“Be absorbed. You should always be absorbed. It all depends on that. That’s the only issue. In order to feel the weight of time that makes you slump over, you must always be absorbed. But absorbed in what? Either alcohol, poetry or virtue. That’s up to you. But anyway be absorbed. And at times on top of a palace stairway, or on the green meadow beside a ditch, or in your depressing room, you wake up. When you’re not absorbed anymore, ask. Ask the breeze, water, stars, birds, or clock. As everything that passes by. Ask everything that is sorrowful. Ask everything that runs by. Ask everything that sings. Ask everything that talks, ask what time it is… Then the breeze, water, stars, birds and clock… will answer you. It’s time to be absorbed”.
I’m out of town visiting family so I don’t know if/when I’ll have a chance to write at length about the ep. For the time being, though…
- This was by far my favorite episode of the first 3. So. Damn. Good.
- I was sure they’d have to make updates to the bank robbery plot to account for the lack of pay phones and ubiquity of ATMs that allow deposits in 2017, but no, it was exactly as written! And it was a lot of fun.
- Both Salim and Zorya Polunochnaya are precious adorable babies I want to protect.
- Salim and the Jinn was PERFECT. So tender and beautiful and really sexy.
- Speaking of sexy: Christopher Obi’s voice. The Mr. Jacquel sequence was fantastic, but hot damn that voice tho…
-Also speaking of sexy: I did not mind all that MadMoon glowering over Chinese food…
-Scott Thompson! :) Got a pole through the head! :(
- Question – and HERE BE BOOK SPOILERS, so don’t read this if you haven’t read the book: So maybe I’m just really dumb, I always assumed Shadow was responsible for the snow. It never occurred to me that Wednesday had created the snowstorm and convincing Shadow that he’d done it was part of the long con. Was that really obvious in the book and I’m just a bad reader, or is that open to interpretation? The only reason I thought of it here was that, when Wednesday and Zorya Vechernyaya are out in the rain, she makes the “I can taste you on the rain” comment, suggesting that Wednesday had the power to control the weather (or maybe she was just speaking figuratively? I’m not sure).
I was honestly on the edge of my seat the entire time, the world building and action sequences are FANTASTIC.
Lately I’ve been enjoying fics by @redcap3 and me personally, I’m not really on board with writing ot3 so I’m really glad Better Angels exists and so far its a great read with great communication and very mutual for everyone.
Also Archer is a fucking machine pumping out multiple chapters to multiple fics all the time I am impressed and concerned. Homie do you sleep.
For the first day of the Spooks I’d like to focus on a little classic cartoon! One of my favorites of the old Mickey’s shorts “The Mad Doctor” (1933). Of the old classic shorts this one has a bit of a reputation behind it as being one of the scarier in terms of content for children! So much so in fact that during it’s time of release several theaters refused to even show it, England even banned the film entirely! But regardless it remains one of the best of that era and has some fantastic spooky sequences that I highly love and would recommend a full watch through for cartoon enthusiasts!
Trivia about this short
This film was also banned in Nazi Germany for being too scary for children
The Mad Doctor after this short did not appear again until a Roger Rabbit Short ““Tummy Trouble”
The Mad Doctor has made three video game appearances. One in Mickey Mania: The Timeless adventures of Mickey Mouse. The other as the antagonist in Epic Mickey 1+2.
It’s one of the few Mickey Mouse shorts that has made it into the public domain
The movie was bloody brilliant!! The graphics and fight sequences were fantastic, the comedy was hilarious, the soundtrack was remarkable, and the voice acting was ON POINT!! Everyone in the team did an amazing job on it! Can’t wait to see it again on DVD!
“In the near future, a weary Logan cares for an ailing Professor X in a hide out on the Mexican border. But Logan’s attempts to hide from the world and his legacy are up-ended when a young mutant arrives, being pursued by dark forces.” - IMDb
My love for Marvel and superhero movies is big, and this one was one I was very excited for. Once again Marvel succeeding in making an amazing movie with an interesting plot and phenomenal acting. Even though the movie was 2h and 17min, it didn’t fell like it was that long. There was always something happening, and it made sense. It wasn’t too slow or too quick. This Wolverine movie had a completely different tone than the others did. It was way darker, and you got to see a more vulnerable side of Logan. It was also the most violence X-men movie up until now, and I must say that it made it way more interesting. In some way, I believe that it is just what I had waited for, and it was done in a “humble” way. (If that makes sense)
Hugh Jackman does it once again. Brings us a fantastic portrait of the Wolverine, and in a completely different way than we have seen before. Already from the first eyesight, you can see that something had changed from the last time we saw something to Logan. He is weak and looks very sick. He hasn’t got much strength, and can barely fight off some car thieves. Just the fact that he has to pull out one of his claws to make it come out all the way, makes it more subspecies. All the way through the movie, we discover more and more scars all over his body, and we learn that he can’t heal that much anymore. He’s also quite mad all the time and doesn’t treat Caliban very good, even though is turns out that cares about him. Now and then we see something to the good old Wolverine, and see some fantastic fighting sequence. What made me really happy, was that he still has his lifelong friend, Charles.
