literally the only hard scene to color in this entire movie

anonymous asked:

100% agree on your analysis of Jimin as a Slytherin!!! I know a lot of people (including myself) are shocked Namjoon put himself in Griffindoor over Ravenclaw though. I'm dying to hear your thoughts on this!!

HELLO and thank you! I’m glad you agree! And if anyone is curious here is a link to my thoughts on why jimin is the perfect slytherin. EDIT: And here is why Jungkook is a Ravenclaw!

//cracks knuckles MY TIME HAS COME

So… Namjoon. I, like you and a ton of other people, was really confused about him being in Gryffindor. But, the more I thought about it, the more I really came to not only accept it, but believe that he is a Gryffindor through and through. And please be advised this is going to devolve in to me gawking over how great of a human being Namjoon is, so if you don’t want to read about that please close your browser and think about why you don’t agree that he’s better than everyone else. okay?

okay.

Namjoon is a Gryffindor to the core, not a Ravenclaw

First of all, Namjoon supposedly sorted everyone else, but I have a small sneaking suspicion that he may not have sorted himself. We know he’s a fan of the movies at least, and he’s fluent in English, so if he’s a fan and he has access to sorting quizzes on Pottermore and other sites, is it so hard to believe that he hasn’t at least tried a few? Seriously, even the most casual of fans have tried getting sorted. It’s not that crazy of a thought. So… What if they put him in Gryffindor over Ravenclaw?

(I mean, when asked to do a British accent the first thing that he quotes was “Shut up Malfoy!”. If that ain’t the most Gryffindor thing…)

Also, Namjoon is a really humble guy. If he DID sort himself, I feel like he’d be the type of person who would shy away from saying “I’m smart, so I should be in Ravenclaw”. He’s always been pretty modest about his intelligence. And just because he is, doesn’t mean we should be. Seriously, Namjoon can be a goof but if you’re ever in doubt about how crazy smart he is, please watch this.

He has no problems recognizing the intelligence of others though – he raves about Jungkook being good at everything he does, and even gave him the nickname “Golden Maknae”,  so is it such a wonder he put Jungkook in Ravenclaw? (It should be noted that Ravenclaws also have a reputation for being eccentric and quirky. Prime example, Luna. If that isn’t a perfect descriptor for Jungkook idk what is)

So let’s look at what the common traits of Gryffindor are, shall we?

Such character traits of students sorted into Gryffindor are courage, chivalry, and determination. They can also be short-tempered. [x]

Okay so, courage. I could go on and on about how brave Namjoon is but like… we’ll be here all day. So let me keep this short and point you in the direction of one thing in particular that he has done. THIS TWEET.

It’s Rap Monster. A song about homosexuality. I heard this song before but I didn’t know the lyrics, now I know them and I like the song twice as much. I recommend Macklemore & Ryan Lewis - Same Love. http://hiphople.com/subtitle/619392

I have a lot of feelings about this tweet. And a lot of theories about WHY he tweeted that too – but no one wants to hear about those so that’s for another life post.

First – speaking out in support of homosexuality in Korea is a pretty huge deal, because homosexuality isn’t a really accepted lifestyle there. (It isn’t really accepted anywhere, truly, but you all know that.)

Here’s a pretty recent list on idols who support LGBT communities.  It’s a pretty god damn short list. I use the term ‘support’ loosely bc this article seems to equate ‘having gay friends’ as being a supportive ally. But Namjoon stands out pretty hard in this list because he doesn’t just say ‘i love my gay friends!’, he outright spoke out in support of homosexuality.

But Kiki, you say… Namjoon is hugely popular. He’s one of the biggest stars in Kpop. He could say whatever he wants now, right?

Well yeah, he can. But here’s the kicker! Look at the timestamp on that tweet. He tweeted that before they debuted

Namjoon was months away from launching his dream career, something he’d worked his entire life for. He was from a pretty small unknown company whose only claim to fame before that was that group that had two members blackmail an actor over something or another. He couldn’t afford bad press, and yet here comes Kim fucking Namjoon with his balls of steel willing to throw that all down the drain because god dammit he was going to tell the entire world about how much he supported the LGBT community and anyone who wanted to stand in his way of doing so could eat a fuckin dick. He could have kept his heckin mouth shut but he didn’t??? 

????

moving on.

Chivalry.

Chivalry is defined as:

1.the combination of qualities expected of an ideal knight, esp courage,honour, justice, and a readiness to help the weak

2.courteous behaviour, esp towards women

Courage, honor, justice, what I just talked about describes those things pretty perfectly.

I’d like to talk about honor for a sec though. Let’s look at a pretty famous Gryffindor – Ron. Ron was one of a shitload of children in his family. He outwardly always grumbled about not getting attention or whatever, but as a person, he was all about family. He put his family first, he didn’t gripe too hard about hand-me-downs to his parents because he knew they were trying their best, and he defends people he cares about.

There’s that famous scene (that I’m still salty they changed in the movies) where Hermione wants to answer a question and Snape gets mad at her for it. And he defends her – why ask the question if you’re not looking for an answer?

Ron always, always put his family first. So does Namjoon.

Take this gifset for example. The whole set is great and shows how much he really takes care of his members, his family, but this is what he does when he’s around them and also in front of people. Not all that surprsiing.

But please, please please please pay attention to the first gif. For people who don’t know the context, he was asked if he’d choose going solo or bangtan. He DID NOT KNOW HE WAS BEING FILMED. He could have shown his true colors and said that he preferred a solo career and all the glory, but even when given the chance to be completely open, his heart was still with Bangtan.

