chewing scenery

one day, hollywood will cast a reasonable, down-to-earth person to play the joker. just a normal guy with a sensible separation between his identities on and off the screen

“yeah, it’s a fun role. I really get to chew the scenery, which is not the kind of part that I normally do, so I enjoy the change of pace”, he opines, probably while holding a cute dog

Soo… I saw Rogue One again last night on IMAX. Some random thoughts:

In the bunker while little Jyn waits for someone to get her, in the low glow of the lantern light, you can see her silent tears rolling down her face. At eight, she learned how to cry silently. I imagine that, until she saw her father’s holo on Jedha, from eight until twenty-two, it was the only way she ever cried if she cried at all: alone and without a sound.

I’ve been pronouncing Chirrut’s name wrong for months now. I’ve seen this movie twice before. His name is not a text post. What the hell is wrong with me?

You can see how much Jyn and Saw cared for each other when they reunite on Jedha. There’s a lot of hurt, but also a lot of love that never went away.

The looks on Baze and Bodhi’s faces when they see NiJedha destroyed breaks my heart. You see it pass through their eyes: their home is gone, everyone they ever knew is now dead; incinerated.

I got chills every time Cassian shouted “JYN!” because this guy has no chill and I love it.

Jyn lashes out at Cassian after Eadu because he has lied to her and had intended to kill her father, but it strikes me that the hurt is amplified because up until then, she has trusted him more than she has trusted anyone else in almost a decade. And like in the novel, she doesn’t just feel like he lied to her–many people have lied to her–she feels betrayed because he mattered, and he’s shown that she matters to him somehow, too.

The first time I watched it, I was totally in the uncanny valley with Tarkin. Less so the second time, and this third time, I was like oh yeah, that’s cool, that looks fine.

TARKIN IS TALL. I never noticed this before, but he’s a giant. After we got home from the movie, we put on A New Hope and yep, Tarkin was always super tall, but he looked average sized because he was always standing next to Darth Vader who is a giant.

The lack of personal space, oh my gawd. I mean I noticed it the last two viewings and obviously during all the times I stared moonily into the various gifsets, but seeing it on IMAX, like whoa. They’re six inches away from each other practically every time they speak. One stumble and they’re making out. WHY DID THEY NOT STUMBLE EVER? STUPID SURE-FOOTED REBELS.

Ben Medelsohn nails the look of terror when Krennic meets Vader. By all accounts from the Rogue One press tour, he was legit terrified when he shot those scenes, and it shows, and it’s perfect.

Felicity Jones is fucking amazing in this part and I’m literally the fight me emoji (ง'̀-‘́)ง to all the haters because if all you want is obvious scenery-chewing to represent deep emotion, then get out of my face you clowns.

By the time we get to “welcome home,” Jyn and Cassian are so into each other, like, I cannot even.

Oh, Bodhi. You were key to all of this. Your bravery was the first domino to fall. Without you, none of this would have happened. And then, taking charge on Rogue One. Giving orders. What a change from the shell-shocked, post-Bor Gullet Bodhi on Jedha. Galen would have been proud of you, too.

When Baze smiles my heart melts a little bit and then I die inside because he’ll be dead soon, too.

“Your Father Would Be Proud” kicks in as soon as Cassian saves Jyn from Krennic on the tower, and I was barely holding my shit together right then and there.


Jyn and Cassian walking to the beach is like peak handsomeness and beauty. Goddamit, Diego and Felicity. And goddamit, Gareth Edwards, you done good.


Every single one of them died knowing that they had completed their piece of the mission. Bodhi patched through to the Alliance. Baze and Chirrut turned on the master switch. Kaytoo helped Jyn and Cassian get the data file. Jyn and Cassian successfully transmitted the plans. But none of them never knew for sure if the Alliance got the plans. They’d never know that the Death Star would be destroyed. They’d never know that they were all parts in the sum of the whole. But they all died knowing they gave it everything they had to give.

Things I Love About Star Wars

A Non-Exhaustive, Unranked List (Part 1 of ?) 

