oooooidk  asked:

okay so i JUST realized the whole "one couples fate will be questioned" or something like that, but like its talking about bughead bc jugs a serpent now right???? i might look stupid but im from australia and the episode hasnt been released yet so i havent seen it just clips and stuff on tumblr so is that what they were meaning???

Yeah, that’s definately what they were indicating with the whole “a couple is left hanging thing”. Which for me, that was the only solid and believable reason for them to question their relationship. If it was something else, whatever that would be, it would seem unrealistic since they’ve been supportive to each other through all the hardships that were thrown their way. Jughead joining the Serpents is an amazing idea and I was silently prying for this for a long time. Now, I’m not sadist, I want them with all my heart to only be happy and keep banging against walls and counters (😂) but him being a part of tha gang was bound to happen sometime and it seems natural for him to seek help from the people that his dad considers family. Plus, this way the writers can introduce the whole darkness side of both Jughead and Betty in season two and the idea of corraption and the “don’t judge a book by its cover” theme that started with the deglamorization of the prestigious Blossom family. So yeah Jughead joining the Serpents will definately shake the easy-going waters of their relationship but it will make them grow as persons, test their limits, find out who they truly are and that they don’t stand just in a black or white spectrum, they both have layers and greys in between. I’m so excited to see them in season two, I think it’s gonna be epic!!


Robert Pattinson, serious film buff, on loving Claire Denis, Jean-Luc Godard and other world cinema favorites

Interview conducted by Justin Chang on Aug. 3, 2017 at the LA press junket for Good Time.

With the release of “The Lost City of Z” and “Good Time,” 2017 may well be remembered as the year Robert Pattinson officially became a critics’ darling.

Some might claim the shift began in 2012, when the British actor, still best known for setting hearts aflutter in the “Twilight” movies, drew raves for his change-of-pace performance in David Cronenberg’s art-house chiller “Cosmopolis.” Since then Pattinson has reteamed with Cronenberg on “Maps to the Stars,” done further career-redefining work in David Michôd’s dystopian thriller “The Rover,” and earned plaudits for his appearances in films including Werner Herzog’s “Queen of the Desert” and Anton Corbijn’s “Life.”

But his versatility has never been on such dazzling display as it has this year, first with his shrewdly underplayed supporting role as the real-life Amazon explorer Henry Costin in James Gray’s “The Lost City of Z.” He followed that with his arrestingly deglamorized star turn as an amateur bank robber in Josh and Benny Safdie’s thriller “Good Time,” which opened in theaters  Friday.

The steady accumulation of prestigious world-cinema names on Pattinson’s résumé represents the fulfillment of a dream that took root during his teenage years. Well before “Twilight” sent him into the celebrity stratosphere, Pattinson says, he was an obsessive film buff with a particular passion for French art cinema. Even critics who have been slow to appreciate the actor’s talent (guilty as charged) would likely approve of his taste, which has steered him toward favorites as different as Jean-Luc Godard, Leos Carax, Claire Denis and Herzog.

This month, Pattinson is headed to Poland to begin shooting the sci-fi adventure film “High Life,” the first English-language project directed by Denis, whose films he began watching avidly as a teenager. Pattinson’s other forthcoming projects include “Damsel,” a period western costarring Mia Wasikowska and directed by David and Nathan Zellner (“Kumiko, the Treasure Hunter”), and “The Souvenir,” a two-part romantic mystery from British director Joanna Hogg.

Have you always been an avid moviegoer?

I was into movies before I was even remotely into acting. I basically approached my career, at least for the first 10 years of it, trying to re-create my DVD shelf from when I was 17.

Tell me what was on that DVD shelf.

You could literally look at my IMDb page and see. James Gray was a massive one. Claire Denis. [Werner] Herzog. These are people I’ve just been crossing off the list. There was a lot of [Jean-Luc] Godard.

Are there certain titles that particularly inspired you?

Godard’s “Prénom: Carmen” (First Name: Carmen) was a massive one for me in terms of tone and performance. I love genre shifts, and I just think for that to start off as a kind of farce and then to develop into one of the most moving relationship stories, unrequited love stories, that I’ve ever seen — that really stuck out.

