all the feels for this trailer

youtube

PopCode’s interview with Robert Pattinson and producers Paris Kassidokosta-Latsis and Terry Dougas the premiere of Good Time in Athens, Greece

Question : How did they end up working together?

Latsis and Douglas have been a fan of Rob for a long time, when they were introduced to the Safdie brothers, saw the trailer of their last movie, and read the script, they were hooked and came on board.

Rob: “When I met them (the Safdies) I just wanted to do something which just felt very connected, breathless and it’s pacing. And all of their movies just feel kind of out of control and I really wanted to do something like that.

Many people have called this your best performance, do you feel that way too?

I can’t really tell about my own stuff, I really wanted to do something which felt very very of the moment, and I think the Safdies definitely have that. They’re very “zeitgeisty” directors at the moment and I think that is what people are connecting to, and it’s been a while since there’s a proper punk movie and it just feels a little more dangerous than the average that comes out.

Do you have a career plan, how do you pick? Is this a cinephile exercise?

Basically after I did Cosmopolis with Cronenberg in 2012 or 13, I didn’t really realize that you could actually work with these kind of legendary film auteurs. And it really changed my whole rationale on how I pick things. Because it was a massive high after doing that job and even just getting the job in the first place. And so afterwards I was kind of just tracking down people like Herzog, Claire Denis, James Grey, all these people who I just grew up loving their movies. But I didn’t really think I could actually work with them, so for a long time, I was basically just trying to recreate my DVD shelf from when I was 17,  I’m still kind of in the process of that.

Rob blanked out when asked about working with dream collaborators. He only managed to mention working with Ciro Guerra next year after finding the director’s last movie “Embrace of a Serpent” incredible.

Which scene stands out and was fun to do?

It was a really really fun character. Playing any part that he (Connie) doesn’t really have any fear and doesn’t have any shame in his actions, you are playing someone who is not self-reflective at all, so there is a relentlessness to almost any interaction he has with anybody else. So it is always kind of fun, you are having to play parts where you are kind of always up and down, kind of depressing scenes, but there is all just forward momentum. A lots of scenes are really funny, a lot of scenes I am doing with Buddy Duress are just fun. I am working with the Safdies and they are just quite audacious, they always like putting in their writing just left turns all over. In every single scene, you feel you’re going in one direction and suddenly it just complete switches genres in the middle of a scene. Yeah, it’s always fun to do that.

What are the other cult favourite movies that you might really enjoy?

I defintely watched Straight Time before we did it. (with Dustin Hoffman), and The Executioner’s Song with Tommy Lee Jones, that was a TV movie, which was a big part of it, and lots and lots of stuff about Charles Manson. A big big part of the performance is Manson.

How was it like working with Cronenberg?

It was such a gift to do Cosmopolis. I didn’t really know what I was going to do as the Twilight series was ending. Eventhough I have done movies in between, I just haven’t got a specific direction where I was going to go and Cosmopolis just came out of nowhere and I just thought that the writing was so excellent. And as soon as you worked with someone who’s just kind of a titan, and he had so much trust in me and so much belief, it really changed my whole attitude towards acting, my career in general. If Cronenberg calls you, it’s a vote of confidence, it kind of allowed me to go into other things afterwards, which I don’t know if I would have the confidence to try and pursue without that.

#Only transcribed Rob’s answers.

anonymous asked:

I'm sorry I'm not sure if my question made it through to u so I'm sending it again. Based on trailers and tv spots and spoilers what do u think will happen with reylo in tlj? Luke pushes rey toward Kylo and I'm guessing snoke will do the same to Kylo since they will get dangerously close.

It’s okay anon, hello there!=)

Since I haven’t watched the trailers or tv-spots, I can’t include them but I’ll try to answer this as best as I can!

I think this is gonna happen, plain and simple:

Luke and Snoke won’t be able to give Reylo the things that they want/need. Luke - the training, truth and knowledge that Rey wants, and Snoke - the feeling of being enough and loved for Kylo. Add the feeling of loneliness on top of all this. Their masters will tell them to ignore each other, claiming that the other one is dangerous. Rey - being seduced to the dark side by the dangerous Kylo Ren. And Kylo - becoming weak by feeling compassion for Rey.

And do you know what I think is going to happen? That’s right. The opposite. Reylo will begin to keep secrets from their masters by seeking the other one out of curiosity. Even if it’s in their dreams/thoughts. And by doing this, Rey will discover that Kylo is not as a bad Luke or other people claim, and Kylo that Snoke is probably not the answer to his belonging.

Back to Luke and Snoke - by denying things to Rey and Kylo, Reylo will end up seeking them elsewhere. In other words, in the company of each other. They will be “pushed” towards each other.(;

HEY Y’ALL FUCKERS. I’ve disappeared for pretty much this whole week because between holidays, family, work, and me feeling like GARBAGE…I haven’t had much time to myself. Anyway, I’m getting back to that fuckass trailer fic and if I don’t post at LEAST one part of it by the end of this weekend, I’ll post my address and y’all can come beat the shit out of me.

Why Ducktales is important

At least…If you like Disney Television Animation.  

Which I do.  Oh so much.  

If you’re a fan of Gravity Falls, or Star vs. The Forces of Evil, or Wander Over Yonder, or Kim Possible, or Gargoyles, or any Disney Television show, then gather ‘round because I’m about to teach you some history.  

“Never forget, that it all started with a Mouse,”~~Walt Disney.

Great things come from humble origins.  Never forget that Disney TV…All started with a Duck.  

