about that. So we were all excited to just see a whole new group of actors who had never met before. When you have the opportunity to give a job to a great actor who might not get called in for quite as many auditions, that’s exciting.”

The show has already followed through with such casting. Candis Cayne, who was the first transgender actress to play a recurring transgender character in primetime on “Dirty Sexy Money,” doesn’t play a transgender character on “The Magicians,” but the role of Fillory’s Fairy Queen. And of course, Matlin came on to the show to play Harriet, whose character was not originally written to be deaf.

In each case, it was the actress’ skills as a performer (and that Matlin was a fan of the show) that informed the casting decision. And that, in turn, can affect the way the character is written.

“Something that Marlee brought to the role that we then started to write more and more towards is this hilarious, very dry sense of humor,” said Gamble. “The character was always very smart and plays her cards very close to the vest. You can tell that she’s a really formidable friend or adversary to anyone who comes and takes her out. But Marlee is just so fucking funny and so just watching her performance encouraged us to write more jokes for her.

“Some of that I think also come through in Episode 8, where David wrote a joke that was sort of at Kady’s expense, that Kady’s grammar as an interpreter is worse than Marlee’s grammar when she’s speaking.” The joke written by Reed, for whom we are eternally grateful, can be seen in the aforementioned exclusive clip above.

“The Magicians” airs Wednesdays at 9 p.m. ET on Syfy. Check back for IndieWire’s postmortem of “Six Short Stories About Magic” with the series creators.

#the magicians #the magicians spoilers #info: spoilers #info: season 3 #info: interview #episode: 3x08

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aion-rsa · 3 years

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The Suicide Squad: James Gunn Talks the Creative Freedom of That R-Rating

https://ift.tt/eA8V8J

A couple of days. That’s how long director James Gunn had to wait before Warner Bros. and DC came calling in 2018. Up until that moment, it’d been a pretty turbulent July. The iconoclastic filmmaker who made audiences cry over a talking tree in Guardians of the Galaxy was just fired by Disney—temporarily as it turns out—and his name was being besmirched on social media. Yet less than 72 hours after that dismissal, WB was making him an offer that could change the face of DC superhero movies forever.

“It happened immediately,” Gunn says with a hint of lingering chagrin. “We started talking about what the project would be. The first thing that was brought up was Superman, but I didn’t know if I wanted to do that.”

So the studio suggested a once-in-a-lifetime alternative: make whatever you want. Gunn was free to adapt “anybody out of the DC catalogue.” Somehow though, with an entire gleaming multiverse at his disposal, Gunn only had eyes for the filthiest D-listers this side of Krypton. He only wanted to make The Suicide Squad.

The team of supervillain rejects has of course been adapted before, with David Ayer’s divisive Suicide Squad coming out in 2016. The earlier movie was a hit too, grossing more than $700 million and triggering a small bout of jealousy in Gunn, who even then thought that was the only DC property he ever wanted to do. But the film left something to be desired for many fans and critics.

To be clear, there are things Gunn absolutely loves about Ayer’s movie. How could he not, when he incorporated so many of the 2016 film’s cast into his own? In Gunn’s mind, Margot Robbie was born to play Harley Quinn, which he hopes to only further highlight by bringing out her “true lunacy” in the new movie. Viola Davis’s Amanda Waller, meanwhile, was the first character he decided to put in his own film. But Gunn is unambiguous on one point: his The Suicide Squad is going to be its own 31 flavors of weird.

“It wasn’t something to contrast the first movie,” Gunn says. “It wasn’t about going through a checklist of this is good, this is bad, this works, this doesn’t… but the concept that John Ostrander started with in the comics, that these are B-grade, shitty superheroes who are considered disposable by the U.S. government and are sent out on these black-ops missions, where they probably won’t make it but who gives a shit because they’re pieces-of-shit prisoners without many skills?”

That is the movie Gunn wanted to make. And he did so with R-rated glee.

Engineered as a standalone epic that might (or might not) be a sequel to the 2016 movie, Gunn’s The Suicide Squad is, in essence, meant to be a spiritual continuation of comic book writer Ostrander’s seminal 1980s run with the team. Davis’ Waller is still the government’s shady lady pulling the strings and recruiting incarcerated sad sacks to do the wet work law enforcement won’t; her point man on the ground remains Rick Flag (Joel Kinnaman), a straight arrow surrounded by coerced supervillains, including familiar faces like Robbie’s delightfully demented Harley, plus new ones such as Idris Elba’s Bloodsport.

The genre Gunn and his cohorts compare this to is war movies, but who they’re going to war against isn’t exactly clear. With that said, recent marketing revealed a comic book deep cut, with the 1950s space alien, Starro, running amok at kaiju-size.

“Starro is hilarious because he’s ridiculous. He’s a giant, cerulean blue starfish, but he’s also fucking terrifying,” Gunn says. “When I was a kid I thought that was the scariest thing of all time… and I think that exemplifies what this movie is: it is ridiculous and it’s also terrifying, and serious. So he works really well as the villain of the movie—as one of the villains, actually.”

Ironically, the real antagonists of The Suicide Squad might simply be the flick’s main characters, and Gunn is using the motley crew to unleash his distinctive voice. With an absurdly large cast to pick from, the director has carte blanche from WB to kill any character he wants, and to embrace any level of weirdness. And unlike the 2016 film, or his previous Guardians movies, The Suicide Squad is a big budget superhero flick with an R-rating. A first for Gunn.

“Most of my movies have been R-rated,” Gunn laughs when we mention this. He is, after all, a filmmaker who cut his teeth at indie grindhouse distributor Troma Studios, and has a history with tongue-in-cheek horror movies like Slither. But whether it’s making an R-rated Suicide Squad movie or a PG-13 Guardians picture, it’s all the same to him: telling the biggest-ass version of a campfire yarn.

“This is simply a little bit of a higher age bracket,” he explains, “and my audience is a little bit different. They can see a shark tearing someone in half, they can see a penis. It doesn’t matter.” Even so, there remains a sense of human connection among a number of broken Squad members. And those without that vulnerability still allow the storyteller to broaden the moral spectrum he’s playing with.

“I think you know from the beginning of the first Guardians that most likely, in his heart, Peter Quill is good, Gamora is good, Rocket is good, Drax is good.” But with the Suicide Squad, “some are not good people. They’re bad people. It’s less sentimental in that way. King Shark is much less sentimental than Groot.”

And some of these bad people will die in presumably horrible ways. Not that Gunn is killing his darlings lightly.

“The first thing I had to do was ignore the potential blowback from killing a character,” Gunn says. Instead he focused on following the natural progression of the story, and the natural progression of a character’s arc. “I’m just the servant of the story, so whatever the story says is what I’m going to do, no matter what the repercussions are for anything. I believe in the truth of the story. I believe that there was a story out there that needed to be told that I don’t have any control over.”

Perhaps ceding that control is the greatest advantage he’s discovered from making a gross, foul-mouthed superhero movie exactly to his liking.

“I wanted to do the things that other spectacle films haven’t been able to do,” Gunn says, “which is really take my time and investigate these characters, get to know them, focus on the character aspects, focus on who they were, and deal with time in a different way than it’s been dealt with in these movies.”

Gunn is thus able to let his movie breathe in a way that’s unusual for the superhero genre, but is in line with the more adult-oriented filmmaking he loved as a child. The Suicide Squad may be a war movie, but for Gunn it’s a specific type of throwback. Quick to name The Dirty Dozen and The Great Escape, he becomes audibly excited when discussing those 1960s “war-caper” films from his youth. Recapturing that men-and-women-on-a-mission aesthetic is as much the appeal of the movie as honoring Ostrander’s comics. He even refers to Elba’s Bloodsport as his Steve McQueen.

“He’s the unsentimental portrayal of a 1960s action hero but without the moral repercussions of those characters,” says Gunn. Also, he notes, Bloodsport is the guy who shot Superman with a kryptonite bullet. “How cool is that? And also, what a dick!” When contrasted with Robbie’s Harley Quinn, Gunn even likens the pair’s energy to an Abbott and Costello routine, only now Costello might kill you with a bat.

But then, each of the Squad members represent their own genre. They also each leave the door open for further exploration. Hence Gunn’s next project is still not Guardians 3, but rather an HBO Max TV series starring one of the nastiest pieces of work in The Suicide Squad: John Cena’s Peacemaker.

Describing the jingoistic flag-waver as if Marvel’s Captain America took a really far-right turn, Gunn saw Peacemaker as the perfect jumping off point when HBO approached him about doing a series.

“I think that the actual inspiration for Peacemaker was the shitty 1970s Captain America TV shows that I loved when I was a child,” Gunn says. “And I think Peacemaker exemplifies a lot of things about society that are going on politically, and what people’s beliefs are about America and the world. So being able to tell those stories that are slightly more socially conscious in their essence, but also outlandish, he lends itself to that.”