Another great example of Namjoon being completely selfless. Everyone here is praising themselves (and they have a right too, don’t get me wrong, you’re all great four for all of you) but when it gets to him, Namjoon says “We’ve always been pretty good.” We. Not I, not me, we. Everyone else is giving themselves some much deserved praise, but Namjoon is stuck on we are good, we’ve always been good.

Also don’t forget how important blood-related family is to him too.

And don’t you dare forget how important you, his extended family, is to him either.


Readiness to help the weak. I mean this goes without saying right?

And if you want to take courteous behaviour, esp towards women, literally, look at their glass-ceiling line in Not Today, that they said they used specifically knowing what it meant. and look who is credited for writing the lyrics! What’s that? It’s Namjoon? Wow, I did not see that one coming.

Speaking of lyrics – talk about having courage. Look at the lyrics he wrote for Reflection and Always.

They can also be short-tempered.

Okay so this doesn’t really apply to Namjoon. But I wanted to include it in there because it fittingly applies to another Gryffindor we know of… Namjoon wasn’t playing around when he sorted these guys. Bonus, here you can observe a hufflepuff and (fond) gryffindor in their natural habitat.


So let’s recap. Namjoon is pretty selfless, extremely caring of his friends and family, a feminist, an outspoken ally for those who are mistreated, and is so god damn intelligent everyone REALLY thought he belonged in Ravenclaw.

Wait a minute, I feel like I’ve heard about this person before… There was another Gryffindor like this, I’m sure of it… it’s on the tip of my tongue…

Ah right. 

I’m not saying Namjoon is our version Hermione Granger, but… that’s exactly what I’m saying.

POWER RANGERS: BREAKFAST CLUB

and the things that I think what made it a surprisingly good movie. 


SPOILERS AHEAD and a really LONG post 

Keep reading

Power Rangers (2017) Movie Review: SPOILERS!

It’s been 20 long years since the Power Rangers were last featured on the silver screen, and they’re finally back in this big-budget reboot film based on the original series. Featuring a perfectly-balanced cast of both well-known actors and newcomers, this movie does a good job at recreating the essence of the show, while also building its own cinematic universe for potential sequels.

Without further ado, It’s Morphin’ Time! Spoilers after the cut!

Keep reading

Boyfriend Series; Seungkwan

- seungkwan is honestly going to be that type of boyfriend that makes you go like wtf am i dating someone or raising a child
- for your first date, seungkwan takes you to a nice little restaurant and pays for everything because who said jisoo’s the only gentleman in seventeen
- he’s honestly so easy to talk to and he’s so funny too, you really do feel like you can be yourself around him
- after dinner, he takes you to karaoke and it starts off normally with both of you taking turns singing solos and cheering for each other
- but then you both start singing duets
- and it is CHAOS
- you’d think seungkwan would take this opportunity to show off his singing skills but NO YOU’VE BOTH TURNED IT INTO A CONTEST OF WHO CAN SING THE LOUDEST
- so you’re both screaming the songs together and it gets really competitive but then you look at each other and start laughing and you’re both unable to complete the song because the two of you are laughing too hard
- and while the karaoke machine plays the instrumental of a beautiful ballad, you and seungkwan look into each other’s eyes and share your first kiss
- you two are always arguing and having sass battles for fun which makes people wonder if you guys are actually dating
- when he takes you to jeju island, he takes you everywhere and by nighttime you guys aren’t even tired
- he was worried that you’d get bored going around jeju but you LOVE IT and you want to keep exploring his hometown and he’s just staring down at you with sparkling eyes and the widest smile ever
- when it’s movie night you guys always watch disney movies and sing the songs together and neither of you realize how LOUD you both are because you’re too into it
- jihoon gets so pissed because he’s trying to sleep so he barges into the room and pulls the tv’s plug because EFF YOU TWO HE’S TIRED
- wears 173247 layers of clothes in the winter and probably wears three scarves to protect his throat
- “…you’re wearing all that?” “YEAH YOU WANT ME TO GET SICK??”
- when he gets sick he acts like it’s the end of the world and you’re like seungkwan stfu it’s just a cold but he’s like “i’m DY IN G CALL MY MOM”
- ALWAYS SINGING
- you could be tying your shoelaces and he’s in the background singing about shoelaces and reaching notes so high they reach the sky
- tbh inside you’re impressed by how quick he can come up with lyrics but outside you’re like just stop
- he always discovers the most random things and wants to try them out with you and he doesn’t shut up about it until you guys try it out
- the type to make seventeen song title puns
- “nice” “AJU nice”
- loves it when you praise his singing and when you call him handsome, his face literally lights up and your heart goes BOOM BOOM
- seungkwan loves the rain so sometimes you two just walk around sharing an umbrella
- you’re always stealing his sweaters and one day he realizes he’s out of sweaters so he goes out and buys you a bunch so that he can get his back
- you don’t realize until later that the sweaters he got you are a bunch of those seventeen merch sweaters in different styles and colors that say “SEUNGKWAN” in the back and you’re like are you kimbap kidding me
- you guys actually have matching sweaters yet you still steal his and his face turns so red when he sees you with sweater paws
- super fun to watch k-dramas with because he gets really into it and his reactions are so funny and he probably gets second-lead syndrome
- “SHE SHOULD’VE CHOSEN HIM”
- probably tries to act out the scenes you find cute in the dramas you watch together but they never go as planned like once he bent down to tie your shoelaces and you accidentally kicked him in the face
- NEVER orders the same thing twice on the menu, he’s the type who wants to try all the food and drinks on the menu, basically he’s the perfect person to go out to eat with
- screams “OHHH SO GENIUS” when you come up with a good idea
- bike rides around the park!!
- and by bike rides i mean seungkwan’s pedaling and you’re sitting in the back seat JUST LIKE IN DRAMAS ISN’T THAT CUTE
- always does something super cute like cupping your cheeks then kissing your forehead but then gets embarrassed after lmao
- his kisses are short and quick because he gets embarrassed, but because of this, he gives PLENTY
- long kisses are rare, but they’re heaven
- he often tells you how much he loves you and how much you mean to him because saying it once isn’t enough
- face masks together while contemplating the meaning of life
- made you a customized glowstick so he can spot you in the crowd during concerts lmao
- the type to scream during scary movies and he’s the one hiding behind you, also the one who cries the most during sad scenes
- asks his mom for advice on everything because he wants to make sure he’s treating you right and making you happy
- when he hasn’t seen you in a while, he runs up to up and screams “I’VE MISSED YOU” and you’re just like “seungkwan it’s only been a day”
- he calls you boo and then proceeds to laugh really hard
- also calls you my love and my darling, anything with “my” really because he wants you to remember that you’re his
- he’s so spontaneous and you never know what he’s thinking or what he’s going to do next, but you love that he’s full of surprises and you love that he’s always up for anything
- but as seventeen’s mood-maker, seungkwan always has to have a smile on his face even when he’s sad to help the other members cheer up and feel better
- he’s stressed and homesick and lacking sleep; he’s as tired as the other members, and sometimes, faking smiles gets tiring too
- but when he sees you
- his smiles are real
- “(re-enacts an entire k-drama confession)”
- “seungkwan, i’m already yours”
- “DON’T INTERRUPT ME”