Claire Denis’ “White Material” was one of the big ones. I love “No Fear, No Die” as well. I love a lot of Claire Denis’ stuff. And Leos Carax as well, especially “Les Amants du Pont-Neuf” (The Lovers on the Bridge).

There’s something about these filmmakers. I can’t think of a better word than “singular,” but they’re just so unique. I mean, I like a lot of English-language movies from the ’70s, which everybody likes, but among more recent films, for some reason, a lot of French movies — they’re more operatic. They’re not afraid to be emotionally operatic. I like that.

You must be excited to work with Claire Denis on “High Life.”

For sure. I start shooting on Sunday. I’m flying out there finally after three years. I’m very curious how it will turn out. The script is very ambitious, to say the least.

Who are some of your favorite older filmmakers?

I’ve recently been watching a lot of Ken Russell. I love his movies. I was watching “The Devils” the other day. There’s some kind of through line connecting all these films, but I can never really figure out what it is. A lot of it is performance-based; all these directors get these incredible performances. Oliver Reed in “The Devils” is unreal. That could literally play now and it would still be subversive.

You’ve worked with some terrific filmmakers in recent years, including David Cronenberg, David Michôd and now the Safdie brothers.

I got kind of lucky. I had worked with some great directors before that, but they tended to go back and forth between personal films and more commercial films. With a lot of the later directors, their films are sort of all personal. But after Cronenberg and “Cosmopolis,” which just kind of appeared out of nowhere — with David Michôd, I remember seeing the teaser trailer for “Animal Kingdom” before it was out, and it was just a phenomenal teaser. I just went after him then and met him a long time, maybe a year and a half, before “The Rover” even came about.

I like the feeling of discovery and meeting someone who is really, really hungry and has a lot to prove. It’s exciting to see the Safdies’ progression. Scott Rudin and Martin Scorsese are producing their next film [the thriller “Uncut Gems”].

You’ve attended the Cannes Film Festival often in recent years. Do you get a chance to see other films when you’re there?

This year I saw Lynne Ramsay’s “You Were Never Really Here.” It was great. She’s another person who’s been on my list forever. But in general, it’s always a little funny going to see other films when you’ve got a movie premiering there. I’d love at some point to be on a jury. Everyone is always like, “It’s such a hassle seeing three films a day,” but that’s kind of all I do anyway.

Are there any films from the past year or so that you’ve especially liked?

I loved “Embrace of the Serpent,” the Ciro Guerra film. And I loved “Mon Roi” (My King), the Maïwenn movie. I thought that was great.

I love that you said that. I remember “My King” getting pilloried at Cannes.

Everybody hated “My King”?

I wouldn’t say everybody. I mean, I can’t speak for all my critical brethren, but …

Really? That’s crazy! I absolutely love that movie. I thought it was so moving.

Is Maïwenn someone you’d want to work with in the future?

Yeah, for sure. That was one of the best movies of the year for me.

LA TIMES Interview from Aug. 3, 2017

so anyways, i acknowledge your bi!simon and raise you bi!clary and bi!bffs

  • clary asking simon to help her come out to jocelyn and luke and in return helping simon come out to his mother and sister
  • both of them staying up until late at night texting each other about that new hot girl/guy in their english class
  • clary whispering dibs on simon’s ear when jace deglamorizes in front of them
  • both of them losing their shit at izzy’s hotness
  • both of them being completely supportive of alec’s sexuality bc they’ve been in that boat before but helped each other accept themselves
  • simon whispering dibs on clary’s ear on that one scene at hotel dumort where they went to ask for blood to raphael
Billboard Cover: Lana Del Rey on Why Her Pop Stardom 'Could Easily Not Have Happened'

Lana Del Rey photographed in Los Angeles on Oct. 2, 2015. Joe Pugliese

Lana Del Rey and I were first introduced at an Architectural Digest pimped manse off Pacific Coast Highway during a party thrown, weirdly enough, for Werner Herzog and his bud, the physicist Lawrence Krauss. (Del Rey, 30, has spoken before of her interest in science and philosophy.) On that night, she wore an unformfitting Polo shirt dress with a personal-old-fave vibe. In deglamorized “Stars Without Makeup” mode, she was unpretentious and softly gregarious, like a doe-eyed, underdressed newcomer to the Town. I was at the same table, and she caught me staring off at the horizon. Del Rey was sardonically attuned, nudging her boyfriend, the Italian photographer-director Francesco Carrozzinni, to have a look at the cliché: Old Brooding Man. Her warmth took me out of myself.