Exploring this week-to-week with Cena—an actor whose range Gunn believes audiences have only seen a fraction of—is irresistible. In fact, Peacemaker might mark another significant turning point in Gunn’s career.

Says the filmmaker, “I love doing Peacemaker. I could see just making TV shows after Guardians 3. It’s a possibility.”

Three years since Gunn’s one very bad week, the possibilities now seem limitless.

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The Suicide Squad opens on Aug. 6 in theaters and HBO Max. We’ll have more from our interview with James Gunn in the coming weeks.

Check out more on The Suicide Squad in the latest issue of Den of Geek!

The post The Suicide Squad: James Gunn Talks the Creative Freedom of That R-Rating appeared first on Den of Geek.

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360degreesasthecrowflies · 6 years

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FarscapeWatch 04: 2.03 ‘Taking the Stone’

We’re back in business, people! Apologies for the long wait, but into season 2 we go for this reaction/review! See notes at the bottom for a full list of my FasrcapeWatch reactions so far :D

2.03 Taking The Stone

Open on Chiana (bestfave) IS THIS A CHIANA EPISODE?

No kidding I ship Chiana and John a lot. I feel it's probably unlikely to happen but ohmy they bring out the best in each other.

He calls her "Chi" uwu!

Uh she literally cut herself open because he said he was busy wow. Crichton is a twat.

Ooh she stole Aeryn's ship and Aeryn is PISSED. I love how she and Chiana just don't get on. Drama is the best.

So Chiana goes down to a planet by herself to investigate. Aaand she gets ambushed. Hmm but I'm not sure I buy her not taking a weapon. Altho. She is also impulsive and id-ruled.

AAAH into the episode and John and Aeryn are in THE LONG COATS.

Rygel is also there lol and John and Aeryn give no shits.

Ofc they're going to go look for Chi although Aeryn cannot b a with that.

So they run in thinking Chiana is held captive but actually she's doing some kind of sport test of strength lol. Her hair is pink now and looks A MAZING. Aeryn is so aggressive off the bat lol I love it.

Hm so. First time back seeing John and Aeryn's S2 dynamic and once again...he's not asking things of her, he's giving her commands, and I'm not super comfortable with it. It feels a bit imperialist. e.g. here John feels Chiana is mad at him so he tells Aeryn to talk to her to try and bring her back, even though Chiana has said she doesn't want to go back with them, and Aeryn and Chiana already evidently don't really get on or see eye to eye. That's a bit much from someone who's meant to be the emotionally intelligent core of the crew.

So Rygel has fucked off and left JohnAeryn and Chiana on the planet..which seems like a funeral/cemetery, or at least it is where they’ve landed. Thematic, hm. He's robbed some graves too, as you do.

So Aeryn catches up with Chiana, naturally we’re all underground, hmm, with death as a theme, I wonder if this is going to mirror a death-and-rebirth story, and Chiana asks her to stay! Ah I love how impulsive and nutty she is. Also needy. Possibly actually damaged. This character speaks to me so much. Hah. Aeryn responds a bit like Supernanny just going along with it to let the child wear themself out.

[A note on taking the stone - it’s a jump into a deep pit, using the power of faith/science/a technological trick to save your own life in a parachute before you hit the bottom. The society on this planet do it when they reach a certain age as a coming of age ritual, and Chiana has changed her style to look like them, and is learning to do it too (with the help of mind-altering drugs and mediation, colege much?), either as a test to herself, or as a maybe-suicide/danger/devil-may-care exercise, as she has just lost her brother, that was her realisation that John had no time for in the beginning of the episode.]

So we're on a bit, and hmm. I'm getting a parents and kids vibe with this episode. I genuinely can't tell though who we're supposed to root for. John is central, but is it John-was-right-Father-knows-best, or will it be John-has-to-learn-different-POVs? I'm hoping the latter, but I'm wary, Farscape has pulled the rug out from under me before. Aeryn has argued that if Chiana wishes to stay in this new society, it's her choice; to me, that's reasonable, but is the show framing it as something only an alien woman who doesn't understand how Rational People work would think? Hmm. I wish Zhaan was here, she's a character who generally can overrule John instead of being pushed to the back by him as Aeryn and Chiana sometimes fall into; ironic, of course, as they are physically strong, martial women. Chiana too has brought up her captivity trauma and that John said she could leave at any time and now appears to be reneging on that, and that's portrayed as the sneaky, silly young character trying to trick and twist the words of Our Reasonable Hero. I'm wondering if it's just a values dissonance between '99 and 2017.

Cool plot though. A suicide cult where people get high and risk their lives rather than die at 22, as they do, starting to waste away and rot while still living due to radiation in their natural habitat; perhaps a bit of a drug 101 afterschool special vibe to it, but executed well and with great sets. Interesting to see plots shifting to focus on the three humanoids too, I wonder if this will become a trend this season. D'Argo, Rygel, Pilot and Zhaan really don't have a lot to do this time round, although I guess they all had significant focus in the previous episode while Aeryn and 'Chi' were somewhat neglected.

Ultimately of course Chiana is successful and comes out gaining a new lease on life. John has gained some perspective, though it’s unclear if he actually understood Chiana’s POV or not, and the three stooges up in the ship managed to convince Rygel to give back the treasure he stole. Uh...great, I guess? Solid episode in general though, production values feel to be up, Chiana’s new design and in fact most of them are pretty solid - and throwback, watching in 2017 - and the interplay between the actors and characters seems more fitting than it was in the first season. Ace.

Some general points: John is starting to become a little more convincing as a lead again, among stronger personalities. This was most convincing in 1.16 A Human Reaction and the last four-episode arc of season 1, and at brief points earlier in that season, but it's been very iffy. I'm unsure, because I don't know the writing/writers so well yet, whether that's intentional, or just a sign of the times on writing focus. I don't feel, that is, that the kind of character that John is would be *the* obvious focal character if the show was made from scratch and debuted in 2016-17 - it's a bit as if, say, Agents of Shield had debuted as a show centered around and focused on Fitz rather than how they actually did it. Still, in any case, it's interesting to see the evolution of character.

Some brief points from season 1-2, as this will be my first comeback reaction I'm posting in the new order: A Human Reaction, Durka Returns, and Nerve were my big turning points as to how I was reacting to the series. Introducing Chiana was a big plus; instantly becoming one of my top 2 favourite characters, and immediately coming up with ways to make her central - even at the apparent expense of fan fave and seeded lead woman Aeryn! - was a brave and risky strategy on the part of the showrunners that I was pretty impressed by. Again to analogize to shows I've also seen, it was as if upon first introducing Faith to Buffy season 3, they pushed Willow back from the off in favour of focusing on her and what she could do. She fits neatly into the credits, too, here's hoping she sticks around for a long time.

D'Argo has gone up in my estimations, actually, all the characters have. They'd probably at least average on a 5-6 out of ten now, which is a big step up from the 2-3 D'Argo and Rygel were on earlier in season 1.

Things I don't like as much: the Talyn (sp?) and Crais stuff feels a bit Xena and a bit overdone, though that could be a case of the Seinfeld is Unfunny trope (side note, I actually have never found that show funny tho...awks), that is, aspects of a show seeming unoriginal now because since it aired - or even debuted - such elements, they've become much more common as to seem stereotypical and tired in many forms of media. I don't like the Crais/Aeryn ship teasing, especially in light of the recent Hollywood developments, it seems a little close to the bone and aggressive, one-sided, and presumptive of Crais. Presumably he's going to reform and win me over, but I'm not on team Crais right now. I'm also slightly alarmed at where Zhaan's character arc seems to be going, though unsurprised that she had to be nerfed, she was pretty great at everything in season 1, with even her shades of not quite sanity proving to be an advantage in some situations. Also, I'm unsure if it's intentional or symbolic, but her new costume is hella ugly.

Right, those aside, recap time then!

CHARACTER BEATS

JOHN

Lots of stuff here. For John this episode is a lot about leadership and personal connection. John must learn that one leadership style does not work for all - not that I would even say this John IS the leader, although he's the show's designated lead and does TAKE the lead. I'm not 100% on whether we're meant to root for John or not. This episode sees him acting somewhat parental towards Chiana which I - and she, probably - find a bit patronising given that as far as has been established thus far, they're both adults of a similar age. For me, this episode is John learning socialisation and how people of different kinds tick, as well as that sometimes you just can't win people over or bend them to your will - quite a good lesson to see our white male lead learning.