  • Everyone is constantly being dramatic, while complaining that everyone ELSE is so dramatic or overreacting
  • That time Jedi kids put on a circus show for pirates
  • The fact that Obi-Wan once pretended to be a bounty hunter and did an obstacle course inside a giant Rubik’s cube 
  • How often people drink alcohol especially in the Clone Wars
  • That time Luminara Unduli scolds Obi-Wan and Anakin to stop being in love with each other for 5 minutes so they can fight the damn war 
  • Obi-Wan jumping out of a window
  • Everyone at the Outlander checking out Anakin 
  • Everything Padme has ever worn, especially when it’s on, like, fucking Tatooine and she’s STILL all “hey check out this couture thing I got the designer to hand make for me personally” 
  • The faces everyone on the Council makes after Qui-Gon tells them he thinks the Sith are back 
  • Luke playing with a toy spaceship and then Anakin doing the same thing in TCW because coolness runs in their family 
  • Obi-Wan’s face in Episode 4 when Luke is bitching about how he can’t go to Alderaan
  • Leia sassing off to Darth Vader at the beginning of Episode 4 (a scene which keeps getting better now, thanks Rogue One
  • Vader’s Lava Castle 
  • Maul’s Obitine-Themed Revenge Shrine 
  • Darth Maul coming back on fucking robot spider legs and being more obsessed with Obi-Wan than even me and possibly Anakin 
  • The Darksaber existing
  • The sheer number of capes, including that Krennic has a rainproof one
  • Obi-Wan and Anakin’s robes in the comics and Vader’s cape in the comics being about 600 times longer than they actually are in the films and somehow always in front of a wind machine
  • Hux’s scenery-chewing villain speech before they destroy Hosnian Prime
  • Obi-Wan’s Post-Jedi-Trainee-Hair Hair
  • Anakin’s Post-Jedi-Trainee-Hair Hair 
  • Yoda stealing Luke’s food 
  • Artoo fucking off mid-assignment to take a spa day in that one TCW episode 
  • My wife Satine Kryze constantly yelling about pacifism
  • Chopper’s arm flails 
  • Vader bringing up Obi-Wan in like every third line he has in the OT even after the guy has been dead for actual years 
  • Kanan and Hera helping to run the goddamn Rebellion while raising a couple of teenage kids at the same time, one of whom is an unstable Jedi Trainee and the other of whom is a damn Mandalorian
  • Anakin’s Sand Soliloquy 
  • Count Dooku having exactly zero minutes of time for absolutely anyone ever, especially in TCW 
  • Sidious. Just…everything about him. 
  • The fact that Bail Organa goes out of his way to mention that he’s going back to Alderaan in Rogue One JUST to cause me pain 
  • The novelization of Revenge of the Sith 
  • Han Solo being like “pfft whatever Old Man I fly the Millennium Falcon” with that smug ass smile on his face while talking to OBI-WAN GODDAMNED KENOBI, who is just listening to all of this with this look like “you have absolutely no idea who you are dealing with here, kid” 

OUAT Mini-Review 6x11: Tougher Than The Rest

We’re baaaaack! At last I can leave the anti-rumple tag, which I’ve been in so long I started to get brochures about time shares, and go back to snarking on everyone. Oh, happy day! Let’s dive into that enchanted overnight wardrobe together. Ready?