Charles isn’t doing well either and is also very sick. And as Dr. Rice says, it’s quite ironic that the most powerful brain in the world has a brain disease. Charles has a quite funny character in this one and makes it a bit brighter and gives it a different tone. The way he cares about Laura gives “throwbacks” to the earlier X-men movies when he took care of young mutants. I was really happy to see that Logan still cares very much for him, and he does everything in his power to make Charles wishes come true. Every time they get attacked, he makes it his first priority to make sure that Charles is safe. When Charles gets stabbed by X24, the first thing he says to him is that it wasn’t him, and I think that it shows that he really cares and love him. And when he dies, Logan try his best to keep it together and be strong, but he realizes that Charles really is gone and he’s alone and all of his old friends are dead. He is now alone with his newly discovered daughter, Laura.
Laura is quite the character and brings new life to the franchise. I was actually quite annoyed at the fact that she wasn’t talking, and it made me very happy (and maybe a bit emotional) when she finally started speaking. Dafne Keen is such a beautiful little girl whit a very lovely voice. I think it was so well done the welcoming of this character, and I made perfect sense that Logan wasn’t very fond of her. She also had her funny moments, where her inner child could shine through. The way she played Laura was so believable for such a young girl, and I really hope that we get to see more of this girl.
Pierce and Caliban are also two very interesting characters.
Pierce is a basted, and he knows it. I think Boyd Holbrook has done a very good job with this role, and in some way, I would hope to see more of this character, ‘cause I believe there is more to him than this. I loved the way they made his missing hand, and the fact he was fixing it himself in a quiet “rough” way.
Caliban reminds me a lot of The Avengers’, Vision. Maybe it’s because their voices sound alike, or because they both are “the watcher” of other characters. His mutation I thought was quite cool, and I would have loved to get to know him better. He reminded me of someone straight out of Mad Max. Another charter we sadly had to say goodbye to…
The ending was so beautiful and I must admit that I teared quite a bit. From the moment Logan knew that the children were in trouble, he was off to safe them and even took the medicine to gain some strength to fight Pierce and his gang. You could see in Laura’s eyes that she was happy to see Logan, and in that moment I think they realized that they were a family and needs to keep each other safe. When Logan is dying, they both realize it’s too late, and they try to have a beautiful last moment together, and I really think the movie captured that very beautifully.
All in all a very intense goodbye to one of X-men most loved characters, Logan, and a hello to a young and inexperienced mutant, Laura.
WHAT AN AMAZING character design – I love starfire and I’m thinking this designer does too. Would love to see all the vindicators in a real western comics style. I had to do a quick doodle and ended up rendering more than intended. Also some fantastic shots and action sequences in this episode, my board artist self aspires to be whoever did that over the shoulder glass shot.
My last post, about Furiosa and how she’s different from so many women in action films, is kinda blowing up right now–which I think just proves my point about how hungry people are for a diversity of female characters.
But Mad Max: Fury Road is not just filled with awesome women. It treats its male characters in ways that I think can only be seen as deliberate attempts to undermine what we expect a male hero in an action movie to be and do.
Talking about tropes is a little different when you’re talking about the overrepresented group. The most basic trope for men in any genre of film is universality. Men–in the US, specifically white men–are the default protagonist. Men can be and do pretty much anything on film. Female characters, because there are fewer of them, are much more likely to be carrying the impossible weight of trying to represent everything about their gender, instead of just being characters with one of many possible stories.
Of course, within the action genre, there are certain expectations for the male hero. On the surface, Max seems to meet all of them. He’s buff and gruff–he barely says two words for the first thirty minutes or so of the movie. Physically, he’s the textbook picture of scruffy action masculinity.
I’ve got a cheekbone scrape to show I’ve been in a fight and also draw your attention to my eyes. Is it working?
But here’s where things get interesting. Because while Max may look like your typical action hero, most of what he does in the plot of the film is anything but.