Epic Movie (Re)Watch #144 - Coraline

Spoilers below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: No.

Format: Blu-ray

1) Director Henry Selick is probably best known for his work as director on The Nightmare Before Christmas, but I personally think (and this may be considered blasphemy) that Coraline is his magnum opus. More on that coming up.

2) In both horror and animation, a well done score can boost the tone of the film remarkably. And composer Bruno Coulais is able to turn in a score notable for its subtlety and tone boosting. It is able to be ominous, child like, fantastical, and creepy all at the same time. That is actually a perfect way of describing this film.

3) Animation fans with eagle eyes will notice that the movers in the beginning in the film are the “Ranft Brothers”. Joe Ranft was a legendary animator, known mostly for his work at Pixar until his tragic death. His brother is a noteworthy animator too, Jerome Ranft. The movers are animated in the likenesses of the brothers (you even get a glance at a name tag reading “Jerome”), with Joe being the mover who gets the crummy tip and Jerome Ranft voicing his counterpart.

4) Dakota Fanning as Coraline Jones.

Originally posted by black-rabbit-in-winter

Coraline is not your typical animated heroine, which is exactly why she is such an amazing character. She’s a bit of a snot actually. She’s bratty, shown to be mean, overdramatic, sarcastic, winey, and it is all amazing! Because she’s not ONLY those things! She’s also fun, intelligent, clever, imaginative and adventurous. For most of the film she is at odds with her parents but she risks her film for them because, well, they’re her parents! The best way to describe Coraline is as a kid. An honest portrayal of a kid! Not totally one thing or another and not nearly as oblivious as some people may expect. Dakota Fanning (who was attached to the role when the film was meant to be live action even) is perfect in the part, able to portray all of Coraline’s qualities with wonderful ease while totally losing herself in the role. Coraline is the title character which means we - as the audience - NEED to be invested in her for this film to be any good. And the filmmakers did an excellent job making sure we were just that: invested.

5)

Coraline [after seeing The Cat]: “Not talking, huh?”

Originally posted by wish-for-the-moon

6) This film is a little more adult than your typical animated fare, something which is established pretty early when Coraline refers to Wybie as her stalker. It is a decision in tone and content which works wonderfully for the film.

7) Wybie.

Originally posted by bluebomb29

We don’t get to see much of Wybie in the film. Well, that’s not entirely true. We don’t get to see much of Wybie compared to CORALINE, who is the lead and is therefore in every scene except for the one that plays during the opening credits. But in the time we see him it is very clear that this is the neighborhood weird kid. And it’s done accurately too! He’s not the butt of any joke, he’s not someone who’s supposed to be a creep or a plot device. Just like Coraline, he’s an honest representation of the kids out in the world who are sort of strange.

8) Dang, Coraline can be mean!

Coraline [after someone calls for Wyborne ‘Wybie’s’ name]: “Oh I definitely heard someone, Why Were You Born.”

Like, sure the dude is sorta weird, but he’s been pretty nice so far. But that’s part of Coraline’s character, and we see that side of her go on a bit of a transformation throughout the film.

9) Film is first and foremost a visual way of storytelling and animation can do that better than live action can if done right. Through animation you are able to portray the character of things (not just your characters but places and items) through design. Through your visuals. Take this film for example: the real world is marked by a more subdued color palette and look. Everything - including Coraline’s parents - look grey, tired, and worn down. Something which creates an immediate visual conflict through Coraline, who from the very start gives off these incredible vibrant and lively colors. It is a visual conflict which is reflective of a textual one that works wonders for the film.