  1. Someone needs to talk to Emma about her eyebrow situation– she looks perpetually surprised and slightly upset. That’s how most Rumbellers felt all of 6A so I feel you, Emma– but Kabuki Eyebrows are not the look for spring. Change the fate on your face first, yes?
  2. Teen!August looked nothing like either Adult!August or Kid!August but maybe that’s a subtle meta-commentary on unreliable narrators? Discuss.
  3. Kid!Emma looks like she could punch you in the face and I admire that. It’s tough to glare in a beanie, but she’s got it down. I love that she chose her own name, too.
  4. I don’t know why they needed a magic chisel when Pinocchio could just chew the scenery all the way down to Storybrooke. But while I disliked the O.G. bobble-headed liar I really liked Wish!August, daddy issues and all. I even liked that Original!August was typing on the Mystery Fakeout Typewriter in the garage so he wouldn’t wake his Papa. Such a nice boy. I guess this episode was about Redeeming Non-viable Stubbly Love Interests– I’m not sure we needed that, but it was nice to see. (Now, where’s Walsh?)
  5. Wish!August carved a wooden swan (ship name call-out!) out of instinct, and Wish!Robin had his feather and didn’t age (along with Wish!Sheriff Nottingham), implying that there IS a connection between the Wish!realm and the “real” realm. Maybe all Wish!Robins go to heaven?
  6. Wish!Robin is bitter and salty and somehow I liked him better than the real thing. Wish!Robin and Regina had more of a believable connection in this episode than all of S3-5 for me, which just goes to show when you slow down and have people talk to one another instead of just screaming at monsters in the same frame magic can happen. 
  7. Regina gets hit with the Anti-magic Slap Bracelet of Convenient Plot-points … but wasn’t that brought to Storybrooke by Greg/Tamara/Peter Pan? How would it appear in the Wish!verse? (Cue Wish!Rumple reading “Circuitry and Plot Holes for Dummies.”)
  8. I know we’re supposed to sympathize that Regina’s super glum that this realm seems to be “better off without her” but, you know, she DID drop a lot of bodies. I want Regina to love herself and re-integrate post-haste because it’s healthy  … and also because Split!EvilQueen has killed three people and screwed with Belle. But I am here for Happy!Regina– let’s see more of that this season.
  9. Wish!Hook was there for comedic effect, and it worked for me! Nice to know he’s still got his swagger in this realm; I didn’t even mind the potbelly. What would you rather, a bag of bones?
  10. Speaking of which … So Wish!Snow and Charming never checked Regina’s tower for prisoners, which is why Wish!Belle starved to death along with who knows how many others? This is why Regina is mayor. This is why Regina will ALWAYS be mayor. Remember in S2 when the curse broke and everyone was running around trying to find their loved ones and Charming just gave a speech about hope, when it turned out Regina had binders that scrupulously recorded everyone’s real name, cursed name, and address because she’s a giant nerd who takes her real-life SIMS game seriously? Regina may kill the odd peasant when she’s having a bad day but she’s the Project Manager Storybrooke needs, is what I’m saying.
  11. If Belle was dead for 28 years when Rumple found her skeleton, how did he know it was her? Did Belle claw a goodbye message in the walls before she died? “DEAR RUMPLE SORRY WE NEVER BANGED XOXO BELLE.”
  12. Also, that wasn’t remotely a full skeleton Rumple dropped on the ground. What did he do with the re– you know what? I don’t wanna know. (Note to fic writers: I don’t want to see the words “sad wanking” and “tibia” in the same sentence, okay? O-KAY?)
  13. Gideon wants to be a hero, like his mom, by stabbing someone, like his dad. I love it. Gideon is a tall emo drink of Angsty Monk and I totally would– but where are his lips? #PoofGideonLips2k17
  14. When Rumple had his tete-to-eyes-all-the-way-up-here-tete with Gideon and went: “You’ve been alive for 28 years, I’ve been alive for centuries. There are things a man learns …” I thought for a second it was going to turn into a rather-late-in-the-day explanation of the birds and the bees. “Your mother has written this pamphlet with some of her favorite positions, but you have to be a bit flexible to– wait, where are you going?”
  15. Do you think Belle has her wardrobe categorized by mood? Her white fur coat ensemble was filed under “I’m Trustworthy But I Like to Bang Dangerous People.”
  16. Unless the script read: “RUMPLE sneaks off STAGE LEFT while BELLE awkwardly goose-steps off STAGE RIGHT” the director has some explaining to do. That was the worst example of “walk casual” I’ve ever seen, unless they just had an angsty parental quickie in the alley or something.
  17. Speaking of weird directorial choices, where’s the missing scene between Belle and Gideon? At the well Belle intimates that Hook/Charming “betrayed her trust”– but she just asked them to hold off until she could talk to Gideon. That was during the day and then all of a sudden it’s night, Belle’s changed outfits, she hasn’t talked to Gideon, and she says she “protected [Gideon] knowing what he wanted to do.” Er, was this off-screen? I know a lot of Rumbelle is reading between the lines but sometimes things need to make it in the episode, you guys. Maybe next episode will have a Belle/Gideon conversation and they didn’t want to be too repetitive?
  18. Way to ruin your mom’s clock tower, Gideon! I know some people were mad at Belle for staying on the Jolly Roger in 6A instead of in her library apartment … but do you know how many times the clock tower has been broken into by villains? Maid!Joanna died there, Hook was tied up there, Rumple tried to massacre nuns there, Maleficent was in the basement for 28 years, I think Dark Swan hung out there once … Belle would never get any rest up there, is what I’m saying.
  19. Charming is going off the rails on a sleep-deprived crazy train and I’m here for it. But remember, Snow is the brains of this particular operation. Tag her back in before you drop of exhaustion, yes? No more than three Red Bulls at a time.
  20. I’m all for the message that you can change your fate, but this is intimating the writers are taking “Killing Emma” off the table of options, no? That leaves either depowering-via-shears, sleeping curse until a “cure” is found, or some kind of Hail Mary-Margaret shenanigans in the finale involving a mass-TLK or something. *bites fingernails* I can’t stand the suspense!
Officer Benny and Characterisation in Stealth

There’s a very special NPC in Thief II: The Metal Age. In the dimly-lit games room of the Truart Estate, surrounded by the discarded playing cards and abandoned dartboards of the recent party held by the Sheriff and his debaucherous toff friends, a lone drunken City Watch officer disconnectedly rambles to the barmaid on duty. His name is Officer Benny, and I love him.

“I can’t believe that s-some (hic) taffer went and spilled mead all over that rug!” he yells as you approach unseen, his model swaying unsteadily in a dramatic display of intoxication. The barmaid, clearly worn out by a harrowing work shift, sighs wearily.

“Benny… you spilled the mead on the rug,” she explains patiently. “Anyway, someone is on the way to clean it up already.”

“But you don’t understaaand!” Benny wails, now clearly, inexplicably on the verge of tears. “These (hic) taffers have no respect for such… b-beautiful things!