It was the 1980s.  Disney Television Animation was a new department at Walt Disney Studios.  And Disney was suffering.  These days it’s easy to think of Disney as a mega-giant, but back then, Disney was suffering.  Movies were being produced on shoestring budgets, and animators (such as Don Bluth) were jumping ship to find work at studios that were paying better and producing better content.  The Little Mermaid hadn’t yet hit theaters, sparking the Disney Renaissance.  The fledgeling animation department had produced two shows prior, “The Wuzzles” and “The Adventures of Gummy Bears”.  

Disney was in dire straights from Walt’s passing in 1966 left the studio suffering up until the 80s, when they started to take a few risks.  Risks that paid off.  The studio gambled on the idea that investing more money into quality animation would pay off in the long run if the show went into syndication.  It was something that worked well with live action, but had yet to be done with animation to that degree.  Cheap animation with tons of shortcuts could be syndicated, but something high-quality had never been done before.  

Ducktales was the first show that attempted this, and it paid off handsomely.  Not only was the show a hit with audiences (and a merchandising cash-cow) but it changed the game.  It set the stage for the Disney Afternoon a few years down the road, and paved the path for every show I mentioned at the beginning.  Without Ducktales, there would be no Gargoyles, no Star vs. The Forces of Evil, no Gravity Falls.  

Heck, I take it even one step beyond that…Without the inspiration of proof-of-concept, I’d wager that even OTHER studios cartoon creations wouldn’t exist.  No Animaniacs, No Adventure Time, no Steven Universe (and don’t think I missed the shout-out to Ducktales in “Onion Trade”) 

Ducktales was important because it raised the craft of animation to another level, combining storytelling with good, non-repetitive animation to produce quality TV.  For a time, Ducktales was Disney’s Flagship TV series, waving the banner and representing the company in the realm of television animation. 

And even today, the classic Ducktales series holds up rather nicely.  Sure, some things are a little dated, but at the end of the day, I enjoy watching Ducktales without reservations.  That’s why I own the DVD sets.  

 And it’s why I’m so happy about this reboot.  

This isn’t just a revamp of an old show.  This is Disney returning to its roots, reclaiming a bit of it’s history and polishing it off for the next generation.  I’m a little misty eyed.  I had some initial misgivings when this was announced, but the cast announcement melted those fears away, and now, seeing the trailer that dropped less than 24 hours ago…I don’t think I’ve ever been this excited for a TV series ever.  

Breaking down this trailer, we finally hear David Tennant as Scrooge McDuck.  I’ve actually been aware of Tennant’s presence in the voiceover scene for a few years now (Most notably, he plays bit parts in the How To Train Your Dragon franchise from Dreamworks) But hearing him as Scrooge…I really feel it works.  He’s got a certain quality the echos the late, great Alan Young, and I feel like he couldn’t have been better cast without some of that good old fashioned Disney Necromancy (And as we know, they used up their allotment of Necromancy on Peter Cushing for Rogue One) 

I love that the Nephews are getting unique characterization and personality. I loved Russi Taylor’s performance way back when, but one Nephew was really interchangeable with another.  Dani Pudi, Ben Schwartz, and Chris Moynihan really bring an awesome chemistry to their roles, just from the trailer.

And then there’s Webbigail.  Oh my God, I love how they’ve rebooted Webby.  She was always the annoying load back in the classic series.   Making her a Donald Duck fangirl is freaking GENIUS (and Kate Micucci is perfect for this role too) Bonus points given for Webby’s infamous “Quacky-Patch Doll”  being used for dart practice in the background of her room.  Webby has gone from outright “The Load” territory, to one of the most fun-seeming characters present in the reboot.  

And all of this from one minute and a half trailer.  I can’t wait for this series, even though I know I must.  I know it’s gonna be something special, I can feel it.  Maybe even Disney’s Flagship show, once again.  Stay tuned to my Tumblr, for much, much more.

One thing I know for certain that I’m going to do when the pilot for this airs…A side by side comparison of the Classic Pilot and the new one.  

Peace out, 

Disney Wizard

the best parts of the raven boys (featuring me crying)

- adam and ronan literally dragging each other on moving dollys behind the bmw like what nerds

- “if it had a social security number, ronan had fought with it”

- noah told them like 400 times that he was dead why was this news

- ronan being so extra about picking fights with declan. school? sure. monmouth? hell yea. nino’s parking lot? let’s fuckin go!!!

- the first thing blue ever sees ronan do is run into the light hanging above the booth at nino’s #clumsygay™

- ronan’s number on the nino’s bathroom stall door (honestly what the fuck)

- president cell phone

- gansey describing his friends as “the sulky one” and “the smudgy one”

- take a shot every time blue or adam call gansey condescending 

Keep reading

LEARN SPANISH WATCHING TV SERIES (FROM SPAIN)

As you all may know, watching TV in your target language helps improving the vocabulary, listening comprehension, and knowledge of it in general. This is why I decided to create a masterpost with some of the most well-known TV series in Spain. The titles are clickable, and they redirect to a trailer or some short clip of the show. 