Lana Del Rey’s fourth album, Honeymoon, debuted at No. 2 on the Billboard 200 in September, but when I asked if she planned to go on the road to promote it, she shook her head. “I do everything backwards. It already happened – I’m actually done with the world tour I started four years ago, when I needed to be out there. I really needed to be out there singing.“

That exodus was partly born of the need to heal following a 2012 appearance on Saturday Night Live that elicited a slaughter-of-the-lamb storm of derision over the then up-and-coming star’s seemingly zoned-out amateurism. She was tarred as a poseur – part Edie Sedgwick, part Valley of the Dolls, a Never Will Be Ready for Primetime Player – but it turned out that Del Rey was only at the end of Act One in an all-American A Star Is Born passion play of celebrity crucifixion and resurrection.

Born Lizzy Grant in Lake Placid, N.Y., Del Rey moved to Manhattan at 18. “For seven years I wrote sexy songs about love,” she says. “That was the most joyous time of my life.” The screen that so many gossipy personas have been projected onto (rich preppy, suicidal anti-feminist, morbid dilettante) has instead transformed into a nearly religious dashboard icon of ghostly seduction. She’s a global phenomenon, part of the national conversation and cultural soundscape. Nielsen Music puts her total U.S. album sales at 2.5 million, and her videos have been viewed hundreds of millions of times. Del Rey is now a few years into her return from the desert, having arrived on a mystery train of Santa Ana winds, existential dread and “soft ice cream” (to quote her song “Salvatore”) that is uniquely her own.

I meet her for the interview at a John Lautner house she rents in Los Angeles. Lautner was a seminal Southern California architect, and Del Rey says her choice of lodging was deliberate. She production-designs her life. She greets me in the drive – inquisitive, friendly and aware. For a moment, she looks like Elvis and Priscilla, all in one. The hair is old-school Clairol dark, the eyes siren green, the auburn ’do the most done thing about her.

“You’d love my dad,” she says. She was just on the phone with him; her parents are visiting. He’s a realtor, and Mom’s an English teacher whose passion is reading history books. Del Rey lives here with her younger sister, Caroline Grant, a photographer who goes by Chuck. (Del Rey tells me that her sister was so shocked by the force of the fans’ emotions during concerts that she doesn’t take pictures of them anymore.)

“My dad’s that guy with perfect Hawaiian shirts and matching shorts,” says Del Rey. “The other day he said, ‘We should see about getting you a vintage Rolls.’ I said, ‘Um, it’s a little attention-grabbing.’ And he said, ‘Uh, yeah.’ ”

What do you do with yourself now that you have nothing on your schedule?

I go for long walks, long drives. I’ll get in the car and drive the streets, feeling for places. I go to Big Sur. I love Big Sur, but it has gotten so touristy. I went to the General Store, and there were hordes. On a Monday! But I’m drawn there. Sometimes I go to write. I’ve been thinking it might be time to do a longer video, a 40-minute video. I was watching The Sandpiper, and I was working on something kind of based on that.

Have you thought of writing something for yourself? Shooting down the paparazzi helicopter in the video for “High by the Beach” was your idea, no?

Yeah, it was. I’d like to write a book one day. But you need a beginning, a middle and an end! I can deal with four minutes – but I’m not so sure about a book.

Your song “God Knows I Tried” fits somewhere between The Beach Boys’ “God Only Knows” and Leonard Cohen’s “Hallelujah.” I’m thinking of Cohen because of that line “Even though it all went wrong.”

I love Leonard – because he’s all about women. Women and God.

Does it all go wrong?

It’s hard for me sometimes to think about going on when I know we’re going to die. Something happened in the last three years, with my panic…

I had read that you were prone to that.

It got worse. But I’ve always been prone to it. I remember being – I was, I think, 4 years old – and I’d just seen a show on TV where the person was killed. And I turned to my parents and said, “Are we all going to die?” They said “Yes,” and I was totally distraught! I broke down in tears and said, “We have to move!”