CHIANA

Lots of stuff in this one for Chiana too, which is good, it is a Chiana episode after all. A few early notes on Chi - easily my favourite character right now, being exactly the kind I root for in general. I love a wildcard, and Chiana thus far has been about the definition of a chaotic neutral, with occasional shades of broken bird thrown in, hinting at a traumatic past to make her become this way. Or she could just not be neurotypical, or just an alien, who knows. Now, I definitely didn't think Chiana wanted to kill herself in this episode as it was hinted at and discussed by some of the characters, she just didn't care, she was a risk-taker and upset and traumatised. It's slight, but there's a difference. Chiana realises in this episode her brother has died and reacts by acting out and essentially going on a bender with drugs, getting high, and essentially changing her whole style and motivations, culminating with a risky athletic feat that could kill her if she failed. Aka, textbook response to trauma by certain extroverted and already risk-taking individuals. It was great to see, and also unexpectedly positive to see Aeryn sticking up for her - of course, just using cold logic, rather than emotions - and Chiana, too, showing willing to make a connection with Aeryn, after generally the two being mutually hostile these last few episodes so far. Great stuff.

ZHAAN

Zhaan's a little quiet on this one, still inside herself a bit, or trolling? She seems more content to let a snarky, bitchy side out this time round - perhaps due to a season of people generally not taking her advice and then winding up in the shit.

D'ARGO

D'Argo really doesn't do much here, slipping back to season 1 characterization a bit. I'll give him a pass, as he's perhaps recuperating from the previous episode's traumatic experiences.

RYGEL

Rygel really doesn't have a lot to do here. Stealing is wrong, and he likes eating bugs. I wonder if this subplot was shoehorned in at a late stage because the actors complained, or something else fell through? On the plus side, it leaves main focus unequivocally on the Chiana storyline.

AERYN

A good storyline for Aeryn too, she gets to be athletic with a mini fight scene, she gets to be the voice of reason, and she also makes a mini connection with Chiana, after a while of the two sniping at each other. She and John also work well as friends, comrades - just as a two, not as part of a larger unit - and maybe something more? This episode has shades of a buddy-cop drama with John and Aeryn as detective partners, as well as hints of them being dysfunctional parents to an acting-out and rebellious kid. Aeryn is moving to be more central in this season, and I'm intrigued to see what comes of that change.

PLOT POINTS AS OF 2.03

A little confusing. Everyone is dealing with their own trauma while still running away from the Peacekeepers, led by new creepy (telepathic?) baddie Scorpius. We've had a D'Argo episode so far and a Chiana episode, so perhaps everyone is up to have solo episodes for a while to get this season established? Not much hint of an overarching plot yet which is nicely lampshaded by Chiana in-episode when she asks Crichton what they're even doing up there on Moya - smooth. This feels a little like a re-pilot, repositioning who the characters are and how they relate to each other.

WHAT THIS EPISODE ADVANCED:

Chiana's trauma. Chiana's character development. Chiana's relationships with John and with Aeryn. Aeryn and John's relationship. Aeryn and John's norms, ethics, and approaches to problem solving differing. John revealing himself to have a reckless side, which seems role reversal from earlier in season 1 wherein John was cautious and reserved and Aeryn cold but quick to use violence and inflicting her will as a quick-fix solution.

CHARACTER RANKING AS OF 2.03:

1) Chiana 2) Aeryn 3) John 4) Zhaan 5) D'Argo 6) Rygel 7) Pilot 8) Crais

And that’s it for this episode of FarscapeWatch! Check back in my Farscape reviews masterlist section on my blog or follow my farscapewatch tag to catch my episode reviews, as they come! Or feel free to give me a follow to catch all of my stuff ;)

Also, if you’re enjoying these, feel free to shoot me a message or comment :3

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overcome-mentalblock · 4 years

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What are the best tips to manifest your desires faster by using Law of Attraction?

Loren Vanderschoot, Life and Business Coach, Author, Telcom Engineer.

Grab a snack and a drink. This is going to take a minute.

Many people who first hear about the Law of Attraction form a belief that there is some magic incantation that, when performed correctly, brings everything that one desires to their doorstep without any effort.

This is simply untrue, but the reality is that once you understand how it really works it is just as simple. The truth is that you are already using the LoA every minute of every day. All you really have to do is learn how to direct it and use it on purpose.

I cannot fully explain the Law of Attraction to you in one article today. Understanding how this works so that you can use it to change the circumstances in your life will take a bit of time and study. I am currently working on putting together a complete library that will allow people to come to one place and learn about this great law. If you will follow me here at Quora, I will keep you up to date on the progress.

The LoA is a set of principles that, when understood and applied, can help you to achieve just about anything in life.

We like to say that you can do anything your mind can believe, and this is true. The trick is getting your mind to believe, and this is where the learning begins.

You have the most wonderful gift inside your head. It is the human brain. Unfortunately, it does not come with a user-manual.

Our brains are a three-pound mass located entirely within our skulls. The brain itself has no nerve endings and never actually FEELS anything. It never sees the light of day (hopefully) and never has any real experiences of its own.

The brain receives reports from our senses, logs the information, checks for memories of prior outcomes and keeps it all stored orderly. It knows everything we have ever experienced, yet has experienced none of it. It is our hard drive. Our brain is responsible for keeping track of what we have learned and experienced over the course of our lives, and for trying to make sense of it all. It is well-equipped for the task.

Our brains are under constant development, continually re-wiring as new experiences are recorded. Every new experience is recorded by the brain by making new physical connections between neurons. Every thought is a physical thing, created in your brain.

The more often this thought is remembered, the stronger it gets. So, thoughts are things and they can be made stronger. If a thought occurs often enough, it can become the default response. It has now become a part of a paradigm that shapes our behavior.

It is a well-known fact that repetition is a great teacher. Now you know why, at least from the brain's point of view. As new information is processed, over and over, the memories are reinforced again and again. This is a wonderful mechanism the brain uses to decide which actions to take in a given situation. It is a physical process that you can learn to use easily.

When we act a certain way repeatedly, the action becomes habit. Habits, my friends, are the single most important factor that determines our success or failure in any given situation.

Need proof? I tell my students who need reinforcement of this principle to choose 3 or more successful people that they would like to pattern their success after and read biographies/autobiographies about those persons.

Read the books and pay close attention to the habits of those people. They will be similar.

Wealthy people have common traits/habits. Great inventors share the same. So do famous actors, scientists…. all people who achieve certain things have a common core of beliefs and actions. This is part of the Law of Attraction in action. They are a vibrational match.

I do not choose the subjects of study because I know that whoever they choose will have the same habits. It is law. If they were significantly different in these areas, they would have different results.

These differences in behavior are almost all controlled in the subconscious mind. Little is really understood about this mind of ours, but we can learn to use it to change our circumstances.

Your subconscious mind is what keeps your heart beating, regulates your temperature, remembers to breathe for you and all the other things that are needed to survive. It also controls your behavior far more than you realize.

Have you ever had to make a sudden choice with no time to think - just BAM, choose left or right, right now? As you struggled to think about what to do, you suddenly just kinda knew. You actually just relaxed a little and made the call.

Sometimes the subconscious just takes over. And once it does, it protects its decisions. If you ever have made that snap decision without thinking, did you notice that you didn't question it afterwards? Or that you couldn't concentrate on it at all?

Automatic driving is a good example, where you arrive after driving for a long time with little recollection of the day. You made dozens of turns, but cannot easily recall them. These are just shifts between your conscious and your subconscious being in control.

Sometimes the deep mind can take over to allow the conscious to focus elsewhere. Your subconscious mind is believed to be able to perform over 50 million calculations at any given time, awake or asleep. The conscious mind? For most of us, it's around 7. And only while awake. The subconscious mind is one of the most powerful things we can measure. It is the driving force of our lives.

The subconscious mind is not just a physical thing contained in our brain. It is the part of us connected with everything else. Consider this: Why does a tree grow? Seriously, what makes a tree grow? There must be mind involved to make this happen. This is what I refer to loosely as the universe. A larger consciousness that connects us in many different ways. Our subconscious, or 'deep' mind is what connects us with the universe. It is the translator between what is and what could be.

The subconscious prefers to communicate with pictures, and it is believed by many that it may not use language at all. When the subconscious is presented with a picture, it connects that picture to whatever other input it has at that moment: Taste, smell, temperature, etc., but what it looks for the most is how much attention you are giving it and how strongly you feel about it. These things are what the deep mind uses to determine the level of importance the experience is given.

When you feel great about something, 'feel-good' chemicals are released in your brain. They can be much more powerful than some illegal narcotics, just in very small doses. When the deep mind gets rewarded with feel-good chemicals, it looks to re-create the circumstances that brought the reward. This is why it is so important to feel, as strongly as you can, all the happy emotions attached to your goal.

Message to deep mind: "When I am in this circumstance, I feel this way. Find a path to this future as quickly as possible and draw to us everything we need so that we can feel this great all the time!"

The frequency goes out and changes start to be made. Some changes are inward, and if you are careful to notice and approve them, they will arrive faster. Working in harmony with your desire shows that you really want this outcome and opens up paths the universe can use to bring your whatever to you.

In learning to use the LoA, we generally begin with affirmations (verbal reinforcement of that which we desire - always spoken of in the present tense, i.e.., “I am so glad now that I have this thing in my life” while feeling the emotion of having it) and vision boards (visual reinforcement of that which is desired) that are stated repeatedly and seen repeatedly until our subconscious gets the message that this is who we are.