(Not following any particular order)

  • Las chicas del cable: Netflix’s first Spanish original series. It’s set in 1928, and it tells the story of a group of girls working for a telecommunications company. It has this Great Gastby feeling, highly recommended! 
  • Física o química: I’d say this is a low-budget, Spanish version of Skam or Skins, but a bit outdated since it’s from some years ago. But basically same story, the struggles of some high school kids.
  • Cuéntame cómo pasó: it narrates the daily life of a Spanish family of the second half of the twentieth century, so of course it has some historic episodes going on. It started back in 2001, based in 1968, and it’s still on air, narrating the year 1986.
  • Aquí no hay quién viva: sitcom which depicts the problems of the neighbours of an apartment building. It stopped being broadcast in 2006, but a new series with basically the same argument and actors emerged, called La que se avecina.
  • Los hombres de Paco: drama comedy which tells the story of some policemen.
  • Farmacia de guardia: apparently this is the most watched Spanish TV series ever. It’s a sitcom about a pharmaceutic and her life.
  • Los Serrano: drama comedy about a family and their struggles.
  • Vis a vis: a Spanish remake of Orange is the new black, basically.
  • El ministerio del tiempo: fantasy TV series about a ministry that travels in time.
  • Velvet: story of love between a heir and a seamstress in the 50s. Miguel Ángel Silvestre (who also appears on Sense8) plays the lead role here.
  • Sin tetas no hay paraíso: a love story between a posh girl and a troubled guy. Miguel Ángel Silvestre also plays a role here.
  • El príncipe: drama series of a relationship between a Christian policeman and a Muslim woman.
  • Aída: sitcom about a poor-ish, low class family and their neighbours.
  • Águila roja: about a masked hero, set during the 17th century.
  • La señora: set in the 20s, about a love story between people of two different social classes.
  • Amar en tiempos revueltos: soap opera depicting the life in the Spanish civil war.
  • Gran hotel: drama series set in 1905 about a family who own a hotel.
  • El internado: thriller which focuses on the lives of students living in a boarding room.
  • Médico de familia: a bit old, tells the story of a doctor and his family.
  • Hospital central: drama about the lives of some hospital workers.
  • Verano azul: from 1989, one of the most iconic Spanish TV series. It tells the story of some children and their summer vacation.

If you want to watch any of them and aren’t able to find them (or if you have any doubts), drop me a message and I’ll be glad to help. Happy learning!


Learn Spanish watching TV channels online

Learn Spanish listening to radio stations online

Stranger Things Season 2 trailer shot by shot run down

I do not claim or own any of these screenshots all rights to Netflix


aw look at my children doing normal children things can’t wait to see how long that’s going to last 

so, the way that Dungeons and Dragons was sort of the running analogy last season, my guess is that this game is going to be the overlying symbolism for this season.

my boys all back together and happy again can’t wait to see how long that’ll last :’)

so if this is the analogy I’m guessing the “sword” is going to be the key to slaying the monster

again, the dragon probably = the monster

and if so, the fact that Dustin seemingly LOST this game sort of worries me…

case in point

this trailer took approximately 15 seconds to get me to say “oh no”

AS I WAS SAYING (okay so obviously from what we left off on last season and the trailers/ teaser we’ve gotten. we now know this season is going to deal with the aftermath of the Upside Down for Will as well as the entire community as rifts have been opened to other worlds)

so i’m assuming Will’s main arc this season is going to be his struggle with being split between two worlds, and though I understand why they did it I wish we could see more of Will apart from that but oh well)

me too buddy, me too.

and thus, we have our big bad for the season *rubs hands together*

mike he is obviously not okay but thanks for being concerned

correct me if i’m wrong but is that Jonathan’s car? why is he leaving?

sooooo why isn’t Will at school?

stancy break up/ tension possibly? nothing good ever really comes from their meeting in this ally

aw…is this why he wasn’t in school? Joyce obviously knows something is up. (side note: is that Hopper behind them?)

oh come on-

these SOBs again?

so i guess maybe the Upside Down;s bleeding over to our world effect crops too???????

Hopper and Joyce as parents yes please (also Will is not okay)

“I felt it everywhere” wtf is that supposed to mean that’s terrifying

please just let the Byers family live someone give them a break

why do they look so suspect? who are they looking at?

honestly I’m loving the Halloween time theme I can’t wait for the aesthetics they’re going to be implementing

my connection/ insider I have previously hinted to me about a Steve/ kids dynamic that was going to be happening this season, but I’m actually very interested to see where this goes and the relationships that’ll come out of it

again with the aesthetics !!! yes !!! please!!! and !!! thank !!! you !!!

when the scientists are worried, it’s really time to get worried

uuuhhhhh yikes? blood is never a good sign?

ESPECIALLY AROUND DUSTIN NO DO NOT WANT THIS TRAILER IS MAKING ME REALLY CONCERNED ABOUT HIS SAFETY AS A CHARACTER

ah yes all is probably not well at the Wheeler household 

of course my dork sons all go trick or treating in matching Ghost Busters costumes I love them

it looks like he’s tracking something. buuuuut what?

HOP!! I MISSED YOU AND YOUR PERPETUALLY CONFUSED EYEBROWS

oooohhhhhh these boys look like they’re crushing on the new giiirrrllll 👀 (mainly Lucas and Dustin? maybe Will I can’t tell) (except for Mike because they really are doing everything they can to bury me in Mileven feels)

I can literally feel her angst radiating off the screen and I have a feeling I’m going to stan her unless the writers use her as a devise to cause tension or rivalry among the boys in which case someone is going to die

“Sometimes I feel like I can still see her” WHY DO THE WRITERS FEEL THE NEED TO HURT ME LIKE THIS GAH I MISS MILEVEN HE EVEN KEPT HER BLANKET FORT UP  (because also it’s important to note that this is the same shirt from the screenshot of them watching the girl walk in. so if Mike goes home and realizes he still misses I’m going to choke)

can’t wait for this to most likely just be a cat jump scare

they’re building something don’t ask me what

if I had to guess I would say some sort of device that picks up on signals from the Upside Down maybe? like some sort of crystal radio?

but why does Mike kind of look like hes going to smash it with the speaker?

new girl seems to be working with them/ part of the group now. but the box opened? idk this part is confusing