The first sequence of an action movie is often a piece of action that may be only marginally related to the main plot, but shows the hero’s competence, skill and bravery, and primes the audience for the kind of action that’s going to come.
Think of the beginning of any James Bond movie ever. Or this:
Max definitely gets a propulsive action sequence at the beginning of Fury Road. But it’s the exact opposite of Indy sliding under the stone slab with a second left to grab his whip. Before the opening credits even roll, Max is chased down, crashes his car, is taken prisoner, tries to escape and fails.
Opening shot. I’m so alone.
The whole sequence that serves as Max’s character introduction is about how isolated, traumatized, vulnerable and trapped he is. He’s mute and feral, tormented by hallucinations of dead loved ones he couldn’t save, and outnumbered in the tunnels of the Citadel by manic War Boys. He immediately fails at the basic measures of competence in this world–escape from danger by fighting and driving–and is captured and enslaved.
He’s an animal in a cage, bound, muzzled, leashed and hung upside down (Max spends some key moments upside down in this movie) to be slowly exsanguinated. It’s the most un-heroic character introduction you can imagine taking place in this world.
Okay, this is definitely worse than being alone.
In the early parts of the movie, George Miller makes sure that some of the iconic symbols of Max’s power and identity from earlier films get taken away or fail him. His Interceptor winds up in the War Boys’ chop shop in the first ten minutes. When Max happens across a sawed-off shotgun very much like the one you might remember from earlier installments of the franchise…
…it doesn’t work. Max is even stripped of his signature leather jacket, although he eventually gets it back.
Worst day ever.
Furiosa gets a much more classical hero’s introduction. In a fantastically economical sequence, the film introduces her–mysterious but clearly respected and powerful, first fully seen behind the wheel–along with her antagonist Immortan Joe, and the War Rig itself, the truck that functions as both a character and a key location in the movie. We also learn important information about the ideology and physical layout of the Citadel; this is basically all the time the movie spends on exposition.
Structurally, Furiosa’s actions do the lion’s share of the work of driving the plot forward. A screenplay is built around a character pursuing a goal despite obstacles. Furiosa’s goal is obvious–escape to the Green Place with the Five Wives. She is the reason we’re watching this moment as a movie, as opposed to all the other days when she went on normal, non-movie-worthy supply runs to Gas Town and back. On this day, she makes a choice that sets in motion the action of the film.
Max enters Furiosa’s story not as a savior, but as an antagonist. He’s an obstacle in her path, stealing her truck and shooting at the people she’s trying to protect, waving a gun around, reacting not out of confidence or power but because he is scared and hurt and desperate, capable of thinking only of his own survival.
Furiosa–who’s as smart and strategic as she is skilled and brave–realizes that she can turn Max into an ally if she calms him down and helps him, and that having him as a member of her team is more useful than simply waiting to shank him when his guard is down. She offers him concrete aid (a tool to remove the muzzle from his face) and a powerful measure of trust (the secret code to start the War Rig) when he’s done nothing to deserve it. It works, and she essentially wins him to her side through de-escalation. And so Max becomes not the initiator of the main action, but an antecedent to Furiosa’s plan, already in motion.
And it turns out that they fight incredibly well together, as we see during the Rock Riders’ attack. Max drives, but Furiosa knows to use the truck’s plow to put out an engine fire with sand. Max reloads weapons for her and hands them up while she picks off attackers through the retractable roof of the truck. At one moment, he fires a pistol between her legs as she’s balanced on the seat and the dashboard, and neither one of them misses a beat. It’s Max’s first action sequence that feels classically heroic, and if we’re still unsure, the soaring music cue tells us so. We finally see Max’s full fighting potential–not as a lone warrior, but as part of a team.
Throughout most of the rest of the movie, Max and Furiosa share the main action beats equally. They’re pursued by three warlords: the Bullet Farmer, the People Eater, and Immortan Joe. They take down the Bullet Farmer together. Furiosa blinds him with an expert long shot steadied on Max’s shoulder, and Max skulks off into the darkness to blow up his car, in what would presumably be a major action sequence in most movies but doesn’t even merit screen time in Fury Road.
In the final, monster chase-battle that takes up most of the third act, Max goes after a secondary henchman, the People Eater, while Furiosa–gravely wounded at this point–attacks and kills Joe. We know this is the only way it can happen if she is to have a satisfying character arc, defending her team of warriors and getting the revenge she has wanted since childhood. Meanwhile Nux, who’s grown up wanting nothing more than martyrdom in battle, gets exactly that, but for the cause of revolution instead of tyranny. For his self-sacrifice he earns the privilege of driving the War Rig, the film’s hero vehicle, into a kamikaze crash that will ensure the safe passage of the rest of the team.