This absolutely works. It can even be done against our will.

Some people have used this knowledge to control people against their will. When it is used this way, it is called brainwashing. We all know that brainwashing is real, so if this can be done effectively to someone against their will, how much more effective can it be when we choose to use this tool to improve our lives and our surroundings with permission?

There are thousands of free inspirational videos available online today. Find a YouTube channel full of the kind you like most (if you don’t know, explore!) and watch them for 30 minutes a day. Play them in the background when you can. Choose only messages you consciously wish to incorporate into your life, then listen to them until you do.

The Law of Attraction always works. What you show to your deep mind, attached with emotion, it will immediately begin to create. Pictures you reinforce over time will have more power the more often you reinforce them. If you can see it in your mind, you will hold it in your hand.

As you practice these things, your habits will change. As noted earlier, habits are what make the difference in people’s lives.

The second of the main principles is that using the LoA will change the way you see things. What once was ignored will become urgent, while what you used to focus on will begin to fade away.

Dr. Wayne Dyer said it best: “When you change the way you look at things, the things you look at change”.

John Assaraf tells a great story of a man who must repeatedly travel through the desert to a remote village.

On this journey, he must avoid the dangerous cacti that fill the land. One day he becomes too tired to continue and considers turning back. He is thirsty and tired and the obstacles seem too many and too difficult to overcome. He stumbles and cuts himself on the cactus before him.

At that moment, he remembers that some cactus contain water. He cuts it open and drinks the water. Refreshed, he completes the journey. The ‘obstacle’ has become a resource.

The resource was always there, but the traveler did not see it as such. When he changed the way he looked at it, it changed.

But did it actually morph into something different? No, it did not. The person changed, not the cactus.

The Law of Attraction is partially about becoming the person who has the things desired. It is many, many other things as well.

Many teachers who introduce people to this great law focus on the things coming to the student with little effort. Let’s be honest, that’s what sells books and videos. And what they teach is true, but it is not the complete story.

I’ll close with this:

If you want a certain kind of mate, first become the kind of person the desired mate will want to be with. In doing so, you will attract them to you and they will compete for your attention.

If you desire to be wealthy, first learn what wealthy people do (and do not do) and learn to become more like that. The wealth will naturally follow.

If you want [insert desire here] then learn what people who have this thing do and DO THAT.

The mechanics of vibrational tuning are confusing to most and trying to learn just those principles will lead many to disappointment.

I liken it to learning to drive a car. Thinking about how the internal combustion engine works will not get you where you want to go. It may be helpful to know how to maintain the vehicle, but learn to drive first so you can get to the store and buy the parts needed for maintenance.

#LoA #reading

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takatofic-blog · 5 years

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The Scent of Memory

Photo by Dana DeVolk

-In the Dark- ‘Oh.’ Elizabeth wasn’t really going to look into anything in that bookshop, where she popped by just because it was too cold to kill half an hour outside before her shift started until she found the book. It was a red-ish paperback, two-centimetre-thick, in one of those bookshelves in novel section. Although she was not a fan of fiction at all, she picked it out from the row of similar-looking books. It was written by Elizabeth Nighy, exactly the same name as Elizabeth's. She was amazed as she knew her family name was quite rare.

She pinched a front cover and peeked inside as if she was a chimpanzee which saw a book for the first time. It was published about three months ago according to the information printed on the first page. She turned a page, looking for the profile of the author. It was on the back cover. Elizabeth Nighy was born in the USA in 1985. Oh, good. So, this is not me. She thought. And then, she asked herself. Why am I relieved? Of course, it’s not me. I’ve never written a book or anything, even a diary. She laughed in her mind, put the book back, left the shop. It was sunny Friday, which meant she was in a good mood. She sniffed the air, the smell of a bakery, a coffee shop and a flower shop passed and then the scent of herbal fragrance appeared. It was her workplace, an organic cosmetic shop. Being immersed in those relaxing smell was one of her favourite aspects of the job. She loved scents and was rather fussy about it. ‘What do you think of “Today’s special”?’ Her colleague John said. ‘Today’s special’ was the daily herbal tea they served for customers. Elizabeth stopped mixing fragrance oils, took a paper cup John gave her and inhaled its steam deeply. ‘I like this. Are they chamomile and rosemary? Oh, wait, I smell something else.’ She said. ‘A bit of lavender as well. I blended them.’ John said, proudly. ‘I see. Lavender. That’s the essence, isn’t it? At least, that’s why I felt some kind of nostalgia.’ She said. ‘Nostalgia?’ John laughed. ‘I like you using the word like “nostalgia”! Where did you learn it?’ ‘Excuse me?’ She too laughed, wondering where she took this word from. John was right. She hardly said a thing poetic. She murmured ‘nostalgia’ again and again until she found it in her memory. ‘It was there.’ She said. ‘What was where?’ ‘The word, nostalgia, is the title of the book. I’ve seen it on its cover. You know, I found this book which,’ At that time, the door opened and a cold wind came in. ‘Hi.’ John said to a customer. A customer led another, it was a common-sensed mystery of any shops. The shop became busy so Elizabeth and John no longer had time to talk about the book. John finished his shift one hour earlier than Elizabeth as he did the opening. She was doing closing alone. She always lit the aroma candles to relax while writing a report to email to the company. Today’s scent was lavender. She breathed slowly and tapped Enter key. Her weekend had officially started. She tidied up briefly around the counter, stood up and realised there was a brown coloured paper bag behind the till. It had a sticky note on it, saying ‘customer left’. Elizabeth checked what was inside just out of curiosity. Then, she was lost for words. It was the book, written by Elizabeth Nighy. ‘Nostalgia.’ She read the title of the book. The flickering light tossed the shadow of her to the wall. She suddenly felt she was being watched. Once this thought came up, it occupied her mind. She looked at the front, checked if someone on the street was watching her through the glass wall. No one was there. Stop shaking, Elizabeth. This is crazy. She talked to herself. She couldn’t help but opened the book, tried to read the first chapter. Her eye slipped on a page, though she thought it seemed nothing related to Elizabeth. Why am I so scared? She looked for an answer, failed. And then, she heard the voice. ‘I’m watching you.’ She swallowed hard, faced up, looked around. Still, no one was there. There was only her, and her shadow fluttering as she moved. The voice was in the book. She tried drawing a breath. It was just a dialogue in the story, printed words on a paper. But, she thought, I certainly heard the voice. It was real. It was tepid. It was wet. It was a man. Whose voice was that? She put the book on the counter, stepped back just like when she found a huge slug. She was going to leave the shop immediately, though one word on the back cover caught her eye. -The smell of lavender makes you calm down. That’s what my grandma told me. – It was indeed what Elizabeth’s grandmother told her when she was a kid. She felt she was sick. She grabbed her bag, blew out all candle lights and went out of the shop. She locked the door, left the book inside. ‘Come on, Liz. Don’t be so sensitive. It is a rare family name as you say, but it’s also a famous name!’ John laughed. A café near to Covent garden was peaceful. The street was full of light and people who were enjoying warm bright Saturday afternoon. ‘You know pen name isn’t necessarily a real name, do you?’ John said. ‘I know, I know.’ Elizabeth said. ‘I suppose the author is Elizabeth something who is a massive fan of Bill Nighy.’ John said. In this daylight, with John, Elizabeth started to feel that what John said was convincing. She wasn’t sure if the author took it after the specific actor, but at least it might not be the real her name. ‘By the way, do you know what kind of lady left the book?’ Elizabeth said. John nodded, stopped drinking lemonade. ‘Yes, I know, and I remember well. The customer who bought a bottle of lavender fragrance. It was a man, actually.’