-EDIT/ UPDATE THANKS TO @disneyprincesskatherine apparently this is a reference to Ghostbusters! the box is similar to a device they use in the movies to catch ghost (i’m uncultured I’m so sorry). she also speculates this is the capture of the sort of “pet” Dustin gets that Gaten talked about (could also be why there is blood on Dustin’s chair)

okay but where is #4? they’re still in their Halloween costumes so we can assume it’s either the day of or the morning after, though on what looked to be Halloween night in one of the previous screencaps, all 4 were present soooo

more evidence of the world meshing

YOU BEST BELIEVE I SCREAMED OUT LOUD I MISSED THEM (they both looks so good I‘m loving the haircuts) (and is this them breaking into the lab?)

even though this is a gross slimy portal to another dimension, i’m still digging the aesthetics

Will is not okay part 87450507

this is either a drawing of a map of the Upside Down or all connecting tree roots. either way wtf Will?

This time on: OTPs With Unreal Height Differences 

it kind of looks like the same “tree roots” on the ground as there were at the gas station shot so yeah, I think Will was drawing a giant root system

🎶 you’re my daaad, you’re my dad, boogie woogie woogie 🎶

DREAM TEAM (Mike, Nancy, Jonathan, Joyce) (also can we laugh at the fact that Mike is armed with a candle holder while he stands next to his sister literally holding a shot gun)

Hop digging my grave for when I finish the season

*cues classic 80′s teen movie party montage*

my girl wildin out (and Steve’s there too I guess)

TELL ME WHO HURT YOU (this is a different outfit from the party though, so it’s not the same scene)

a new weapon? perhaps the “sword”?

!!!!!!

OH GOD TELL ME HOP IS OKAY

everyone in this trailer looks as shook as I feel watching it

Will Is Not Okay: The Saga Continues

same shirt so most likely what he’s experiencing on the other side. I’m almost certain he’s going to play a big role in Eleven being able to come back to the other side

Journey To The Center of the Earth (2008)

well well well, Samwise Gamgee, what’s poppin’

why does Steve have Jonathan’s bat?

as far as I can tell this treck into the Upside Down consists of Mike, Dustin, Joyce, and I can’t tell who the others are 

“ABORT ABORT!!!” (this is a different scene from the one above so I wonder what this is in reference to)

another shot of Will being scared out of his mind, this kid doesn’t ever get a break (though the background looks almost like the lab as opposed to the upside down. I could be wrong)

…well that’s concerning (kind of looks like that giant monster is chasing him)

“If you’re out there, please just give me a sign”

so this looks to be back in the Upside Down equivalent to the classroom where Eleven defeated the Demegorgan. and based on the look on her face and the previous shot above, it seems she JUST woke up

YES MY BADASS CHILD I NEVER DOUBTED YOU FOR A SECOND

yES HER RETURN IS ABOUT TO BE ICONIC

YALL MIND IF I WILD OUT OVER THESE AESTHETICS AGAIN

I’m so freaking happy for her return to Mike us

Lord almighty this season looks amazing.

[TRAN] LOVE YOURSELF 承 Her 'Serendipity' Comeback Trailer

all of this is not a coincidence
just- just-
I could feel that
the whole world is different from yesterday
just- just-
with your joy

when you called me
I became your flower
as if we were waiting
we bloom until we ache

maybe it’s the providence of the universe
it just had to be that
you know I know
you are me, I am you

as much as my heart flutters
im worried that the destiny is jealous of us
just like you said im scared
when you see me
when you touch me

the universe has moved for us
there wasn’t even a little miss
our happiness was meant to be
cuz you love me
and I love you

you’re my penicillium (blue mold)
saving me
my angel, my world
im your calico cat here to see you
love me now
touch me now

just let me love you
just let me love you

since the creation of the universe
everything was destined
just let me love you
just let me love you
let me love 
let me love you 
let me love
let me love you 

D23 Live Panel Recap (to the best of my abilities, but I kind of died and went to heaven, so...)

Spoilers, kind of?

A Wrinkle in Time
-Ava DuVernay saying she wanted the cast to reflect the real world
-gorgeous makeup and costumes for Mindy, Oprah and Reese
-Meg being told she has to be a warrior in the teaser
-we all got free posters and Oprah shouted “You get a poster, you get a poster, you all get a poster!”
-CHRIS PINEEEEEE (and Disney openly and willingly congratulating him on Wonder Woman) also he was adorable with Storm

Mary Poppins
-Lin is adorable in the trailer and it just feels so magical and it’s gonna be great
-also Dick van Dyke and Angela Lansbury are in it

Aladdin
-they announced casting and they cast Middle Eastern actors thankfully (correction: the actress who plays Jasmine is actually Indian, sorry for the mistake)

Mulan
-it is coming. that is all

The Lion King
-they played footage of The Circle of Life and I almost cried

Star Wars
-Rian geeking out
-DAISY AND JOHN, SO CUTE
-KELLY MARIE TRAN, YO
-MARK HAMILL walking out and everyone goes wild, and he’s like ‘Who, me?  Nah…’
-Mark pointing to his eye, drawing a big heart, and then pointing at the entire crowd
-behind the scenes footage
-and I miss Carrie so much