Around this point, it’s likely that you’ll start to tune out and skulk around in the gloom, looking for the telltale glint of loot to funnel into your pockets. Stacks of coins and rings litter the gaming tables, tempting you to sneak a hand under the hanging lamps. One of Karras’s Children—a hunchbacked steam-powered automaton with a head like a brass football —clanks around the room, mindlessly praising its creator to the heavens. It’s not much of a threat, but it’s certainly an annoying little contraption. One water arrow to the boiler grate usually does the trick.

“Benny, I think you’ve had too much to drink. Aren’t you supposed to be on duty?”

“Hah. So what if I am, huh?” he says, sounding more than a little defensive. “Anyways, I work mm-better when I’m drunk. It makes me fearless! If I see a bad guy, I’ll just point my sword at him, and saaaaaay… HEY, BAD GUY!”

You freeze, momentarily worried you’ve been spotted trying to snaffle the discarded goblet from beside the fireplace. Benny continues with his charade, utterly oblivious.

“You’re not s’posed to be here! G-go home or I’ll stick you with my sword ‘til you go ‘Ouch, I’m dead!’ Ah-hah-hah-hurgh!” He makes an indescribable sniffing, gurgling, chuckling noise, and momentarily falls silent. “See? Ain’t no one gonna be messin’ with ol’ Benny.”

“Whatever, Benny. I think you should sleep it off. No more mead for you.”

In the grand scheme of things, it’s a fairly trivial exchange: it doesn’t tie into some larger arc, it doesn’t impart any useful information about objectives or security system vulnerabilities, and neither Officer Benny nor the barmaid will ever be seen again. Benny’s emotional ping-ponging is unconvincing at best, and while his delivery certainly isn’t lacking in vigour, the only character in the room with exceptional voice acting is Garrett, the Master Thief; the one surreptitiously pocketing everyone’s gambling winnings during this exchange. And yet, Benny’s rambling accomplishes something very special. It’s the perfect, emblematic example of a quality present throughout the Thief games; one that shapes how we approach them, and in turn, the experiences they provide.

Thief II gives you a sword. Not a discreet little knife, fit for a slippery cutthroat, but a proper blade; the kind for lopping off soldiers’ limbs on a muddy, arrow-strewn embankment. It’s a silent acknowledgement that you may have to kill men, not in a surprise scuffle where you jump them from behind the bins, but in a full-on fight with multiple assailants. It’s the kind of thing you defend yourself with when things are rapidly going downhill and there’s nowhere to run; a tool for when the halls are filled with the sounds of alarm bells and clattering jackboots. In the right hands it can be quite effective, and it’s entirely possible to hack n’ slash your way through a legion of aggravated soldiers, provided they’re courteous enough to approach you in a narrow corridor or something.

Something doesn’t add up here, does it? Stealth needs reasons for you to stealth, so to speak. There have to be incentives to keep you in hiding, and those incentives usually start with some sort of punishment for being caught. You’re supposed to be outmatched and outgunned, or at the very least, have some higher-level motive for not wanting to be seen. If Garrett can accomplish his goals by going where he pleases and stabbing everyone who looks at him the wrong way, what’s stopping him, really?

Well, it’s kind of a dick thing to do, of course, but gamers have never been above murdering NPCs for slightly inconveniencing them. It’s also a flat-out fail state on many missions if you attempt them on a higher difficulty setting, but by the time you get around to them you’ve almost certainly put the idea out of your head long ago in any case. Dishonored, Thief’s darling modern protégé, would invisibly bump up the Chaos meter—a hidden metric that determines whether Corvo’s been naughty or nice—but Thief itself has no such system, and other than occasionally dropping remarks along the lines of “remember, murdering people is for poser scrublords”, does little to impress upon you the moral wrongness of your actions. A corpse is functionally identical to an unconscious body—indeed, were it not for a single line of HUD text, they’d be impossible to differentiate at all—and sure, people might be a bit more screamy if you clobber them over the head with a blade rather than a blackjack, but what does that matter if you’ve already established you’re not interested in being quiet?

No, Thief II chooses instead to work with characterisation. Who, of the people you encounter throughout its missions, are your enemies? Not the tired watchmen trudging through the halls on a cold evening; not the harmless peasants, trying to prosper in an industrial revolution even as it crushes them between its wheels; not even the Mechanist underlings, suckered into a fad cult and set to work fulfilling Karras’s insane agenda. Your foes are far away, clinking glasses in rooms full of light and music, and most of them will never meet you face-to-face. What direct quarrel do you have with the guards who patrol the game’s moody locales, besides the fact that they’re between you and your goal?