Originally posted by rippedheartsandbrokendreams

10) It would have been easy to make Coraline a total brat and her parents good parents who try their hardest, but Mom and Dad aren’t perfect either. Mom particularly shows us where Coraline got her attitude, sarcasm, and occasional brattiness from (and I know “brat” has negative connotations to it but I love Coraline so when I call her a “brat” I’m doing so with love because that trait is something I think is a great writing decision for her character). It also gets to the idea that a friend of mine told me once: parents are just kids who have kids. Parents don’t know what they’re doing when they have kids, they’re making it up as they go along. Which means they’re not perfect. They can get tired and impatient and mean too, and showing that in this film continues its honesty streak. That honesty - in relationships in characters - is what helps make it so great.

11) I can’t IMAGINE what animating the tunnel sequence was like.

Originally posted by bitemytonguedarling

I mean stop motion animation is moving something a tiny bit, then taking a picture. And you repeat that process over and over again with puppets until you have a moving image like this one. So the tunnel on its own - with the lighting and the fabric - must have been a pain to animate. But then Coraline walking through it? And jostling it around, but the animators have to make sure that jostling is perfect in every frame? I do NOT have the patience for stop motion animation, I tell you. Or the fingers. I don’t have delicate fingers.

12) The Other World.

Originally posted by disneyskellington

Going with the idea of visual conflict, there is immediately more of a peace between Coraline’s vibrant colors and the creative rainbow like Other World she finds herself in. This resolves most of the visual conflict ON THE SURFACE, but everywhere there are these black buttons. These little dark specs that just liter the world in hard to see places, things which can easily get lost in the magic of it all but are always there. Hiding in plain sight.

The Other World - both in its dream and nightmare phases - show off Selick’s wild imagination. The best animation directors have a penchant for imaginative visuals, using the medium to do things live action couldn’t (something I observed in my The Book of Life post back in November). Selick as not only animator but production designer on this film is able to create some wonderful and memorable images of dream like fantasy which makes the transition to nightmarish scenes in the back half of the film all the more powerful. It is truly wonderful.

13) According to IMDb:

The band They Might Be Giants wrote 10 songs for the movie, but a change in tone from a musical to a darker production meant that all but one was cut; a scene in which Coraline’s other father sings along with a piano features John Linnell’s voice. The band has said they will release the other songs created for the movie in other projects, including albums.

Originally posted by captainestablishment-blog-blog

14) It is worth noting that the initial dinner Coraline has with her Other Parents is more of a Norman Rockwell, classic/idyllic image than her dinner at home (in both the food served and the look of the place). This relates to the film’s almost critique (I say almost because I do not know if it was intended, but it very well could have been) on expectations vs reality. How we have let certain fantasies shape our expectations in the real world and if we find something that fits those expectations perfectly it’s probably a lie.

15) Teri Hatcher shines in this film, particularly as Other Mother. There are three sort of phases to her performance as Other Mother which I will discuss individually as they occur. The first of these is the initial encounter with Other Mother. The sweet sing-song tones filled with love and warmth which can trick someone into thinking its honesty but when you listen there is DEFINITELY something false about it. A faux kindness which can catch you off guard. No one is really that kind, that nice. That’s the face you put on for company when it’s over and not one you can sustain forever.

Originally posted by disneyskellington

16) Ian McShane as Mr. Bobinsky.

I observed in my recap for the Selick directed The Nightmare Before Christmas that the film was able to create unique characterizations within seconds of introducing us to said characters which lasted consistently throughout the rest of the film. In this film - especially with Coraline’s neighbors - the same holds true. We are able to get a sense of what kind of fun weirdo Mr. Bobinsky is within seconds of meeting him, someone who’s a bit of a nut but also a generally nice guy, and that lasts through the end of the film. Ian McShane does a wonderful job as Bobinsky and out of the three neighbors (Bobinksy and the two actresses), Bobinsky is my personal favorite.

It is also worth observing Bobinsky’s character design here. As I said before, animation tells you a lot through its visuals about a character. Small elements in Bobinsky’s design make him a bit more human than say your average Prince Charming or seven dwarfs. The ratty shirt, the unkempt body hair, the big gut. All of it gives Bobinsky not only a sense of character but a sense of realism, as life is not always as pretty as we expect. This plays DIRECTLY into Other Bobinsky’s appearances, notably how he is better dressed AND his torso is upside down. Instead of having a large stomach, he has a large chest suggesting strength. THAT is your fairytale version of Bobinsky right there and - like everything else in the Other World - it’s a lie.

Originally posted by fuckyesanimatedgifs

17) Similarly, the two actress neighbors of Miriam Forcible and April Spink are established as weird but lovable dog ladies as soon as we meet them.

I mentioned before how this film plays with the ideas of expectations vs reality, and that becomes pretty clear after we meet Coraline’s neighbors. This is not some fairytale for Coraline. In a fairytale Mr. Bobinsky would run an incredible jumping mouse circus, not be a vaguely crazy man trying to create a jumping mouse circus (I say with love). And the pair of Miriam and April would be elegant world famous actresses, not two washed up has-beens (I say with love). But you know what? This is EXACTLY what they are in the Other World! The fairytale versions of themselves that is meant to be exactly what Coraline wants. And just like the change in design for Bobinsky in the Other World, Miriam and April get similar beautifications.

Originally posted by hrmphfft

Now they’re as pretty as any fairytale princess with a waistline to match, because that’s the “better” version of this isn’t it? Except it’s not real. It’s a lie, meant to entrap you and keep you from having a good REAL life. I sort of love that about this film.