-In the Light- It was a cold day. Elizabeth popped by in a bookshop to kill half an hour before her shift started. Even though she was not a book person, she liked visiting a bookshop because of its smell. She liked especially the smell of paperbacks. That was why she always went up to the fiction floor. As she passing bookshelves, she wondered what made this smell. Cheap paper and ink? Possibly. She stopped her walk, looked around and checked no staff was looking at her. She wanted to smell a book to prove her thought was correct. She picked up one book from the row. It didn’t matter which book she smelled so she just chose the one written by the author who had the same name as her. She turned pages quickly, inhaled, closed the book and put it back. A staff with trolley came down to her. She pretended like ‘what she was looking for was not there but it was okay because she was not in rush’ and hurried away before the staff thought she was a weird customer. The smell was definitely a mixture of paper and ink. She was correct. This satisfaction put her in a good mood. Furthermore, it was sunny Friday. Who can be grumpy? She sniffed the air, the smell of a bakery, a coffee shop and a flower shop passed and then the scent of herbal fragrance appeared. It was her workplace, an organic cosmetic shop. Being immersed in those relaxing smell was one of her favourite aspects of the job. She loved scents and was rather fussy about it. ‘What do you think of “Today’s special”?’ Her colleague John said. ‘Today’s special’ was the daily herbal tea they served for customers. Elizabeth stopped mixing fragrance oils, took a paper cup John gave her and inhaled its steam deeply. ‘I like this. Are they chamomile and rosemary? Oh, wait, I smell something else.’ She said. ‘A bit of lavender. I blended them.’ John said, proudly. ‘I see. Lavender. That’s the essence, isn’t it? At least, that’s why I felt some kind of…what’s the word? It reminds me of my childhood, and gives me some sort of bittersweet feeling…’ She said. ‘Nostalgia?’ John said. ‘Yes, that’s it. Nostalgia! You know, my grandma’s house always smelled of lavender, and she taught me that,’ At that time, the door opened and fresh air came in. ‘Hi.’ John said to a customer. A customer led another, it was a common-sensed mystery of any shops. The shop became busy so Elizabeth and John no longer had time to talk about her grandmother. John finished his shift one hour earlier than Elizabeth as he did the opening. She was doing closing alone. She always lit the aroma candles to relax while writing a report to email to the company. Today’s scent was lavender. She breathed slowly and tapped Enter key. Her weekend had officially started. She tidied up briefly around the counter, stood up and realised there was a brown coloured paper bag behind the till. It had a sticky note on it, saying ‘customer left’. Elizabeth checked what was inside just out of curiosity. ‘Oh. I met you again.’ She said. It was the book, written by her. Not her, of course. Someone who has the same name as her. She imagined what if she was a novelist. It must be nice. She didn’t know many words which she sometimes found disappointing especially when she wanted to tell a funny anecdote to family or friends. The candlelight tossed the shadow of her to the wall. It reminded her of her childhood again. When Elizabeth stayed at her grandmother’s place, she often read a fairy tale for little Elizabeth in the bedroom. Those stories were all full of scents and flowers. She still remembered her most favourite story. It was about the fairy of lavender, which had beautiful purple long hair and wore a lighter purple dress made from lapels. She opened the book customer left, feeling like she was back to a child. Grandmother’s voice in her memory read the book for her. ‘I’m watching you.’ It was what the sun said to the lavender fairy. I’m watching you, and always wishing you happy. The sun in the picture book looked like her grandmother; wrinkled face, gentle smile and tender eyes. She put the book on the counter, stretched her arms into the air, took a breath. Fulfilled. Her grandmother taught her that lavender made her calm down. This word, in fact, brought her to this job. If she didn’t have a grandmother who was a specialist of scents, she might have become something else, for example, a novelist. She took her bag, blew out all candle lights and went out of the shop. When she locked the door, she was miles away. Her mind was at home, thinking which aroma oil to use to dip her in a good memory of her grandmother before she went to sleep. On Saturday, Elizabeth was having tea with John in Covent garden. John laughed when she told him how it would be if she was a novelist. ‘Don’t be so dreamy, Liz. Novelist is the last job you can have. Just give it up and leave it to the other Elizabeth Nighy.’ ‘Okay, okay.’ Elizabeth said. ‘By the way, do you know who left the book? I feel I have something in common with her.’ John nodded, stopped drinking lemonade. ‘It was “him”, actually. That’s why I remember well. He bought a bottle of lavender fragrance.’ ‘Oh, really? Granma would be very happy if she could know there’s a man who knows scents.’ ‘Then you must introduce me to her as well.’ John and Elizabeth laughed. It was a warm bright day. Elizabeth thought she smelled the sweet lavender fragrance coming from nowhere.

2018.2.3 at Covent Garden　Takato

#fiction

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weekendwarriorblog · 5 years

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WHAT TO WATCH THIS WEEKEND April 5, 2019 - SHAZAM, PET SEMATARY, THE BEST OF ENEMIES, PETERLOO

Sadly, this is yet another weekend where I wasn’t able to see two of the three new movies, but that’s because I’m in Las Vegas covering CinemaConfor The Beat, but I do want to write a little more about a movie coming out this weekend that I want to put a little added focus on. Back in the day, I used to include a “Chosen One” in each week’s column, and I’m getting to the point where I’d like to try to do something like that again… and so, after the jump, you will get my review of one such film.

That movie is PETERLOO (Amazon), the new movie from director Mike Leigh, an eight-time Oscar nominee whose work has garnered him much respect and whose work I’ve especially enjoyed, particularly Vera Drake and Happy-Go-Lucky. The first of these is significant because it’s one of Leigh’s rare historic pieces but his last movie Mr. Turner went one further by telling the story of a real person, in that case, painter J.M.W. Turner, as played by Tim Spall.

Peterloo is somewhat of a departure for Mr. Leigh, since it isn’t focused on a small group of two to four characters, instead telling a massively complex storyline about a peaceful rally in Manchester that was racked by violence when politicians decided to disperse the crowd.

I have to admit that as Peterloo began on the battlefield of Waterloo, I wasn’t sure to expect, thinking it might be Leigh’s attempt at a war film, but the story follows a young bugler, Joseph, whom we see on the battlefield before he returns home to Manchester with a case of PTSD. His family, and in fact, the whole town, is suffering from poverty and hunger, and there’s a growing desire to be represented in the Parliament in London so that things might improve. The city’s grew white hope is one Henry Hunt, played by Rory Kinnear, and he’s going to travel up to Manchester to talk to the people who will presumably vote for him.

Once it gets going, Peterloo is such a fascinating film. I’m really curious to see how Americans will react to it, because while it’s just as typically British as Leigh’s previous work, it’s a movie that’s more about British history and British politics, and I’m just not sure if that’s the sort of thing that will connect with Americans.

I can completely understand why some might be frustrated with Leigh’s latest, because it is very long, it does take some time to get going, and a lot of time you might not know exactly what is going on or what is being discussed. I certainly wasn’t exactly sure what was going on or who some of the characters were as they flew through the vast ensemble cast moving from one character and location to another. Eventually, you get used to this pace and start seeing familiar faces that makes things much clearer. Leigh also uses this tactic to create layers that build and build to the climactic last half hour of the film where violence disrupts an otherwise peaceful day. It’s quite the counterpoint to the war scene that opens the film, but don’t worry. Joseph doesn’t get lost in the shuffle, as you might suspect, because it really follows his journey despite often focusing on others.

One of the things I especially liked about Leigh’s latest is that while it does often get somber and serious, there’s still a wit to it, especially in the way it deals with the stupidity of the politicians and magistrates who seem to have little care for the people they’re supposed to be representing.

Oddly, two days after seeing Peterloo, I saw the Broadway musical Hamilton, a historical piece that takes place in America earlier than the events of Leigh’s film, but it offered a similar resonance to me, even though it did so with musical numbers rather than talking.

Leigh’s screenplay is another masterpiece, but I was equally impressed by the casting of such a large ensemble, many with British actors whom few on these shores will have ever seen or heard of. I’m really curious to know where he found them, because he’s become so known for working with the same small group of actors over the years, and almost everyone in this movie is new to the Leigh camp.

Personally, I think this is Leigh’s best film in many, many years, possibly on par with some of his best work even though I know it deals with a far more difficult (and localized) subject. Regardless, it’s also a film I will gladly see a second time just to catch some of the nuances I may have missed the first time around.

Rating: 8.5/10

Now, back to your regularly scheduled preview column…

As far as the wide releases, I’ve only seen one of them and that was SHAZAM! (New Line/WB), the latest DC Comics character to be brought to the big screen, in this case by Swedish filmmaker David F. Sandberg (Lights Out). I already reviewedthe movie for The Beat, so I don’t have much more to say about it (other than my Box Office Preview, which is ALSO at The Beat), but I did enjoy this quite a bit, maybe not as much as Aquaman but definitely as much as Wonder Woman. It’s a good movie that shows you can do something different with supereheroes and still make a movie work on its own merits (rather than connecting to future movies)

The other movie I’m really looking forward to seeing (when I get back from Vegas) is the new version of Stephen King’s PET SEMATARY (Paramount), directed by Kevin Kolsch and Dennis Widmyer, who found some fans in the horror crowd with their earlier film Starry Eyes. I guess the cast could be more interesting, although I do love John Lithgow and Amy Seimetz has been a favorite of mine from the indie work she’s done. And I don’t hate Jason Clarke either, although some of his choices in films (other than last year’s Chappaquidick, in which he was great) sometimes leaves me scratching my head.

Robin Bissell’s THE BEST OF ENEMIES (STXfilms) is a civil rights drama that one would normally see during Oscar season, since it stars Oscar winner Sam Rockwell and nominee Taraji P. Henson. This story is interesting to me as someone who loved last year’s Green Book, mainly because there are stories like this (and that) from the ‘60s that deserve to be told. Unfortunately, I’m missing this due to CinemaCon as well, so hopefully I’ll have a chance to see it when I’m back in New York.