How do you cope?

I saw a therapist – three times. But I’m really most comfortable sitting in that chair in the studio, writing or singing.

The panic won’t last forever.

I don’t think so, but … sometimes you just want to be able to enjoy the view. I think I’m really like my mother, in the sense that I make small lists. To calm myself down. I reward myself. You know, “If I finish this, then I’ll do that” – I’ll go for a walk on the beach or swim in the ocean. I go for swims and am actually shocked I do that. Because one thing I’m terrified of is sharks.

Do you think having a child would chill you out? Do you want to have kids?

I’ve thought about it. Really thought about it lately because I’ve just turned 30. I’d love having daughters. But I don’t think it’d be a good idea to have kids with someone who wasn’t … on the same page.

Someone who…

Who isn’t exactly – like me! (Laughs.) Though maybe it’s best to have kids with someone who’s … normal.

When was the last time you got trashed by a love affair?

The last one – before the boyfriend I’m with now – was pretty bad. It wasn’t good to be in it, but it wasn’t good to be out of it, either. He was like a twin. Not a facsimile twin, but a real twin.

So maybe finding the same person doesn’t work. Are relationships hard for you?

For someone like me – and it’s not a codependent thing – I just like having someone there. I’ve been alone, and that’s fine. But I like to come home and have someone there. You know, to say, “Oh, he’s here. And this other thing (Mimes a table.) is there. And this (Mimes setting down an object on the table.) is there. (Laughs.) I’m very methodical. I have to be. I’m like that in the studio too. Mixing and mastering can take four more months after we’re done – three to mix and one to master. I like having a plan. Though I do leave spaces for ad-libbing in the studio when I write.

Do you mind if I write all this? Because I don’t want to piss off Francesco.

Oh, he’s going to read this! But he’ll have things to say anyway. He’s very … aggressive. (Smiles.) And besides, I didn’t say he wasn’t just like me.

There’s something weirdly shamanistic about your work. You channel Los Angeles in ways I haven’t seen from anyone, at least not in a long while. Places now extinct, streets and feelings that you have no right to be able to evoke because of your age. And it’s so unlikely that you’re the one to be the oracle that way. But it’s for real.

I know. I know that. I love that word, “shamanistic.” I read energy; I always have. One of the books I love – aside from [Kenneth Anger’s] Hollywood Babylon – is The Autobiography of a Yogi. And Wayne Dyer … I was so upset when he died! [Dyer, part Buddhist, part New Thought motivational speaker, was best-known for his book Your Erroneous Zones. He died in August.] He gave me so much over the last 15 years. I went to see a clairvoyant. She asked me to write down four things on a card before I came in, things I might be thinking about, and she nailed all four. I asked about the man I was seeing – that one, before the one now. She said, “I don’t really like to go there, but … I just don’t see him present.” I went, “Ugh.” She’s seeing the future and doesn’t see him present. Oh, no!

Are you aware of your effect on men?

I’ve only recently become aware of the heterosexual males who are into my music. I remember when I was 16, I had a boyfriend. I think he was… 25? I thought that was the best thing. He had an F-150 pickup and let me drive it one time. I was so high up! I panicked and was worried I might kill someone – run over a nun or something. I started to shake. I was screaming and crying. I saw him looking over, and he was smiling. He said, “I love that you’re out of control.” He saw how vulnerable I was, how afraid, and he loved that. The balance shifted from there. I had the upper hand – until then.

Do you want to be in the movies?

Well… I’m open to it all. James Franco asked me to be in three films that were going to be directed by a Spanish director, and I was hesitant. I think he heard my hesitance and got scared. Someone wanted me to be Sharon Tate. I thought, “That’s so right.” At that time, there were three Manson movies being talked about, but none were ever made. So maybe that was the answer.

Have you ever been the “voice of reason” for a friend in crisis?

I have – I can be. It’s easier to do that sometimes … for someone who’s half-checked out.

Meaning you.