Marvel
-Kevin Feige and the fact that it’s been almost 10 years of Marvel!
-bringing out almost the entire cast of Infinity Wars (except not Evans, but I can deal)
-like, they brought out Josh Brolin first and then they brought out a round of Avengers actors, and then they were like we need reinforcements
-and they were like how about some Guardians
-and then they Josh was like I’m still feeling pretty cocky
-and Kevin Feige was like, we have a Hulk (cue Ruffalo)
-and then they’re like didn’t you bring a friend from work? (cue Hemsworth)
-and Feige was like it would be so cool if Spider-Man swung by (cue Tom)
-MACKIE AND CHADWICK AND ELIZABETH AND BENEDICT AND RDJ
-BUT SEBBBBBBB (with his amazing beard)
-and then and then and then RDJ is like where is the footage?
-so they did this gorgeous recap of MCU up till now
-and it ends with the exchange between Tony and Cap on a black screen (“How do we cope?” “Together.” “We’ll lose.” “We’ll do that together too.” (chills))
-CUE INFINITY WARS TRAILER
-there’s literally so much awesomeness I can’t even begin to share it but seriously chills
-The Guardians picking up Thor in outer space
-Doctor Strange conjuring his force portal stepping stone things and Star Lord jumping from stone to stone
-Nat’s blonde!?!?!
-Bucky and T’Challa leading a Wakandan army!?!?
-and this is the part where I died
-because somebody throws something (maybe a spear? I’m not perfect, I couldn’t see 100%)
-and then a figure in the shadow catches it
-GUESS WHO GUYS
-that’s right
-it’s STEEEEVE
-and the most important takeaway
-CAP. HAS. A. BEARD.
-I REPEAT. CAP HAS A BEARD.
-NOT A FULL GROWN EVANS BEARD.  But enough.
-I probably missed stuff
-but I was a little overwhelmed

I got to the convention center last night at 10 pm (panel started at 10:30 am).  I slept on the concrete floor in line (inside, thankfully).  It. Was. All. Worth. It.

Brand New Trailer No.1 for Studio Ponoc’s Mary and Witch’s Flower (2017)
(With English subs)

Directed by former Studio Ghibli/Arrietty director Hiromasa Yonebayashi this trailer shows more great looking action from Studio Ponoc’s first animated feature Mary and Witch’s Flower which is coming to cinemas this summer :D

I must say i am super excited it looks amazing and gives all the Ghibli feels :D

WATCH IT HERE>>>

who is Kylo reaching out to?

So we all know that the two scenes at the end are most definitely different, which leaves us to the question asked in the title of this post.

So whoopdeedoo let’s do some digging™, shall we?

not quite zoomed-in enough…

oh? i see something…

now, hmm…

oh? what is that???

what in the world could that horizontal line that looks like a glowstick be?? wait- let’s use the eyedropper tool… before we-

oh…


So basically what I’m trying to say is that by judging the color of the actual part of the lightsaber that should be the most coloured, the choices of who he’s holding out his hand to are narrowed down to the wielder of said lightsaber, be it Rey or Luke (if he accepts it and decides to actually keep it) or by some extent, a person that is standing next to either one of them.

It’s all just speculation but I saw a person asking for a zoom-in of Kylo’s eyes and got inspired.

Costar || K.A.

Originally posted by kevinkeller

Word Count: 1536

Pairing: Kj x reader

Summary: You’re are nervous for an upcoming sex scene with Kj, so he invites you to his trailer to help calm your nerves.

Warnings: sex, blowjobs, cussing, sex in a trailer

Requested: nope

Part 1 (Ross’s part) || Part 3 (Cole’s part)


It was just another day, and you were going into work as usual, but today you were extremely nervous. You had been cast in the new show “Riverdale” on the CW. You were to play Mercy Hamburg, a sweet cheerleader who has the biggest crush on the boy next door, Archie Andrews. Archie was clueless to Mercy’s love for him since they had been friends all their lives, and he only saw Mercy as that—friends.

You had never been in front of the camera before. You had been a director’s assistant for a couple of years now. It was just recently that you decided to change it up, and start auditioning for parts. When you auditioned for the part in Riverdale, you felt that you killed it. But as the weeks went by and you didn’t get a call, you started to get nervous. After weeks of waiting, your manager called you and gave you the good news that you had landed the role.

You had bonded with the cast and became best friends quickly. Everyone was so funny and comfortable to be around. You especially clicked with Kj. His contagious laugh made bubbles form in your stomach. Your character wasn’t the only one catching feeling for a certain auburn haired boy. You knew how unprofessional it was to have a crush on one of your coworkers, so you pushed all the butterflies aside. You tried not to think about his pink lips and how his muscular arms would feel wrapped around your waist.

It didn’t help that your character was in love with his. Whenever you had to look into his eyes or comfort him, you would get this feeling in your stomach that you couldn’t control. Your cheeks would blush when his character would say something sweet to yours. You just blamed it on your acting, the director even complimented you on how well you played a girl in love with a boy that doesn’t love her back.

Today you were more nervous than you usually were when you had to film with Kj. You had to film a sex scene with him today. Of course, you weren’t going to go all the way, but you did have to make-out heavily and undress each other. Even if you filmed the scene with someone other than Kj, you would still feel anxious. You had never kissed someone you weren’t romantically involved with. You weren’t the type of girl who went out to parties and slept around.

Kj knew this so he sent you a text saying to meet him in his trailer before your call time. So that’s exactly what you did after you arrived at the studio. You walked into his trailer which was unlocked and saw him sitting on the love sac in the corner of the room. You walked in and smiled at him as you sat down on the couch across from him.

“Hey, how are you feeling about our scene today?” Kj inquired as he held eye contact with you.

“To be honest, I’m really nervous. I’ve never kissed anyone on camera before especially someone I met like a month ago.” You confessed while bouncing your foot up and down, a nervous habit you have.

“Come over here and sit by me and we can get to know each other better.” Kj scooted over to make room, but no matter how far he did, you were going to have to basically sit on his lap.