18)

Coraline [after Other Mother asks her to get her father]: “You mean my other father?”

Other Mother: “You’re better father, dear.”

Originally posted by gif-007

Red flag! Red flag! That’s a creepy thing to say Other Mother! (It is also here when we start noticing the fakeness of Other Mother’s nice voice.)

19) I keep mentioning how you can detect a slight hint of fakeness in Other Mother’s face. The hint is not so slight in Other Father’s voice. There’s nothing real there, nothing honest. Just fake honey that’s meant to entice Coraline. And I think that’s because Other Mother is the mastermind and she’s making Other Father BE like that. It’s a nice choice on the part of the filmmakers and actor John Hodgman I think.

20)

Other Mother [about Other ‘Silent’ Wybie]: “I thought you’d like him more if he spoke a little less. So I fixed him.”

Originally posted by gif-007

If anyone says they “fixed” a person, turn around and run like crazy away. That’s creepy.

21) Hmm, wonder which of her parents Coraline takes after…

Mom: “I did not call [Mr. Bobinsky] crazy, Coraline. He’s drunk.”

22) The. Freaking. CAT!!!!

Originally posted by aditlovesosweet

Can I just say first and foremost: I love Keith David. Dr. Facilier from The Princess and the Frog is my favorite Disney villain of all time in no small part because of Keith David’s voice over work as the character. And his role as The Cat is just as good. I love The Cat, which is saying a lot because I’m a dog person. David is able to work with the writing and make the character both wise and mischievous but in a unique, dark, sarcastic way. He’s also the first hint of trouble and the only character other than Coraline to travel between worlds. The animators do an excellent job making sure The Cat’s characterization is clear and consistent, even when he can’t speak in the real world. He’s an excellent addition to the film and a wonderful companion to our hero.

23) Everything gets real freaky real fast.

Originally posted by somethingstirringonhalloween

Originally posted by heckyescoraline-blog

Right after Other Mother asks to put buttons in Coraline’s eyes (or, more accurately, REPLACE her eyes with buttons) this film turns into a horror film. Full on Stephen King, Poltergeist, “Stranger Things” horror! (Not that I’ve seen or read any of those things because I scare too easily.) And it is born not from jump scares or gore but from tone. The atmosphere becomes notably chilly and ominous and everything just becomes so FREAKY. THAT is why I think this is Henry Selick’s magnum opus. Because he can be as scary as he want to be!

24) For me, one of the most powerful scenes in the movie is when Coraline walks around Other World.

Originally posted by filmvisionary

The simple decision to have her walk through a white abyss then find herself back in the Other World the Other Mother created just really works for me. It’s a simple yet elegant concept.

25) Other Mother’s truer form (her true form comes later).

Originally posted by disneyskellington

This is when Teri Hatcher and Other Mother start really shining as villains. There is still an attempt to be motherly, to be warm, but the creepy factor is turned up. There’s a sick playfulness there at times as well as terrifying anger. But this form is most marked by the cold reservedness. The chilling tones the Other Mother uses when taking to Coraline about the game they’re going to play. It’s crazy freaky and I love it for that!

26) There is no scene quite as haunting or quite as sad as when Coraline talks with the ghost kids.

Through its use of haunting visuals, eerie sound design, excellent writing, and top notch voice acting from the child actors, this one scene tells you perfectly what exactly the stakes are for this film. What exactly will happen to Coraline if she can’t succeed. And it’s terrifying.

27) I did not remember this line from before and the way Coraline describes the ghost kids to Wybie had me laughing my butt off.

Coraline [about the doll]: “It used to look like this pioneer girl, then Huck Finn Junior, then this ‘Little Rascals’ chick with hair ribbons…”

I don’t know why, but something about hearing her call the kid, “Huck Finn Junior,” is just wildly funny to me.

28) The entire idea of the eyes of the dead children being hidden in the “three wonders” Other Mother crafted for Coraline is not only an excellent way of juxtaposing some of the dream like imagery from earlier with its now nightmarish quality, but it also gives plot relevance to scenes which could have easily just been entertaining and excellent eye candy (Bobinsky’s circus, the garden, and the theater scene). It helps push the writing of this film from good to great.

29) So Coraline thinks she has lost her game with Other Mother and she’s going to end up like the ghost children, when a dead rat with the last eye falls in front of her and The Cat shows up.

The Cat: “I think I’ve mentioned that I don’t like rats at the best of times.”

Coraline: “You may have mentioned it.”

I love these guys.

30) Can we just take a second to appreciate how incredibly frightening Other Mother’s true form is?

Originally posted by callerofthecrows

Teri Hatcher gets to totally let lose as an actress with this final form of the Other Mother. There’s no more fake niceness, no more hiding, no more tricks. Just sheer, terrifying villainy in all its glory. It’s so creepy and evil and I love it!

Originally posted by frankensteinsbrides

31) If you’re ever in a jam with a homicidal maniac, just do what Coraline did:

Throw a cat at the homicidal maniac.

Originally posted by halloweenmagick

32) I find the web that Coraline falls into with Other Mother perhaps the most frightening visual of the whole film. I love it.

Originally posted by horsesaround

But the way Other Mother shouts after Coraline makes her way through the door is almost equally as terrifying to me. Just the desperation and madness in her voice gives me chills.

Other Mother: “Don’t leave me! Don’t leave me! I’ll die without you!”

33) It is a classic rule of suspense, an almost Hitchcockian rule (although I don’t think he invented it), that the story is never over when you think it is.