Right. They’re not your enemies, so Thief doesn’t characterise them as enemies. Engendering sympathy to discourage murdering NPCs is hardly a novel concept, but Thief’s approach stands out, primarily because it’s less about pre-emptive guilting and more about subtle humanisation. While you creep around behind their backs, guards will hum, whistle, recite passages, moan about the cold, mumble to themselves, even wonder aloud when they’re getting dinner. You’ll find guards cracking jokes, trash-talking each other’s employers, discussing financial management, complaining about the weather, worrying about being replaced by the new-fangled mechanical eyes, and a thousand other ordinary things totally unrelated to the here-and-now of their work shift. They’re not goose-stepping around shouting “boy, I sure hope nobody stabs me in the back while I’m pacing back and forth, how would my wife and three children ever survive on the streets without a loving father like me?”; they’re just… well, bored, usually. Wouldn’t it be terrible to have to cut down a person like that, just because they made the mistake of investigating some footsteps a little too closely? Thief makes you want to stay unseen, not for your own sake, but for the sake of those who might see you.

And Officer Benny? He’s the epitome of this humanisation. Not only is he drunk, chatty, skiving off work and chewing the scenery with an unprecedented level of unhinged abandon, but through his babbling, he offers an insight into his attitude. There’s no black, tarry pit of hatred boiling away somewhere in him, fuelled by some personal vendetta, waiting to bubble over in fury at the sight of a wayward miscreant; he’s just doing what he’s supposed to. Benny sees himself as the cop in the proverbial cops and robbers: a figure of authority in a simplistic world, out to stop the scoundrels and ruffians in a game where everyone mutually agrees on the rules. His inebriated cry of “HEY, BAD GUY! You’re not s’posed to be here!” is born of this position, announcing what he sees as incontestable truths, spoken more out of convention than anything else. And what’s his ultimatum? Go home, or get stabbed. Go home. Even faced with someone absolutely, undeniably in the wrong, in his morally black-and-white world, his first thought is of telling them to scarper; to leave peacefully, without accountability or interrogation. He’s not smart, or nuanced, or even—if you catch his attention—particularly true to his word, but Officer Benny’s attitude is charming in its simplistic naivety, devoid of real malice or antagonistic ideals. For that, I could no more swing my sword at him than kick a puppy, and that’s why he holds Thief II’s formula together—along with countless other watchmen, guards and Mechanists.

Thanks, Benny. I hope your hangover wasn’t too rough.

pipertennant replied to your post “i do find your salt especially entertaining :3”

people have been shitty about bobby??? why??? being rude about the actors just ain’t kosher

Oh, here’s a tiny taste

RC is strictly a B-list actor who ONLY brings scenery chewing to the role, something ANY UK actor (cause LBR, most of them are really good) could EASILY bring and better. He grossly overacts and then carries on with biting the hand that feeds him (well) and implying he’s too good for any of this.

Previously, he was relegated to languishing in low budget, fake art shit … 

It goes on. And on, and on. 

And that’s just the TIP of the Dumpster. There are other Captain Yawn fans who rag on Bobby, particularly his looks, the way he dresses, and the age difference between his character and Emilie’s character (which is silly because an age difference of 20 years is absurdly common in American media). I won’t link to anymore, because I can’t stand to read the vile things they’ve written. Can’t do it.

late 1x08 thoughts/overall season review

warning: me = pissed

(this is coming from a person who loved/stanned the show hardcore in the beginning)

- well folks, i finally realized what taboo is after all, as a show. it took me a while to grasp it, because i kept hoping it was smarter than it appeared to be. and y’know, some aspects of it were very well done, but the overarching purpose of this show was to serve as a ridiculous male escapist fantasy. that’s fucking it.

- i’d be fine with that if taboo had the guts to admit it. to bask in it, to glorify it, even. instead, it’s still trying to sell me on james delaney’s “damned” existence and his many trials and tribulations as an “underdog”. 


BITCH PLS. this is basically a choose-your-own-adventure where tom hardy is the smartest, coolest, bamfest dude in all of london, nay the world. he bamboozles everyone, he wins at everything, he’s the mastermind who can never be defeated and everyone bows down to his incredible talents. nothing, literally nothing, can stop him. superman is his side-hoe at this point. oh, he hears dead slaves singing to him? nah, don’t worry about it, the plot won’t ever explore that, it’s just there to give him surface nuance. see, our “damned” hero is not there just to chew scenery and look cool, he has baggage

Keep reading

Humans : Skull Island if You Squint (2017)

Where to start??? Like??? This movie was so??? EXTRA???


  • So extra!!!

  • Movie write people speak not good. What are words?

  • Incoherent pacing, forced juxtapostitions

  • The forgettable cast of characters chewed and chewed at the scenery. The scenery had been chewed into oblivion. There were no scenery left standing.

  • Unnecessary Romantic Subplot™

  • Brooding Men, SNEAKY STEALTHY GIANT CREATURES, ‘humor’, silent Token Asians™

  • SO!!!!!!!!! EXTRA!!!!!!!!!!!!!!!!!!!!