You got up and went over to sit down and your legs entangled with his. He put his hand on your thigh and looked at your lips for just a second before flicking up to your eyes.

“How about we make ourselves more acquainted with each other?” Kj whispered with playfulness laced in his words as he rubbed his hand up and down your thigh.

You giggled and looked down at his hand for a second before looking up at his face while you bit your lip, “How do we suppose we do that?”

“Like this,” Kj stated before he put his hand on your cheek and brought his lips to yours. You leaned into the kiss as you kissed back and wrapped your fingers into his hair. The kiss had a sense of urgency to it as Kj’s tongue explored your mouth.

Kj moved his hands to your hips as he guided you to sit on his lap. The butterflies in your stomach had flown away and were replaced with a sense of need. You started to grind your center over his and he let a groan out.

“Fuck, keep doing that.” He grunted as he pressed his fingertips into your hips to guide them to move over his.

You tugged at the bottom of his shirt needing there to be fewer clothes separating the two of you. He pulled off his shirt with one swift movement and threw it to the floor.

You ran your lips over his newly exposed skin, stopping at the base of his neck. You focused all your attention to this spot because when you sucked, Kj let out a loud moan.

Kj stopped you before you left a mark by sliding your shirt over your head and throwing it over to pile on the floor. He hummed in response in seeing your boobs in a black lace bra.

He brought you closer to him and started to kiss down your body while grinding his hips up into your core. You could feel a knot start to form in the pit of your stomach and you moaned out his name.

Kj unbuttoned his pants and pulled them down around his ankles. You sat up and rubbed him over his underwear. He was already starting to get hard so you pressed down a little harder and Kj let out a deep groan, “If you continue this, I’m going to come in my pants.”

You slipped down off the love sac onto your knees in between Kj’s legs and pulled down his underwear. His shaft sprang up and hit his stomach, “Mhm someone is excited,” you said with a smirk as he wriggled underneath your touch.

You took him into your hand and started to swipe up and down. You then took his head into your mouth and paid special attention to it. You flicked your tongue on the backside of his shaft where the bundle of nerves was.

Kj arched his back and took your hair into a make-shift ponytail while letting out a deep moan, “Yes baby girl just like that.”

You started to slide your mouth down, taking more of him into your mouth. He hit the back your throat and you started to gag, but Kj held you down by your hair for a couple of seconds more before lifting you up. You then licked up his shaft and encompassing his head in your mouth again.

Kj sudden pull you up off him and into his lap, “I want to come inside you,” He mumbled as he pulled down your shorts.

He pulled your underwear to the side and lined up himself with you. He went slowly as he filled you up. You let out a loud groan as he stretched you out, and he let you adjust before guiding your hips up and down on top of him.

You started to slowly move back and forth, getting used to his generous size. Your clit was being pressed against his abdomen making your head spin.

He started to moan when you finally adjusted and started to bounce faster. He began to thrust up into your core. You moaned his name with a few profanities as the knot in your stomach tightened.

“Kj, fuck, I’m about to come,” You grunted as he continued thrust relentlessly into your cunt.

“Hold it,” Kj commanded with a deep voice as he pounded into you. You didn’t think you could hold it much longer.

“I can’t, fuck, please let me come,” You begged as you opened your eyes to see Kj staring up at you. This sent him over the edge. You felt his load force its way into you and the ripple effect caused you to also release and break into an overwhelming orgasm.

As Kj’s thrusts slowed down, he let you ride out your orgasm while he stared up in awe at your sweat covered face. He slowly pulled out of you and laid you beside him.

“Do you think you will be comfortable now when we film our scene?” He asked with a smug tone after you had composed your ragged breathing.

“No, because I’m going to be horny the whole time,” You laughed as you turned on your side to face him.

“Well, then that just means we’ll have to meet in my trailer again after.”

“I guess so.” You started to get up and get dressed as you heard a knock at the door. You started to panic, but Kj went to the door and the woman outside said he was needed on set. He quickly dismissed her as he turned around to you.

“Ready to go film?” He asked with a smirk on his face.

A/N- leave me some feedback in my inbox! I always love talking to you guys!

A white guy’s thoughts on “Get Out” and racism

This weekend, I went to see a horror movie. It got stuck in my head, and now I can’t stop thinking about it—but not for any of the reasons you might think.

The movie was Jordan Peele’s new hit Get Out, which has gotten rave reviews from critics—an incredible 99% on Rotten Tomatoes—and has a lot of people talking about its themes.

First of all, I should tell you that I hate horror movies. As a general rule, I stay far, far away from them, but after everything I’d read, I felt like this was an important film for me to see. This trailer might give you some inkling as to why:

Creepy, huh? You might know writer/director Jordan Peele as part of the comedy duo Key & Peele, known for smartly tackling societal issues through sketch comedy. Get Out is a horror movie, but it’s also a film about race in America, and it’s impressively multilayered.

I left the theater feeling deeply disturbed but glad this movie was made. I can’t say any more without revealing spoilers, so if you haven’t seen the movie yet and you don’t want to have the plot spoiled for you, stop reading now and come back later.

Seriously, this is your last chance before I give away what happens.

Okay, you were warned. Here we go.

Our protagonist is Chris Washington, a young black man who has been dating Rose Armitage, a young white woman, for the last four months. She wants him to meet her family, but he’s hesitant. She acknowledges that her dad can be a little awkward on the subject of race, but assures Chris that he means well.