Originally posted by un-cadaver-en-el-armario

The entire final “battle” with Other Mother’s disembodied hand, how it drags Coraline away, how Wybie has to come and save the day but it still keeps going, is all a great final horror movie moment. Just the creeping crawly uncatchable-ness of a spider and how you have to work really hard to squash it. I love that.

34) The final scene of the film resolves the visual conflict Coraline was having with the real world. Everything - hear parents, the neighbors, the flowers - is a bit brighter. A bit closer to her but not so perfectly as the Other World. Things are resolved, but everything is still in the real world. Everything is still honest and it may not be perfect, but it is a happy ending.

Originally posted by a-ripley


It has been a while since I’ve watched Coraline so in all honesty I forgot how good it was. It is an excellent piece of not only animated filmmaking but filmmaking period. The visuals and imagination is incredible, it is truly frightening at times through its use of atmosphere and (again) the visuals at hand, the writing is top notch - ESPECIALLY when it comes to our titular lead - and the voice acting is there to match (Hatcher and Fanning being the clear standouts). It is an incredible film I think everyone should see. It’s just that good.

Tickled Pink~Part Two-Newt Scamander x Metamorphmagus!Reader

Tickled Pink part two-

A/N- Thank you to all of you who have requested a part tow to this, and I am sorry t took me so long to finish this. This set was one of my favorites to write so far :) The colors in the story are kind of based off of what I would associate with the emotions. Please enjoy :)

Also the reader is still a metamorphmagus in this

Warnings: none :)

Part One: http://unscriptedtimetraveler.tumblr.com/post/156504052741/tickled-pink-newt-scamander-x


Since your first meeting with Newt on the day he and the Goldstein sisters had visited your home, you had found the color pink very evident in your life. While lost in thought during the task of cleaning dishes, your hair would rapidly switch to a shade of pink as you remembered the way Newt’s hair sat messily on his head or the way his gleaming eyes sparkled like the stars. When collecting letters from Marian, your hair would switch again between not only pink, but also with a happy yellow, as you realized that another one of Newt’s letters had come through. You knew that you shouldn’t have started falling this easily, but you couldn’t help it. Newt Scamander was everything in a man you had wished for, including his passionate love for creatures. You thought that you were being completely out of your mind for thinking these things, but what you didn’t read in the letters was that Newt was just as smitten as you were, if not more.

Newt was a changed man after he left off the porch of your home. He was still kind-hearted and loyal towards his beasts and friends, but his heart had swollen larger than ever before. When he entered back into the Goldstein apartment that day, he practically stumbled over his own two feet because who was so lost in thought about you. He sank into their couch with a hand resting on his chin and a blushing grin on his face. Queenie laughed at him before coming back into the room.

“Oh it appears the Newt is a bit wrapped up in dear Y/n!” she giggled in adoration, mainly because Queenie could see the two of you fitting together perfectly, like two pieces of the same strange puzzle.

Newt sighed heavenly, he couldn’t wait to see you again.

At this moment, Newt was walking nervously back up to your door with a tiny set of flowers in hand about a week later. The flowers were partially because he wanted to bring you something for inviting him into your home, but they were also partially because he hoped that this was a way to show some of his affection without rushing around. He readjusted his bowtie with his wand in order to make a better impression on you. In the back of his mind he wanted you to be his. He wouldn’t advance too fast of course, but he did want to get to know you more over a cup of tea or perhaps a nice candlelit diner of some sort. He knew a little about you, but he wanted to know more. He wanted to know of all the little things that added up to you. You were incredibly beautiful, and you’d give any siren a prick of jealously. You were not only that, but you were sweeter than any dessert in Jacob’s bakery and more passionate than anyone he knew. He saw you as nothing short of amazing. You were unique from your hair to your eyes to your smile to your personality.

After knocking, he patiently waited for the door to swing open once more. He hoped that you had received his letter and that you knew he was here. If not, he would be even more awkward than he already felt. After what seemed like an eternity in his mind, the door opened to reveal your figure.

Newt felt awkward for staring, but he couldn’t help it. Your hair was now styled differently, as you had grown it out and curled it earlier, and your skin appeared illuminating in the sunlight. Your (eye color) eyes were enchanting pools, and your lips were tainted a faint pink like your blushing cheeks. Newt’s heart was doing unexplainable backflips as he took you in. You were marvelously mesmerizing, but he couldn’t properly form sentences at that moment. You smiled back at him, trying to push your own nervousness away so your hair wouldn’t erupt into a vibrant pink tint.

“Hello Newt, you’re a bit early,” you said playfully.

“Oh, I um, I didn’t notice I came too soon.”

“It’s alright Newt, come on in,” you giggled, allowing the delightful noise to whisk into his ears. Newt followed you inside and handed you the flowers, which you thought were lovely. Some of the pixies were already pulling a glass vase from the cupboards above you.

You already had tea preparing, as you knew Newt was coming. Newt assisted you in finishing setting up, casually keeping the conversation going as you exchanged what had been new in your lives. He had even brought out his Bowtruckle, Pickett, so that Finnic could have a new friend.

By the time the teas was ready, you both were sitting down at the table. Newt conversed about how excited he was to show you the case, and you listened with intense curiosity while stroking Phyllis the cat, on your lap.

Everything about Newt was just so fascinating. He had seen more parts of the world than anyone you knew and he had explored regions you didn’t even know existed. He was the adventurous type, but not the arrogant type to brag about all of his travels. He saw the world differently, and this was something you respected and adored.