Yes. (Pauses.) You know, I was living in Hancock Park once and thought about a movie idea. I was renting this house whose high walls had been grandfathered in, so of course I kept making them taller and taller. And I had an idea about writing something about a woman living there, a singer losing her mind. She has this Nest-like security system installed, cameras everywhere. The only people she saw were people who work on the grounds: construction people and gardeners. One day she hears the gardener humming this song she wrote. She panics and thinks, “Oh, my God. Was I humming that out loud or just to myself? And if it was aloud, wasn’t it at 4 in the morning? Did that mean he was outside my window?” Then a storm comes, one of those L.A. storms, and the power goes out except to the cameras, which are on a different source. And the pool has been empty for months because of the drought. And she goes outside in the middle of the night because she hears something – and trips over the gardener’s hoe and falls into the empty pool and dies facedown like William Holden at the end of Sunset Boulevard.

For me, one of the most interesting things about you and your story – and of course your work – is that you broke through. That it has turned out well.

I think about it, and I’m so grateful. I am aware that it could easily not have happened. That I could have become … an American nightmare. I see her – Lana – I listen to her and watch her, and I’m … protective.

Let’s end with Big Sur. Do you think your interest is by way of your kinship with the Beats? Your enthrallment with Kerouac?

Big Sur challenges me to surrender. What draws me is … the curves. I’m really drawn to the curves. 

Bruce Wagner, a novelist and screenwriter, lives in Los Angeles. His new book, I Met Someone, will be published by Blue Rider Press in March.

SPIN: I don’t know if this is a touchy subject, but Chris, in light of your friend Andy Wood’s death, do you feel a responsibility to your audience to deglamorize heroin use?

Cornell: No, I don’t feel a responsibility to my audience for any reason, whether it be about his death or about anything. I think that musicians’, artists’, or even writers’ only responsibility really is true expression.

Spin Magazine 1992


Get To Know Me Meme [Royalist Edition]

[3/15] Royals in General

Princess Grace of Monaco

Grace Kelly (November 12, 1929 – September 14, 1982) was an American actress who, after marrying Prince Rainier III, became Princess of Monaco.

After embarking on an acting career in 1950, at the age of 20, Kelly appeared in New York City theatrical productions and more than 40 episodes of live drama productions broadcast during the early 1950s Golden Age of Television. In October 1953, she gained stardom from her performance in the film Mogambo. It won her a Golden Globe Award and an Academy Award nomination in 1954. She had leading roles in five films, including The Country Girl, for which her deglamorized performance earned her an Academy Award for Best Actress. Other films include High Noon (1952) with Gary Cooper, Dial M for Murder (1954) with Ray Milland, Rear Window (1954) with James Stewart and To Catch a Thief (1955) with Cary Grant, and High Society (1956) with Frank Sinatra and Bing Crosby.

Kelly retired from acting at the age of 26 to marry Rainier and begin her duties in Monaco. They had three children: Caroline, Albert, and Stéphanie. She retained her American roots, maintaining dual U.S. and Monégasque citizenship. She died on September 14, 1982, a day after a stroke caused her to crash her car. (x)

anonymous asked:

I thought Magnus cat-like eyes would appear every time he uses his magic but it didn't so my hc is that the show!warlocks hide some parts or maybe all of what makes them unique and they can make it appear willingly or when they feel extreme (negative?) emotions like anger.

I actually share the same headcanon! They can deglamorize their warlock mark at will, and they let the glamour slip when they have extreme emotions, whether they are negative, or positive for me.

I’ve always had this kinda dirty Malec headcanon that Magnus can let his cat eyes flash at times without realizing it, whenever he is really enjoying himself… *coughs*

anonymous asked:

everytime i see the haters saying ''read the books'' i'm like... honey, they read the books, they changed what sucked, and then kept small details that tend to get ignored such as: simon's band often changing its name, clary's bedroom with orange walls, alec's arrows need runes, clary having dreams (or visions with that necklace which honestly makes more sense), valentine experimenting, izzy's bedroom having a black wall...

Pretty much. They took most if not all the problematic crap - like Alec’s attack on Clary - and got rid of it, expanded on neglected characters - hello, Alec and Izzy, you actually have personalities, who woulda thought! - deglamorized unsavory behavior - Jace and his shitty treatment of Alec - and came up with ways to actually USE the parabatai bond! Not to mention all the “for the show only” arcs that are to come - the wedding, Izzy’s trial etc. 

But yeah, that’s just me.