  • Hiddleston’s shirt was so small it barely passed the PG13 rating

  • After abt 100+ mins of sad people + painful mediocrity you get abt 5+ mins of the scene everyone actually paid money to see, and it did not disappoint

Basically Transformers + 300 if everything were giants = too.much.theatrics. Very self-indulgent; couldn’t let a minute pass without some kind of exhausting closeup/slo-mo. Kept screaming in your face through entire runtime yet left you feeling nothing, caring for nothing; not even Giant Things Punching the Shit Out of Each Other.


Watch if: you think 2014’s Godzilla was a snoozefest/you consider good storytelling a bane on mankind

Don’t watch if: you care about characters and continuity to a certain degree


so you’re saying this Genesis is some sort of… angel demon baby?

if by “baby,” you mean the most powerful entity ever known, the singular force that could shift the balance of power and threaten all of creation, then yeah, it’s a baby.

anonymous asked:

I always hear warnings about wasting your words and writing scenes that are too long, but I have always been very descriptive, and work a lot with my character's minds and feelings, so often I'll put things like 'She leaned her head against the wall, chewing the inside of her bottom lip as she broke off another piece of the energy bar, her mind considering his words.' Will this bore my readers? (It's my nature, so idk if I'd ever stop doing it, but?)

Disclaimer: unnecessary words and sentences were cut in the making of this answer.

That warning is generally given with beginning or specific writers in mind, writers who really chew the scenery when we just want them to get back to the story. Sometimes introspection can run on to the point where the character comes off as self-centered and overly angsty. Definitely, when novels start out with chunks of paragraph or even whole first chapters describing natural elements like a denser than dense forest or a darker than dark stormy night, trimming is required. Otherwise readers will yawn, hopefully skip just that scene, but may also skip the whole book. Same goes with clothing, food, and technical descriptions which have been known to wear on this reader’s patience.

Certain authors are acclaimed for being able to set a scene or convey a point in succinct sentences. Not everyone can do that, but it’s a talent that can be cultivated. You be the judge of where and when a scene needs description and where it should cut to the chase. If it helps, read the story out loud and trim sentences that feel like a mouthful, especially dialogue.

Remember, trimming is not your enemy. When done right it will help your reader to better appreciate your work.

~ Thank you for asking!


Keanu Reeves Chews Some Scenery in ‘The Bad Batch’: Watch an Exclusive Clip


Just looking back on Fargo, it’s one thing knowing Martin’s got a million and one faces, but so much appreciation for his variants on the devious evil eye 👀👀👀

He needs to play a Frank Underwood type sometime to chew scenery and cast stink eye on everyone while secretly narrating shit on them with creative swearing👌

anonymous asked:

What would you say are the most important parts of writing the Master in general?

Depends on the incarnation, since each one is different. I know you said in general but I’m going to focus on Delgado a bit since he was the one I was talking about in my previous post.

Something I find interesting is the shift in the way Delgado is perceived, because we all think of him as the reserved, serious one, but based on interviews with Anthony Ainley that I’ve read, it seems Ainley was considered the serious one back when he was playing the role and Delgado was the fun one. And I can see why, because Delgado’s characterisation was in many ways lighter and more playful than Pratt’s, Beevers’, and Ainley’s. I think Roberts and Simm are probably the ones who changed this perception amongst fans, since Delgado does indeed seem very serious and restrained compared to them. But seeing him as only that misses an important side to his character.

I’ve read too many EU stories where the Master is just… boring. A dull, cliche villain with nothing noteworthy to offer. If that’s who he’d been in the TV show, I wouldn’t care about him at all. I mean, conceptually, the Master has never been that unique a villain, which is why it’s vital he written and acted in a compelling and entertaining way. No one likes the Master because he’s a megalomaniac trying to take over the universe—we like him because he’s fun, or because of his relationship with the Doctor, or because the actor makes it work. That’s what got me invested in him when I watched Terror of the Autons. Roger Delgado could completely sell any line he was given and keep you totally hooked. He could do sinister, he could do funny, he could do charming, and he could chew the scenery in a way that never seemed too over the top.

Unfortunately, many writers only focus on his role as an antagonist and write his whole personality around that. But the thing is… I don’t really care about that. I don’t care what his evil plan of the week is, especially when they don’t even give him entertaining plots like deadly plastic daffodils or disguising as a vicar to summon the devil. I’m not interested in watching him simply strut around gloating, serving as nothing more than an obstacle for the Doctor to overcome. But this is how he’s so often used. For example, what prompted my previous post was the recent DWM comic where he meets Twelve. There are a few good moments there, but ultimately it turned out to be rather a let-down. You could have some amazing fun with Delgado and Twelve—so much wonderful banter, little moments of friendship, a bit of angst depending on how you played it, foreshadowing for the Master’s future interactions with Twelve as Missy, etc.—and all that potential is basically wasted. The story is only interested in using him as a one-note antagonist.