LIMITED RELEASES

Besides Peterloo, reviewed above, there’s a few other films I recommend seeking out, and hopefully the first three of these will expand into other places than big cities after this weekend:

Correction: Oops!! It looks like I missed the fact that Teen Spirit will not open in select cities until April 12, so I’ll rerun my write-up on it next week

Seemingly a lost project/movie, the late filmmaker Sydney Pollack was commissioned by Warner Bros. Records to capture a concert by Aretha Franklin singing gospel songs for a movie, but it was shelved due to technical difficulties. More than 45 years later, that concert is presented in AMAZING GRACE (NEON), and if there ever was any doubt in your mind about what an amazing singer Franklin was, this movie will certainly change that. It opens in select cities.

Opening in New York, L.A. and other cities is Emma Tammi’s Western werewolf movie THE WIND (IFC Midnight), which played at TIFF and Fantastic Fest last year and the more-recent What the Fest in New York. It stars Caitlin Gerard from Insidious: The Last Key as a rugged woman who has moved into a cabin on the American frontier in the early 19thCentury, where she immediately starts feeling as if there’s a sinister presence, possibly tied to the only other couple who lives out there. Her husband (Ashley Zukerman) doesn’t believe her. If you like Westerns and want to see one with a dominant female presence (both in front and behind the camera) then you’ll want to check this out.

I guess this is as good a place as any to mention that one of my favorite filmmaker Terry Gilliam’s new movie The Man Who Killed Don Quixote will be available to see nationwide on Tuesday via Fathom Events. The movie, starring Adam Driver, Jonathan Pryce and a number of amazing European actors who I was unfamiliar with, is one that Gilliam has been trying to make for over 20 years and no surprise, it harks back to his great films like The Adventures of Baron Munchausen and The Fisher King, which came out during the filmmaker’s heyday. I’m just so happy Gilliam was finally able to make this movie, and it actually turned out quite well.. maybe a little weird for some tastes, but not too weird for lifelong Gilliam fans like myself.

Hilary Duff stars in the title role of Daniel Ferrands’ THE HAUNTING OF SHARON TATE (Saban Films) about the murder of the 26-year-old actress who was pregnant with Roman Polanski’s baby when she was murdered by Charles Manson and his cult.It opens in theaters and will be available On Demand starting Friday.

Jordan Downey’s The Head Hunter (Vertical) involves a medieval warrior who is protecting the kingdom from monsters, collecting their heads as he slays them. The one monster he hasn’t killed yet is the one that killed his daughter, so he travels on horseback to try to get revenge. It opens in select cities and On Demand.

Jai Courtney stars in Shawn Seet’s adaptation of Colin Thiele’s Storm Boy (Good Deed Entertainment), an Australian drama in which the retired businessman Michael Kingley reflects back on his past life. Some of these memories including a story about how as a boy, he rescued an orphaned pelican and named it Mr. Percival.

Filmmaker Emilio Estevez’s latest film, the political drama The Public (Greenwich), will also open Friday after playing TIFF and a few other festivals. It stars Alec Baldwin with Estevez, Jena Malone, Taylor Schilling, Christian Slater, Gabrielle Union, Michael K. Williams and Jeffrey Wright, and with a cast like that, do you really need to know what the movie is about? Okay, fine. It takes place in a public library in Cincinnati where a number of homeless patrons take it over during an Arctic blast, seeking shelter from the cold but also staging an act of civil disobedience, in the process.

Showing FREE OF CHARGE at New York’s Film Forum (as part of their annual Free Movie Week) starting Wednesday is Cam Christiansen’s animated doc Wall, which looks at the decision by Israel to build the 435-mile long wall to separate the Palestinian West Bank from the rest of Israel. Building that $4 billion wall meant the confiscation of 4,000 acres of Palestinian land and the destruction of 1,000 trees…and that area is still in disarray. So yeah… building walls is a bad idea.

Stephanie Wang-Breal’s documentary Blowin’ Up (Once in a Blue) deals with the first-ever court created to deal with prostitution in Queens, New York, the Queens Human Intervention Trafficking Court led by the Honorable Toko Serita. The purpose is to help deal with the women and girls arrested for prostitution who are illegal Asian immigrants or are black, Latina or trans, so they get shuffled through the system without it ever dealing with the complex reasons why they turn to prostitution. The doc opens at the Quad in New York Friday and then in L.A. on April 12.

Opening at the Metrograph in New York City is Qiu Sheng’s feature debut Suburban Birds (Cinema Guild) involving two narrative strands, one involving land surveyors who are laying subway tracks, the other involving pre-adolescents who rove the streets of the town unsupervised. It sounds…um… interesting?

Josh Stewart from Criminal Minds writes, directs and stars in Back Fork (Uncork’d) as family man Waylon who is struggling to keep his life together after tragedy, becoming more dependent on pills. Also starring Agnes Bruckner, the film will open in select cities and be available On Demand starting April 9.

LOCAL FESTIVALS

First up, on Tuesday began the 11th Annual ReelAbilities Film Festival at the JCC Manhattan, celebrating those who have fought past what would normally be considered “disabilities” to greatness. It kicked off with the Opening Night Gala and Screening of Irene Taylor Brodsky’s Moonlight Sonata: Deafness in Three Movements, a documentary about a boy with genetic deafness who grew up with cochlear implants whose grandfather is adverse against using such technology in his old age. The festival runs through April 9 where the Closing Night film is Nick Kelly’s The Drummer and the Keeper about a drummer dealing with a bipolar diagnosis. In between is a full line-up of narratives and documentaries exploring different disabilities from blindness to mental disorders, and it’s quite an amazing array of films, many which might not ever get distribution, sadly. Screenings take place all over the city including Bellevue Hospital, Lincoln Center and the Museum of the Moving Image in Queens.

Although the 22nd Annual Full Frame Documentary Film Festival takes place in Durham, North Carolina – home of Duke University -- starting Thursday, I do have a love for the documentary genre that makes me want to mention the amazing programming, which will include a thematic program called “Some Other Lives of Time,” curated by Oscar nominee RaMell Ross (Hale County This Morning, This Evening). Steven Bognar and Julia Reichert’s American Factory is the opening night film while the Aretha Franklin concert doc Amazing Grace (released this weekend in other cities) closes this year’s festival. There’s an amazing line-up of docs in between, some that have played other festivals like David Modigliani’s Running with Beto and Toni Morrison: The Pieces I Am, and others that are premiering at Full Frame. American Factory directors Steven Bognar and Julia Reichert are getting a tribute with all of their earlier features and shorts shown, as well as their new film about a General Motors plant in Dayton, Ohio that closed, forcing 2,500 people into unemployment. This is a festival I’ve wanted to attend for so long and I do have friends in the Durham area that would make this worth a visit, but it’s only four days from Thursday through Sunday, so can’t do it this year.

Also, the Havana Film Festival New York begins at the Museum of the Moving Image on Sunday.

STREAMING AND CABLE

This week’s big Netflix release is Brie Larson’s directorial debut UNICORN STORE, in which she plays a 20-something artist named Kit, who is kicked out of art school, forcing her to move back home with her parents. Just as Kit decides to finally grow up, a salesman, played by Larson’s Captain Marvel co-star Samuel L. Jackson, shows up to offer Kit her heart’s desire. Based on a script by Samantha McIntyre, the film also stars Joan Cusack as Kit’s mother.

Netflix also has a number of new series starting on Friday including Chilling Adventures of Sabrina (from Riverdale showrunner Roberto Aguirre-Sacasa) and the eight-part nature series Our Planet, narrated by Sir David Attenborough.

I didn’t go to Sundance so I haven’t had a chance to see Rashid Johnson’s Native Son, starring Margaret Qualley, Nick Robinson, Kiki Layne, Ashton Sanders, Sanaa Lathan and Elizabeth Marvel, but that will premiere on HBO this Saturday night.

REPERTORY

METROGRAPH (NYC):

On Friday, Metrograph will open a restoration of King Hu’s little-seen 1973 martial arts film The Fate of Lee Khan (Film Movement Classics) but the real winner this weekend is the Playtime: Family Matinees screenings of one of my childhood faves, Ken Hughes’ Chitty Chitty Bang Bang (1968), starring Dick Van Dyke. Late Nites at Metrograph will show Sion Sono’s 2016 film Anti-Porno, which I may have seen before or maybe I just saw the trailer at Metrograph when it screened there a couple years back. I can’t remember! Also, the Total Kaurismäki Show continues through the weekend with Leningrad Cowboys Go America (1989) on Thursday, more esoteric films like Juha (1999) and Take Care of Your Scarf, Tatiana (1994) on Saturday, Leningrad Cowboys Meet Moses (1994) on Sunday and then his recent The Other Side of Hopeon Monday. That series continues through next Wednesday. Thursday also continues the Academy at Metrograph series with a screening of the 1959 rom-com Pillow Talk.