After unnerving encounters with a deer (echoes of The Invitation) and a racist cop, Chris and Rose arrive at the Armitages’ estate. On the surface, the Armitages are very friendly, but the conversation (brilliantly scripted by Peele) includes a lot of the little, everyday, get-under-your-skin moments of racism that people of color have to contend with: Rose’s dad going on about how he voted for Obama, for instance, and asking how long “this thang” has been going on. Chris laughs it off to be polite, though he clearly feels uncomfortable.

There’s a fantastic moment here, by the way, when Rose’s dad offhandedly mentions that they had to close off the basement because of “black mold.” In the midst of the racially charged atmosphere of the conversation, it’s nearly impossible not to take this as a racial remark, and Chris certainly notices, but what could he possibly say about it? Black mold is a real thing; his girlfriend would surely think he was crazy and oversensitive if he said it sounded racist. Chris never reacts to the remark, but that one tiny moment is a reminder to the audience of a real problem people of color often face, when racism can’t be called out without being accused of “playing the race card” or seeing things that aren’t there. (Incidentally, it turns out that the basement is actually used for molding of a different sort.)

There are other reasons for Chris to be unsettled: The only other black people on the estate are two servants, Georgina and Walter (Rose’s dad says he knows how bad it looks, but that it’s not what it seems), and something is clearly “off” about them. Later, more white people show up—and one more black character, and he, too, feels “off.”

By the end of the film, we learn the horrible secret: Rose’s family is kidnapping and luring black people to their estate, where they’re being hypnotized and psychologically trapped inside themselves—Rose’s mom calls it “the sunken place”—so that old or disabled white people’s consciousnesses can be transplanted into their bodies. The white people are then able to move about, controlling their new black bodies, with the black person’s consciousness along for the ride as a mere “passenger.” In a shocking twist, it turns out that even apparently-sweet Rose is in on the plot, and Chris must fight her and the rest of her family to escape.

This isn’t a “white people are evil” film, although it may sound that way at first, but it is a film about racism. I know many of my friends of color will connect with this movie in a way I can’t, so I won’t try to say what I think they’ll get out of it. I do want to say how I connected with it, though, because I think what Jordan Peele has done here is really important for white audiences. 

If you look beyond the surface horror-movie plot, this film actually gives white people a tiny peek at the reality of racism—not the epithet-shouting neo-Nazi kind of racism that white people normally imagine when we hear “racism,” but the “Oh it’s so nice to meet you; I voted for Obama” kind of racism, the subtle othering that expects people of color to smile and get along and adopt white culture as their own whenever they’re around white people.

So many of the moments in Get Out are clearly intended to work on multiple levels. When Chris confronts Georgina about something being wrong and she smiles and says, “No, no no no no no,” with tears streaming down her cheeks, the symbolism is blatant. How often do people of color have to ignore the subtle indignities they face and hide their true emotions in order to avoid coming across as, for example, “the angry black woman/man”? How many times do they find themselves in social situations—even with their closest white friends!—where people make little comments tying them to an “exotic,” supposedly monolithic culture, where they have to respond with a smile and a laugh instead of telling people how stupid and offensive they’re being? 

I can’t tell you the number of these stories I’ve heard from my friends, and I’m quite sure that the stories I’ve heard are only a tiny fraction of the stories that could be told. So there’s something in that moment that speaks volumes about the experiences of people of color in America.

The same is true for so many other moments. The black characters Chris meets at the Armitages’ have all symbolically given up their identities and conformed to white culture; when Chris meets one character, he turns out to be going under a new name, with new clothes and new mannerisms; when Chris offers him a fist bump, he tries to shake Chris’s fist. Again, within the story, there’s an explanation for all this, but every moment here is also about assimilation and culture differences. 

For me as a white audience member, all of these moments did something remarkable: They showed me my own culture—a culture I’m often blissfully unaware of because it’s all around me—as something alien. They reminded me that I, too, have a culture, and that expecting everyone else to assimilate to my culture is just as much an erasing of their identities as it would be to expect me to assimilate to someone else’s culture.

And that’s a big part of what Get Out is about—the erasing of identities, and the power of racism to destroy people. I think it’s really significant that racism is portrayed here very differently from how it’s normally portrayed in movies written by white people. In most Hollywood movies, you know a character is racist because they shout racial epithets or make blatant statements about a certain race’s inferiority. That allows white audiences to say, “I would never do/say that, so I’m not racist!” We really don’t want to think we are.

But notice something important about Get Out’s treatment of racism: This is a film about the literal enslavement of black people—racism doesn’t get more extreme than that—and yet Peele doesn’t go for the obvious by having the white characters admit that they think black people are inferior; instead, they subjugate and dehumanize people by claiming to admire things about them. They turn them into fashion accessories. 

When Chris asks why only black people are being targeted for this procedure, the response is telling: It’s not (supposedly) because the white characters think African Americans are bad, but rather, because they like certain things about them and they want “a change” for themselves. They want to become black—it’s trendy, we’re told!—but without having had any of the actual life experiences or history of African Americans. White people need to see this: to experience the ways in which Chris is othered by people who tell him all the things they like about him—isn’t he strong? Look at those muscles! Does he play golf like Tiger Woods? And he must be well-endowed and have such sexual prowess, right, Rose?

The white people in the audience need to be reminded that just because you’re saying positive things about someone doesn’t mean you’re not being racist, that turning someone into an exotic “other” may not be the same as shouting an epithet, but it’s still taking away someone’s identity and treating them as a commodity.