If the action is being driven by Furiosa’s choices, it’s worth asking why Max is there at all. And here is where Fury Road does us one better than just replacing a lone male hero with a lone female one.
Fury Road is a dual protagonist narrative. Max isn’t there just as a supporting character. But because Furiosa’s storyline does so much of the heavy lifting in terms of moving the plot along, Max is freed up to have a story that’s mostly about his feelings.
Of course, he does plenty of fighting–everyone fights in this world. But the main change his character undergoes from the beginning of the movie to the end is emotional. For Max, the movie is about re-learning trust and solidarity and the value of human connection, even if all those things carry the risk of grief.
In a world full of violent death, Max has shut himself off from caring about anyone and anything but his own survival, because that seems less painful. But it’s not. He’s plagued by trauma and guilt, which manifests itself in hallucinations of people he’s seen die. In the first act of the movie, these visions are a constant presence. They impede his progress at critical moments, punishing him for past failures he can’t undo.
Over the course of the second act, when Max is around people he learns he can trust, his flashbacks mostly disappear. He still has nightmares–this isn’t trauma that’s going to be healed overnight. But he has someone to tell him it’s okay when he jolts awake, someone we know is just as capable of protecting him as he is of protecting anyone. For the first time in a long time, he’s not alone, and that starts to matter to him.
As soon as Max separates from Furiosa and the other women, the visions reappear. But this time, they urge him forward, back into an alliance with Furiosa. They even save his life in battle. They serve a different purpose when he has something worth staying alive for.
In this context, Max riding up with a plan to capture the Citadel feels much less like a stereotypical action-hero-to-the-rescue moment, and much more like someone who’s realized they’d rather die fighting alongside people they care about than survive alone. He’s not doing it out of a chivalrous, self-sacrificing desire to help them. He’s doing it to heal himself.
This is also why the scenes of Max trying to save Furiosa’s life at the end of the film are so powerful. Healing and caretaking are often the provenance of women in the action realm, where taking care of wounds is a substitute for, or a prelude to, other forms of intimacy.
Sarah Connor and Kyle Reese, The Terminator
Matt Murdock and Claire Temple, Marvel’s Daredevil
The scenes of Max taking care of Furiosa are not just impactful because they’re a reversal of this trope. They are the culmination of Max’s entire journey over the course of the film. He cares enough not just to pump his own blood into Furiosa’s body, but to invest new levels of trust into their relationship (finally telling her his name) even thought he knows she might die. He’s decided the connection is worth the risk.
It’s not totally clear where Max is headed as we fade out on the movie’s final scene. But the last time we see him, he’s not alone.
‘Game of Thrones’ Poop Montage Explained: John Bradley Gives Us the Scoop (Video)
“Game of Thrones” star John Bradley is the focus of what has become the breakout moment from the show’s Season 7 premiere, a montage showing the daily life of his character, Samwell Tarly, as he trains to become a Maester.
It’s a fantastic sequence, but the catch? Samwell has perhaps the worst job ever, mainly because of how much human poop he’s required to deal with. The montage shows Sam lugging heavy books around the stacks in the Maesters’ library (but forbidden from reading the ones that he needs), emptying chamber pots and cleaning out the communal toilets, serving other maesters food that looks suspiciously like the stuff in the chamber pots and communal toilets … rinse and repeat. It’s so gross that Sam (and the audience) spends a lot of time dry-heaving.
So how did they make the excrement look so real? Bradley managed to soak up the secret during the shoot.
“Apparently, I now know, if you need to recreate human excement onscreen, the best way to do it is to soak fruitcake and add a bit of water in there and you’ve got just the stuff,” Bradley told TheWrap.
“Every day’s a school day,” he added.
But now that you know, Bradley definitely doesn’t want to see any recreations. “Please don’t send me your DIY poop videos,” he says. “I’ve seen far too much of those.”
honestly there was a stretch there where all i did was replay that sequence daily.. spectacular soundtrack, spectacular aircraft :’’’)
Same! And the rest of the mission doesn’t let up either!
That quiet scene where Chief steps out of the Broadsword, paps the nuke onto his ass and is like “plan B”; Cortana not knowing what to do, not having a plan, and having to fight herself and the Didact throughout the mission; the intense, one man army fight against all odds, culminating in that fantastic sequence where Arrival blares over the fight with the Prometheans on the towers shielding the Composer; the confrontation with the Didact, Cortana saving Chief (twice), and the final farewell scene…