THE NEW BEVERLY (L.A.):

Weds and Thursday are double features of Jack Nicholson’s 1971 film Drive, He Said with the 1972 John Wayne movie The Cowboys. Friday and Saturday, the New Bev does a sci-double feature of Silent Running (1972) and The Incredible 2-Headed Transplant (1971). This weekend’s KIDDEE MATINEE is Tom Hanks and Joe Dante’s The Burbs (1989), the Friday midnight screening is Tarantino’s The Hateful Eight (Multiplex version) while the Saturday night midnight offering is John Landis’ 1978 comedy classic Animal House. A 4-track mag print (whatever that is) of Carl Foreman’s war movie The Victors (1963) will screen on Sunday and Monday. Paul Thomas Anderson’s Magnolia (1999) will also screen on Monday afternoon.

FILM FORUM (NYC):

Besides debuting an uncut (220 mins. With intermission) version of Franesco Rosi’s 1979 epic Christ Stopped at Eboli (Rialto Pictures), the Film Forum is screening the 1968 war film Where Eagles Dare introduced by British author Geoff Dyer (who wrote a book about the movie) on Saturday, and then John Boorman’s 1967 film Point Blank on Sunday, also introduced by Dyer.

EGYPTIAN THEATRE (LA):

Noir City: Hollywood – The 21stAnnual Los Angeles Festival of Film Noir continues through the weekend with chronological double features of 1955 films The Big Combo and Bad Day at Black Rock on Weds, the 1956 films A Kiss Before Dying and The Harder They Fall on Thurs, and then 1957′s The Midnight Story and Monkey on my Back Friday, Clara Bow’s Call Her Savage from 1932 with a Forbidden Hollywood presentation on Saturday, along with Orson Welles’ Touch of Evil and Louis Malle’s Elevator to the Gallows, both from 1958. The series ends on Sunday with I Want to Live (1958) and Cry Tough (1959).

AERO (LA):

I wish I lived in L.A. right now because the Aero is launching a Mike Leigh retrospective called “Bleak, But Never Boring: Life According to Mike Leigh” starting Friday with a double feature of Naked (1993)and Meantime (1984), Saturday is Secrets & Lies (1996)and Vera Drake (2004), then Sunday is Life is Sweet (1990)and High Hopes (1988). On Thursday, the Aero is ALSO showing Animal House… but with guests!

BAM CINEMATEK (NYC):

Strange Desire: The Films of Claire Deniscontinues through the weekend with Bastards and The Breidjing Camp on Thursday, Towards Mathilde (2005) with the 2002 short Vers Nancy and US Go Home (1994) & the doc Claire Denis, The Vagabondon Saturday. Denis’ fairly recent film Let the Sunshine Inwill screen again on Sunday, as will Denis’ 1994 film I Can’t Sleep.

MOMA (NYC):

Modern Matinees: B is for Bacall continues with 1966’s Harper Weds, Woman’s World (1954) Thursday and Robert Altman’s Pret-A-Porter (Ready to Wear) (1994) on Friday.

MUSEUM OF THE MOVING IMAGE (NYC):

Besides taking apart in a few film festivals mentioned above, MOMI will also screen Antonio Tibaldi’s On My Own (1991) with Tibaldi in person.

QUAD CINEMA (NYC):

Bertrand Blier’s Get Out Your Handkerchiefscontinues…

LANDMARK THEATRES NUART (LA):

Friday’s midnight screening is the anime classic Akira.

The IFC CENTER in New York seems to be in-between repertory programs, while FILM SOCIETY OF LINCOLN CENTER is still focused on New Directors/New Films through Sunday.

Next week, Lionsgate revives Mike Mignola’s Hellboy, this time played by David Harbour, Tina Gordon’s comedy Littlestarring Regina Hall and Issa Rae, and LAIKA Studios returns with their latest stop-motion animated film Missing Link.

#WhatToWatchThisWeekend Shazam PetSematary Peterloo Teen Spirit Moviesreviews

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racingtoaredlight · 7 years

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Profiles in IMDb Greatness: Matt Ross

I love the Internet Movie Database. If I’m looking to Instagram stalk the pretty Italian lady from the second season of Master of None it’s a great outlet to find her real name. As such I enjoy looking over random performer pages and arbitrarily judging the scope and quality of their careers to determine if they merit entry into my vaguely defined IMDb Hall of Fame. Today’s enshrinee: Matt Ross

Fate and the Home Box Office television network conspired to serve up a perfect actor for inclusion in this hallowed Hall when as the fourth season of Silicon Valley was up and running while it seemed like American Psycho was on twice a day (and then like a month passed without my actually doing the post but it’s here now so leave me alone). Anyone who can both legitimately unnerve Patrick Bateman and make hostile corporate takeovers hilarious is working with a full deck as a performer.

First Listed Role: I already know this profile is going to be a winner since I’ve seen his first credited role, 1994′s PCU.

It’s been a great long while since I’ve seen PCU (so long ago that even with the picture I can’t remember what exactly Matt Ross did) but I recall it being entertaining enough while still thinking my buddies oversold the hell out of it. It’s a fun movie to look back on as a reminder that even with all the crybabies today annoyed they can no longer use racial slurs decrying political correctness is not a new phenomenon.

Also George Clinton rocks pretty hard in it if memory serves.

Most Recent Finished Work: The great Silicon Valley. That show sneaked up on me during the second season when I had a realization that I looked forward to it just about as much as any other show on TV and would regularly have your faithful writer laughing loudly like an idiot multiple times an episode.

On the show Ross has helped create one of the great villains of television Gavin Belson. Think a more insecure, outwardly evil Bill Gates whose tech giant company Hooli is a constant cloud over the doings of the show’s, for lack of a better word, heroes. A common trait with Ross’ best roles is being able to possess a certain oily sleaziness. Gavin Belson as CEO of a major corporation is more polished than the Alby Grants he’s portrayed but the running bit with animal props as board meetings is a perfect showcase for a hilarious lack of basic morality.

youtube

CSI/Law & Order/NCIS Guest Spots: In furthering being the perfect IMDb HOF entrant Matt Ross has a double dip of CSIs (no Law & Order surprisingly, but he does do more film work than a lot of the others so less available time I’d imagine).

From CSI: Miami we have Silencer.

Horatio and his team investigate a double murder at a concert, but unraveling the mystery becomes difficult when leads take them in two directions: the Mala Noche gang, and a pharmaceutical company.

Difficult to say where Ross’ character Paul Burton falls into this mess but if I had to guess I’d wager he’s aligned with the pill pushers than the Mala Noche gang. Being a shady pharmacy lab tech feels just right for him. I just hope it was George Clinton concert that claimed those two souls as a bit of an Easter egg to Matt Ross’ early work.

And then there’s CSI: Original Recipe with Meat Jekyll. As first I got excited thinking Ross was playing a character named Meat Jekyll before realizing it was just the title of the episode. An even bigger disappointment is not using Ross’ aforementioned ability to play sinister to be the Hannical Lector of the episode.

The crime lab reluctantly brings in imprisoned serial killer Nate Haskell after he claims to know the identity of "Dr. Jeckyll." Meanwhile, clues revealing his next and perhaps final victim are mailed to Dr. Langston.

Instead they gave that *sunglasses* MEATY role *yeah* to That Guy who was in Eight Men Out as one of the few players who didn’t get kicked out of baseball. Can’t trust a man who won’t take a gambler’s money in this reporter’s opinion.

Hall of Fame Ballot Submissions: Twelve Monkeys (maybe my favorite treatment of time travel as a concept and how you wouldn’t be able to change anything since it’s already happened in the future), Face/Off (I only watched about 20 minutes of this and shut it off but it’s such a famous goodbad movie that I included it, just couldn’t buy in to Nic Cage’s skin fitting around Travolta’s giant head), Oz (this post’s winner of the biggest “Oh shit, really?” work, he was one of the guards killed in the riot), American Psycho, The Aviator, Good Night and Good Luck, Big Love, Silicon Valley.

Big Love was a bit of a stretch here since by the last couple seasons I was outwardly hating it but Ross’ Alby Grant is probaby still the role I most associate him with when he pops up elsewhere due to how devastatingly creepy he was. Also I included Big Love for Bill Paxton so in the name of consistency it’s here again, plus this adds to Ross being the king of HBO.

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The Aviator was another flick that HBO brought back into the rotation in the last few months that I hadn’t seen in forever and I’d forgotten he was in it. In a weird turn his character Odie is simply a competent airplane mechanic without any degenerate character tendencies, I’m sure it was his hardest role to pull off.

And what’s left to say about his turn in American Psycho, he’d know better than anyone that too much praise can be grating.

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Miscellaneous Credits: New rule, if you play Johnny Cash in something, it gets mentioned here like with Lifetime’s Ring of Fire.