The thing is, villainy isn’t actually the Master’s best/strongest trait. As an antagonist he’s rarely all that threatening. If that’s the primary aspect of him you play up, he’s going to get boring very quickly, and it will make the moments when you should play up his villainy less effective. This is something Moffat got right with Gomez, by establishing her first as a villain, but then using her as an uneasy ally (which was always a fun part of many Master stories in the Third Doctor’s era) and thus adding another layer to her characterisation, but ultimately keeping her darker nature intact with moments like her trying to make the Doctor kill Clara.

That’s what makes the lighter side to Delgado’s personality so important, because it contrasts wonderfully with his terrible actions. Not only does his charm make us like him, but it makes watching him murder people all the more unsettling. Something that bugged me in the comic was a scene where Twelve remarks, “I’m always angry in this body!” while he’s confronting the Master, and the Master replies, “Intoxicating, isn’t it?” which doesn’t really make sense, because Delgado wasn’t prone to anger at all. He has occasional flashes of anger that pass quickly rather than being constantly moody. If you study the way he interacts with his henchmen, you’ll notice he’s frequently very lenient with them when they mess up—usually just a brief “you incompetent fools!” telling off, and then he sends them off on another task. He would probably have more success if he weren’t so congenial towards them.

It’s not that he actually cares about any of them, of course, he just knows that sometimes people are more likely to do what they’re told if you ask nicely, and he does enjoy playing the smooth, dignified, impeccably polite gentleman. If you’re going to work for an incarnation of the Master (which is a bad career move that has a 99% mortality rate, so I wouldn’t advise it), go for Delgado. He’ll still kill you, but at least he’ll treat you well until then.

An important thing about Delgado is that he doesn’t have the same desperation or darkness to him that later Masters have, because at this point he hasn’t been through all the ordeals they have. He hasn’t struggled to stay alive in a decaying body or fought in the Time War or any of that. Life is still mostly a game to him, one he thoroughly enjoys playing (especially with the Doctor), so he’s not all that put out if he loses a few rounds. He’s just having a good time doing what he does. Sometimes he messes up really badly and that shakes him a bit, but as long as the Doctor’s around to fix things it’s all good, right? At this point he still genuinely believes that he can do anything, control any terrible force from the dawn of the universe that he chooses to summon, and make anyone do what he wants and see things his way, just because his will is just that strong and he’s that awesome.

I don’t think he’s even all that malicious/sadistic at this point, though there certainly is a bit of that from time to time. It’s more a case of using any means necessary to achieve his goals rather than actually wanting to hurt people (unless he has some beef with them, in which case he will definitely make them suffer). I think part of him honestly believes that his offer in Colony in Space—a benevolent co-rulership of the universe with the Doctor—is a good, feasible idea and the Doctor is being thick for not getting it. In reality, it would never actually work, and his reign would remain benevolent for maybe five minutes at most, but at this point the Master isn’t quite so set in his role as a villain (at least not in his own mind) and wants power and the Doctor’s approval more than he wants to inflict harm on anyone. Killing people is often a necessary part of his plans and he has fun with it, but he doesn’t see it as a goal in and of itself.

Anyway, I feel like I’m rambling on here, but what I’m trying to say is that when writing for Delgado, you can’t just write the “mwahahaha I’m going to take over the universe because I’m evil” side of him. You can’t write him as purely cold and serious. You need an element of fun and playfulness to his character, and you need a certain level of friendliness between him and the Doctor. You need to understand his point of view and why he actually does the things that he does.

This kind of applies to the Master as a whole. You need to incorporate the specific elements of each one’s personality, you need to keep in mind their motivations (which are more complicated than they appear and are wrapped up in a desire for power, a superiority complex, and the Master’s dynamic with the Doctor which can take on many forms ranging from competitiveness/antagonism, a desire for approval and/or the Doctor to admit they were right, and a simple need to restore their previous friendship), and above all you need to make sure they’re entertaining. They don’t necessarily have to be having fun—I love a good story where the Master suffers, or better yet a nice helping of internal conflict—but whatever they’re doing has to be compelling. If all they do in a story is act as an obstacle they are going to fall flat because, like I said, it’s not the concept of the Master that’s interesting, it’s the presentation. If you want a conceptually interesting villain, go with the Monk or the Rani instead. The Master serves an entirely different purpose.


Hux is perhaps Star Wars’s deadliest villain ever — “sideburn-twirling” as Gleeson described him — unapologetically fixated on eradicating all of the First Order’s enemies. And Gleeson got an undeniable kick out of getting to chew some scenery. “You just get right in there and say, ‘Right, fuck it, let’s go,’” he said, grinning brilliantly. “That is fun.” - Domhnall for Buzzfeed News, photographed by Bella Howard.