Gentle sipping and clinking echoed between the stories and laughter until you were both finished, and now it was time to see what really thrived inside of the case. Carefully, Newt sat his case on the floor. You watched in amazement as Finnic invited himself back in your pocket. His calloused hand swept over the clasps of the case as they flipped up. A giddy smile erupted across Newt’s face, causing your hair to morph into a pastel pink.

With a gentle smile, he extended his hand towards you and led you into his world.

When you reached the bottom of the ladder, a sense of overwhelming curiosity and wonder exploded within you. You gasped at the setting, for you expected to be shocked, but this was beyond anything you had imagined. Immediately, your hair switched back to its fierce yellow shade, as it’s electrifying burst barely compared to what you felt with inside. Creatures of all shapes, forms, and colors stood before you. Each natural scene was different, some had canyons, some had hills, and some seemed like a dense forest. It stole every word from you like a thief in the night.

“D-do you like it?” asked Newt as yet another blush crept upon him. He was hoping that it wasn’t odd or too strange for you, but his worry escaped him when you threw yourself into him for a hug.

“Are you kidding, this is amazing! It’s absolutely incredible and unfathomable! I’ve never seen so many different species of creatures and plants in my entire life and what you’ve done here is just, it’s just astounding Newt!” you rambled rapidly out of pure excitement. You were like a ball of fire you were so hard to contain. Newt’s eyes proudly lit up, as he felt a sense of pride and attraction tug on his heartstrings. You were beautiful, anyone could see that, but he could literally feel you lovely joy reflecting off of you. You were like a child who had seen their first snowfall, eager and ready to explore the wonderland before them with all worries cast away. Now here you were, in his arms, like a sweet and fragile flower budding into spring, you were there.

You noticed that you had held him into a hug for quite some time, and as much as you didn’t want to let go, you retracted your arms from around his torso. You knew he was kind of slim, but you underestimated how toned he was underneath his soft blue coat, which had now been shrugged off to avoid the dirt. Flecks of pink reemerged in your hair as Newt let out a short laugh.

“Well come on love, there’s some creatures for you to meet.”

You were excited to see what else lied within the frames of the case, but now you were confused. Love? What did he mean by love? Was is just a simple nickname or was it something more? Did he feel the same? Did he like you? No, it’s silly to think such a thing, he was only saying it to be nice. Wasn’t he?

At the same time Newt was mentally scolding himself for letting that word slip. What if you thought he was a creep or some kind of man who was just looking for any girl? Was he rushing or being obvious? Was he not being obvious at all? He just wanted to make a good impression on you and ask you to be his, but he felt as if maybe his chance was slipping through his fingertips.

By the time you had sat down with the mooncalves, you had already met the rest of the Bowtruckles (Finnic did as well), the so-called thief known as the Niffler, Dougal the demiguise, and some of the Fwoopers. You were in the grassy areas with Newt and the mooncalves, silently petting and helping to feed each one. The pellets floated gracefully from your hand out to them, and Newt sighed at the sight of your majestic form. He sat back down next to you.

“Thank you for showing all of this Newt. This is insanely breathtaking.”

“You’re welcome Y/n, but thank you for not freaking out or anything.”

You laughed, “Well if anything I’m surprised you didn’t think my ‘cat-lady habits’ were weird. Most people do.”

“Nonsense, the fact that you helped save creatures is great!”

“I guess, but most people think I’m absurd or try to turn me into MACUSA because it’s ‘an abnormal habit’ or something.”

Newt frowned, clearly being able to see the slight insecurity as your hair became a faded blue. He personally thought what you were doing was incredible.

“I’m sorry for being kind of emotional about it,” you apologized, “My hair also kind of does this a lot.”

Newt wrapped you into a hug. It wasn’t like the one earlier, which was abrupt and full of excitement, but it was a soothing hug. It was one that showed you that he understood. You sank into his embrace and security.

“Y/n, you don’t have to apologize for being yourself. Besides I um…I think you’re rather lovely…actually,” he spoke, whispering the last part.

Your eyes widened. Newt thought that you were lovely?

“Y-you do?”

“Of course, you’re caring and kind. You’re curiously adorable. You’re unique, beautiful, creatively charming and intelligent too…” he trailed off into a pause before continuing, “And anyone would be lucky to know you.”

You were touched by his words and you had now noticed how close you two were in reality. He was looking at you now with his crystalized eyes inches away from where you were. You could feel the heat radiating off of his cheeks, and before you knew it, you felt the sudden warmth of his lips. He expected you to pull away, but you only deepened it. With eyes closed and minds lost elsewhere, you kissed each other as if you had been waiting for years. His hands resituated along your waist as he lifted you up and pulled you closer. You now sat straddling his lap with your hands in his fluffy hair, weaving and winding it through your fingers. Each of your hearts flooded with passion and love, for you may have only know each other for a bit, but Newt felt as if he needed you in his life. He felt swept away, like a feather on the surface of the ocean waves, freely gliding off into wherever it desired. You two were so wrapped up with one another that neither of you realized that your hair was now a new color, a deep reddish magenta.

Newt left your lips breathlessly and looked down at you before stuttering, “I-I, Y/n I um, I’m sorry if that was weird I just, I really like you and think you’re extraordinary.”


“You didn’t do anything wrong Newt. I actually thought the same…about you, as you could probably tell by my hair now.” You lifted up one of your new locks.

“Y/n, I don’t want to rush things but perhaps you would maybe want to join me for dinner sometime, for an actual date? If you don’t want to you don’t have to-,”

You cut him off, “I would love to accompany you Newt.”