Suppose you’d have to ask someone else why this was made when Walk The Line had come out eight years earlier but hey, if they can keep rebooting Spider-Man this century than certainly the Man in Black should be celebrated as often as possible.

Highest Rated IMDb Entry: Goddamn right, the Silicon Valley episode Optimal Tip-To-Tip Efficiency that pulled the whole first season together and hinted at the heights it could reach. 9.4 stars, this episode fucks. I love this one sentence from the episode description:

The guys break out into a ridiculous argument

Yes they did, IMDb plot recapper, yes they did.

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Lowest Rated IMDb Entry: I’m not about to go through every other post in this series to check but 5.4 for the worst (according to IMDb users) production one’s been in might be the new high water mark. Take a bow, A Deadly Vision. I’ll be keeping my eyes open to see if the Lifetime Movie Channel re-airs this.

A waitress who has psychic visions of murders before they happen is asked by a police detective to help find a serial killer.

Making this all the better? Matt Ross is indeed the killer and is billed simply as The Killer, just like with The Joker a menace can be more terrifying without any sort of tether to humanity. I’m now wondering to myself just how good Matt Ross could be as The Joker in something. Him and Ben Affleck are pretty much the same age so why not make him the Clown Prince of Evil for any standalone Batfleck film instead of Jared Leto’s ass. Just something to think about, Hollywood bigshots.

IMDb Fun Fact: Matt Ross is 6' 0½" tall.

I feel like I was pitching a perfect IMDb HOF post and then the Trivia section stepped to the plate and laid down a bunt that hugged the third base line of uninteresting tidbits of a great actor’s career. Shame.

IMDb HOF Members: Even though the ad wizards have decreed that only video is worthy of internet bandwidth it sure would be swell if the dear readers clicked back on any old posts they haven’t read yet and tell me how these used to be better before I became cynical and jaded beyond recognition.

Bob Balaban

Jim Beaver

Clancy Brown

W. Earl Brown

Reg E. Cathey

Gary Cole

Keith David

Cary Elwes

Noah Emmerich

Jami Gertz

John Hawkes

John Michael Higgins

Toby Huss

Allison Janney

John Carroll Lynch

Margo Martindale

David Morse

Joe Morton

Robert Patrick

Bill Paxton

Jon Polito

Alan Rickman

Stephen Root

Matt Ross

Alan Ruck

Peter Stormare

Daniel von Bargen

Next Time: Should I just do an actual Jami Gertz one? She’s been in there so long I can hardly remember what inspired the running gag in the first place.

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#imdb hof #matt ross #silicon valley #american psycho #big love #johnny cash #oz #csi #i want you patrick

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technicalsolutions88 · 6 years

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The swipe is where the similarity ends. Raya is less like Tinder and more like a secret society. You need a member’s recommendations or a lot of friends inside to join, and you have to apply with an essay question. It costs a flat $7.99 for everyone, women and celebrities included. You show yourself off with a video slideshow set to music of your choice. And it’s for professional networking as well as dating, with parallel profiles for each.

Launched in March 2015, Raya has purposefully flown under the radar. No interviews. Little info about the founders. Not even a profile on Crunchbase’s startup index. In fact, in late 2016 it quietly acquired video messaging startup Chime, led by early Facebooker Jared Morgenstern, without anyone noticing. He’d become Raya’s first investor a year earlier. But Chime was fizzling out after raising $1.2 million. “I learned the not everyone who leaves Facebook, their next thing turns to gold” Morgenstern laughs. So he sold it to Raya for equity and brought four of his employees to build new experiences for the app.

Now the startup’s COO, Morgenstern has agreed to give TechCrunch the deepest look yet at Raya, where the pretty, popular, and powerful meet each other.

Temptation Via Trust

Raya COO Jared Morgenstern

“Raya is a utility for introducing you to people who can change your life. Soho House uses physical space, we’re trying to use software” says Morgenstern, referencing the global network of members-only venues.

We’re chatting in a coffee shop in San Francisco. It’s an odd place to discuss Raya, given the company has largely shunned Silicon Valley in favor of building a less nerdy community in LA, New York, London, and Paris. The exclusivity might feel discriminatory for some, even if you’re chosen based on your connections rather than your wealth or race. Though people already self-segregate based on where they go to socialize. You could argue Raya just does the same digitally

Morgenstern refuses to tell me how much Raya has raised, how it started, or anything about its co-founder Mike McGuiness who owns LA public relations company the Co-Op Agency beyond that the team is a “Humble, focused group that prefers not to be part of the story.” But he did reveal some of the core tenets that have reportedly attracted celebrities like DJs Diplo and Skrillex, actors Elijah Wood and Amy Schumer, and musicians Demi Lovato and John Mayer, plus scores of Instagram models and tattooed creative directors.

Raya’s iOS-only app isn’t a swiping game for fun and personal validation. Its interface and curated community are designed to get you from discovering someone to texting if you’re both interested to actually meeting in person as soon as possible. Like at a top-tier university or night club, there’s supposed to be an in-group sense of comraderie that makes people more open to each other.

Then there are the rules.

“This is an intimate community with zero-tolerance for disrespect or mean-spirited behavior. Be nice to each other. Say hello like adults” says an interstitial screen that blocks use until you confirm you understand and agree every time you open the app. That means no sleazy pick-up lines or objectifying language. You’re also not allowed to screenshot, and you’ll be chastized with a numbered and filed warning if you do.

It all makes Raya feel consequential. You’re not swiping through infinite anybodies and sorting through reams of annoying messages. People act right because they don’t want to lose access. Raya recreates the feel of dating or networking in a small town, where your reputation follows you. And that sense of trust has opened a big opportunity where competitors like Tinder or LinkedIn can’t follow.

Self-Expression To First Impression

Until now, Raya showed you people in your city as well as around the world — which is a bit weird since it would be hard to ever run into each other. But to achieve its mission of getting you offline to meet people in-person, it’s now letting you see nearby people on a map when GPS says they’re at hotspots like bars, dancehalls, and cafes. The idea is that if you both swipe right, you could skip the texting and just walk up to each other.

“I’m not sure why Tinder and the other big meeting people apps aren’t doing this” says Morgenstern. But the answer seems obvious. It would be creepy on a big public dating app. Even other exclusive dating apps like The League that induct people due to their resume more than their personality might feel too unsavory for a map, since having gone to an Ivy League college doesn’t mean you’re not a jerk. Hell, it might make that more likely.

But this startup is betting that its vetted, interconnected, “cool” community will be excited to pick fellow Raya members out of the crowd to see if they have a spark or business synergy.

That brings Raya closer to the holy grail of networking apps where you can discover who you’re compatible with in the same room without risking the crash-and-burn failed come-ons. You can filter by age and gender when browsing social connections, or by “Entertainment & Culture”, “Art & Design”, and “Business & Tech” buckets for work. And through their bio and extended slideshows of photos set to their favorite song, you get a better understanding of someone than from just a few profile pics on other apps.

Users can always report people they’ve connected with if they act sketchy, though with the new map feature I was dismayed to learn they can’t yet report people they haven’t seen or rejected in the app. That could lower the consequences for finding someone you want to meet, learning a bit about them, but then approaching without prior consent. However, Morgenstern insists.”The real risk is the density challenge”.

Finding Your Tribe

Raya’s map doesn’t help much if there are no other members for 100 miles. The company doesn’t restrict the app to certain cities, or schools like Facebook originally did to beat the density problem. Instead it relies on the fact that if you’re in the middle of nowhere you probably don’t have friends on it to pull you in. Still, that makes it tough for Raya to break into new locales.

But the beauty of the business is that since all users pay $7.99 per month, it doesn’t need that many to earn plenty of money. And at less than the price of a cocktail, the subscription deters trolls without being unaffordable. Morgenstern says “The most common reason to stop your subscription: I found somebody.” That ‘success = churn’ equation drags on most dating apps. Since Raya has professional networking as well though, he says some people still continue the subscription even after they find their sweetheart.

“I’m happily in a relationship and I’m excited to use maps” Morgenstern declares. In that sense, Raya wants to expand those moments in life when you’re eager and open to meet people, like the first days of college. “At Raya we don’t think that’s something that should only happen when you’re single or when you’re twenty or when you move to a new city.”

The bottomless pits of Tinder and LinkedIn can make meeting people online feel haphazard to the point of exhaustion. We’re tribal creatures who haven’t evolved ways to deal with the decision paralysis and the anxiety caused by the paradox of choice. When there’s infinite people to choose from, we freeze up, or always wonder if the next one would have been better than the one we picked. Maybe we need Raya-like apps for all sorts of different subcultures beyond the hipsters that dominate its community, as I wrote in my 2015’s piece “Rise Of The Micro-Tinders”. But if Raya’s price and exclusivity lets people be both vulnerable and accountable, it could forge a more civil way to make a connection.

from Mobile – TechCrunch https://ift.tt/2G2sZ4c ORIGINAL CONTENT FROM: https://techcrunch.com/

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