There seems to be three levels to Oswald’s anger:

1. Grandstanding and hammy scenery chewing, and/or major sass and sarcasm.

2. I’ma kill you with a garden tool for calling me a freak.

3. Completely silent.

I think number one is his comfort zone. Like, even when he’s getting screwed over, he retains a sense of control if he can stay sassy and/or throw his name and reputation around. Number two is when his brain short-circuits with rage and he just kind of loses it. But number three… Number three scares me. It’s new, and it freaks me out so bad because I don’t know how to interpret it. He’s usually so easy to read. Bird son wears his heart on his sleeve, especially this season. That last scene in S3E18, though. That last scene. So many emotions, and so utterly quiet… It’s all there on his face, but it’s somehow still opaque to me. I honestly have no idea what he’ll do or say next. It could go so many different directions. Will he fall back on his sassy safety net, or fly off the handle, or will he continue to stare at Ed like that until Riddle Man snaps? Will he laugh and laugh and laugh because, well, isn’t that just a pickle? Who knows? All I know is that I don’t want to wait to find out.

I still want to do a Batman short film where it’s a live Kardashian-style reality show about Bruce Wayne and his gaggle of drama-loving adopted children and his dry witty butler and it never DIRECTLY acknowledges that Bruce Wayne and Batman are the same person but every now and then it’d be interrupted with a “BREAKING NEWS REPORT” about Scarecrow trying to fear gas an elementary school play or something and when it came back from commercial two of his adopted children would manufacture a scenery-chewing argument about something totally trivial as a diversion and the cameras would never focus on it but in the background you’d see Bruce quietly slip behind a bookshelf. I like the idea of a Batman movie that EXCLUSIVELY shows Bruce Wayne as the people of Gotham see him, in order to showcase how difficult it would be for people who don’t already know, to guess that they’re the same person. 

Michael After Midnight: Guardians of the Galaxy

So as you may well know, I loved Guardians of the Galaxy Vol. 2. I can safely say it’s my favorite movie ever made… or one of them, anyway. While I do think it is marginally better, there is a marginally there, and I gotta be honest, I still love part one just as much in its own way. Guardians of the Galaxy is one of the coolest, freshest, and most out-there superhero comic book movies of the past decade, and a stylish change of pace for the sometimes very formulaic MCU.

But who could have guessed that? The MCU was known for taking the less famous heroes in its roster (Since they didn’t have Spider-Man, the X-Men, or the Fantastic Four to work with) and turn them into juggernaut blockbusters, but did anyone really guess that they could take a bunch of characters as obscure as the Guardians and make a quality film with them? And that’s not the only reason this movie was a gamble; this movie was almost totally detached from the rest of the MCU and its overarching plot, with the appearances of Thanos and the Collector (both of whom only appear in a single scene, though the Collector also pops up in a post-credits stinger) being the only connection to other movies, and even then, both characters were relegated to stingers to foreshadow future movies anyway! And then you have to throw in the fact that the movie is directed and written by a guy who directed cult movies and the horrendous Movie 43, the fact that one character is a talking tree, the fact another character is a talking raccoon who uses guns, and the fact the MCU is locked out of using characters like the Skrulls, Galactus, and the Silver Surfer… you can kinda see why this was a risky move on their part.

But oh boy, did it ever pay off. Rave reviews, audience love, and people hyped for more… it’s safe to say that Guardians is one of the best films in the entire MCU, and it really set itself up as a nearly impossible act to follow, which is all the more impressive seeing as it came after Captain America: The Winter Soldier, ANOTHER very tough act to follow. So, now that we have all this context, why are Peter Quill and his rambling gang of space jerks so endearing and enjoyable? Well, here’s the story:

Peter Quill was a young Earth boy taken in by the alien Yondu and his band of Ravagers on the eve of his mother’s death by brain tumor. Decades later, Peter is all grown up and calling himself Star-Lord, and is now about space pirating. Unfortunately for him, the latest trinket he stole (and left Yondu out of the loop on) is something that the Mad Titan himself, Thanos, is looking for. Thanos sends his daughter Gamora out to retrieve it, and at the same time, bounty hunters Rocket and Groot decide to take Quill in for the price on his head. All of them fight and end up in prison, where they meet Drax the Destroyer, a man who desires vengeance against Ronan the Accuser, a fanatical Kree renegade who serves Thanos. These unlikely allies decide to team up to escape the prison they’re trapped in and head off to sell the object for massive amounts of cash; however, Ronan is hot on their tails, desiring the object for himself. Can these knuckleheads stop bickering long enough to make some big bucks, or is Ronan going to destroy them all?

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