The film is filled with these kinds of moments. When we realize that Rose’s white grandmother has inhabited the body of Georgina, the fact that she keeps touching her own hair and admiring herself in the mirror takes on a whole new level of significance. (White people, please don’t ask to touch your black friends’ hair.) When Chris connects with a dying deer on the side of the road and later sees a deer head mounted on the wall at the Armitages’ estate, the symbolism is hard to miss. Black people are being turned into trophies in this house. And, oh yeah, they’re being literally auctioned off—as they were in real life in the not-too-distant past.

One day, I’d like to see the film again to pick up on all the ways things read differently the second time through. I noticed several things in retrospect that gain new significance once you know the ending, and I’m sure there’s a lot I didn’t notice. For example, Rose’s dad says he hired Walter and Georgina to care for his parents, and when his parents died, “I couldn’t bear to let them go.” The first time you see the film, it sounds like the “them” is Walter and Georgina. But in retrospect, it’s clear the “them” he couldn’t bear to let go was his parents, so he sacrificed Walter and Georgina for them. Which, again, is an example of how the supposed care of the white characters for the black characters (his care for Walter and Georgina, Rose’s care for Chris) is really all about caring for themselves and treating the black characters as completely interchangeable objects.

The message of the film isn’t simply that the black characters are “good” and the white characters are “bad.” There are presumably—hopefully—many good white people in the world of this film, and many others who wouldn’t do what the Armitages are doing but also probably wouldn’t believe Chris or make the effort to stop it. Peele’s mother and wife are both white, so he’s clearly not trying to paint all white people as villains. 

But I admit, as a white guy, I really, really wanted Rose to be good. I’ve been the white person in an interracial relationship introducing my black boyfriend to my family. I’ve been that. So I related to Rose, and I really wanted to believe that she was well-intentioned and just oblivious; even though she misses the mark on several occasions, there are times that she seems like she gets it and she really does listen to Chris. When a cop asks to see Chris’s ID early in the film even though he wasn’t driving, Rose stands up against the obvious racism, showing us all what it looks like for white people to do the right thing. “That was hot,” Chris says to her later, and I thought, yeah, that’s who I want to be.

So I have to admit, it was really upsetting to me to see Rose, the only good white character left in the film, turn out to be evil. But I realized that part of that is that I really wanted her to represent me, and that’s really the point. Just think how often horror films have only one black character who dies early on, and how many films of all genres have no significant black characters for audience members to look up to or identify with. I think it’s really important for white audiences to experience that.

As I’ve reflected on the film, it seems to me like there are three kinds of popular movies about people of color. There are those that feature POC characters that are essentially indistinguishable from the white characters—as if they just decided to cast Morgan Freeman instead of Tom Hanks without giving any thought to the character’s race. Then there are the movies that deal with racism, but in a way that allows white people to feel good about ourselves, because we’re not like the characters in the film. (This is especially true for movies about racism in the past; some of them are very important films, like Hidden Figures, which I loved, but we need to be aware that it’s still easy for white America to treat it as a feel-good film and think that we’re off the hook because we no longer have separate restrooms.) And finally, there are movies that focus more directly on the lives of people of color but tend to draw largely audiences of color; not many white people go see them, because we think they’re not “for us” (even though we assume films about white people are for everyone).

Get Out isn’t any of those. It’s drawing a broad audience but it’s not afraid to make white people uncomfortable. And if you can give me, a white guy, a chance to have even a momentary fraction of an experience of the real-life, modern-day, casual racism facing people of color in America, I think that’s a very good thing.

and what gets to me the most, as those words, “don’t let me be misunderstood” are playing, is how, like we’ve always known, sana is so, so observant of everything that’s going on around her - she picks up on every little detail,

and that is what the main focus of the trailer was.

you see sana, and she’s in the centre of the shot, with people dancing and drinking and partying around her - and she doesn’t look uncomfortable at all. she looks fine. she looks happy.

and she’s just silently watching everything go by, as it happen around her. absorbing everything in.

don’t misunderstand her for being a muslim girl at a party and feeling like she feels alone, don’t misunderstand the fact that doesn’t feel like she doesn’t belong in that surrounding, in that atmosphere. she doesn’t need the validation. she can be both things all at once: a muslim girl, and a girl who lives in the western world, and can balance both of those things, with a smile on her face.

don’t misunderstand her motivations. don’t misunderstand her. 

Sana s4 trailer thoughts.

There are so many fascinating and clever things about this trailer. And I want to talk about them at length when I have more time… for now just throwing some thoughts out there.

The reversal of the film, starting with Even, who was a big fan favorite for S4, as a type of bait-and-switch (the same one they employed with Wilhelm during Isak’s S3 trailer) was clever. And by working their way through all the other main players of season 4 and ultimately landing on SANA, the fact it’s HER season becomes so impactful.

The choice of Song “Don’t let me be misunderstood” performed by Yusuf Islam (prev. Cat Stevens) who adopted the name after converting to Islam definitely feels significant. The lyrics allude to the struggles and prejudice she experiences, but I also thought the song in reverse sounded vaguely arabic, which I’m sure was also intended.

Furthermore I liked how the entire video was, as you realized in the end, basically an elaborate domino effect created by Sana. The way she looks in the camera almost makes it feel like she was aware of what was happening before putting her foot out to trip Noora. (and it feels like a subtle callback to Sana’s ‘magic hijab’ in a sense too).

I’m really curious to see how s4 will show us Sana’s vulnerable side, but it feels like this trailer gave us a glimpse.. it’s not about needing to compromise Sana’s strength or bringing her down to show it, because she deals with the ‘shame’ and struggles (prejudice and racism) just by being herself. And even if she looks like she’s in control, there are aspects (other people) around her she simple can’t control.

These are just a couple of the things that stood out to me, I may add more later or write a better analysis. Feel free to reply or reblog with your own thoughts!