Still struck from the emotions of before, you grinned contently. Newt matched your smile and tenderly held your hand in his, massaging his thumb over your knuckles. You felt the same towards him as he did to you, and he was over the moon.

You could tell that Newt was special. He wasn’t like others from your past who viewed you as strange or as some sort of object. He actually cared about you and lovingly accepted you for who you were on the inside. You didn’t need your deep magenta hair to show that love was blossoming between the two of you, and Newt was just the right person to steal your heart.

Masterlist:

http://unscriptedtimetraveler.tumblr.com/post/156427727241/masterlist-thing

Part 2: 10 More Animated Movies Beyond Pixar

Part 1: Animation Beyond Pixar
Part 3: Another 10 Animated Movies Beyond Pixar
Part 4: Some More Animated Movies Beyond Pixar

Hey! It looks like people really liked the first post, so let’s do it again. This time I’m going to expand the rules a little bit and show you 10 movies that were not produced by Disney, Pixar, Dreamworks, or Studio Laika. Hope you find something cool!

Kirikou and the Sorceress (Kirikou et la Sorcière, 1998)



The breakout hit of French animation master, Michel Ocelot, Kirikou and the Sorceress is an invented fairytale drawing from west African folklore. You’ll immediately notice the style, how it alternates between very lush, lovingly rendered scenery and somewhat limited animation. A lot of the limitations of this movie can be chocked up to the infant-status of French animation at the time, but in spite of a few reused walk-cycles Kirikou is a wonderful film! In fact, Kirikou was such a success in French theaters that it spawned its own sequel in 2005, Kirikou and the Wild Beasts.

The story recounts the birth and early travails of Kirikou, an impetuous but incredibly clever infant boy. Kirikou’s village has been all-but enslaved by the evil sorceress Karaba. It’s up to Kirikou to keep his ailing villagers safe from the sorceress, and find a way to stop Karaba for good.

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Sita Sings the Blues (2008)

Sita Sings the Blues is an interesting creature, it’s actually been released under the Creative Commons license, so you can download it for free right now. A labor of love by cartoonist/animator Nina Paley, the movie is entirely animated with Adobe Flash. Ordinarily I’m not very fond of flash animation, it’s become the new fad in TV because it’s cheap, and has unfortunately ushered in a new era of bland, limited animation cartoons (Teen Titans Go, I’m looking at you). That said, Sita Sings the Blues is a wonderful example of how an artist can exceed & in some cases exploit the limitations of Flash to create really charming cartoons brimming with beautiful designs.

Featuring 4 different animation styles and an overabundance of musical set pieces, Sita Sings the Blues contrasts the many trials and tribulations of the mythical Sita (wife of hindu folk hero, Rama) with the waning days of the animator’s own marriage. Interspersed between these two stories is a more light-hearted retelling of the Ramayana (the story of Rama) by indian shadow puppets.

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My Dog Tulip (2009)

My Dog Tulip recounts the trials and tribulations of one Mr. Ackerley as he attempts to raise his bratty german shepherd, Tulip. The most striking feature of this film is its styling, which can charitably be called “impressionistic” but more accurately be deemed “scribbly”. Everything is freeform, and the models shift and twist into the most expressive shapes for their given scenes. Considering that every one of its 60,000+ frames is actually an individually-rendered digital painting, the movie becomes quite impressive.

This is a very restful movie, aimed at an older audience, so save it for when you next want to relax. At once charming, silly, dry, and very juvenile, it’s hard not to smile as you watch Ackerley’s animated self blunder through raising his dog. And though Ackerley shamelessly anthropomorphizes Tulip, the film (quite refreshingly) will never let you forget that she’s a silly, fidgety dog.

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Perfect Blue (Pāfekuto Burū, 1997)

While Japan produces a lot of animation, most of it is just miserable crap. That said, every so often someone amazing gets to make a movie. Writer/director Satoshi Kon was one of those people.

Kon’s directorial debut, Perfect Blue, is an intriguing, upsetting, suspenseful, and frightening movie. A young pop star leaves music for acting, but is traumatized by her first role. Shellshocked by her first experience, the actress falls into a fugue state, and the people involved in the production start dying. All signs point to the murderer being the actress, and while she should be recovering she’s inadvertently pulled into the world of an obsessive stalker who has been watching her every move.

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The Illusionist (L’Illusionniste, 2010)

Based on a recovered script by legendary French comedian/director, Jacques Tati, The Illusionist is the story of the last bright spark of an aging stage magician’s career. Tati loosely based the film on his own stage career, which happened to start at a time when many stage acts were being muscled out of venues by young, hip rock bands. Supposedly Tati wrote the original script as an attempt to reconcile with his eldest daughter, whom he had abandoned as a baby. This is heavily-disputed. Delicately-rendered and beautifully-told, the Illusionist features no distinguishable dialogue, but its sentiments come across crystal-clear.

An older, struggling French magician takes a gig out in the Scottish boonies, and in the process picks up a new fan who thinks his magic is real. The result is a quirky father/daughter relationship between two strangers, the adoration of one keeping the other going during one of the darkest times of his life.

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The Secret of NIMH (1982)

If you’re going to talk American animation beyond the big 3 studios then you have to go back, before the Disney Renaissance. If you’re going to talk American animation before the Disney Renaissance then there are two giant, inescapable names that you must address: Don Bluth and Ralph Bakshi. Let’s talk about a Don Bluth movie.

It’s easy to forget, now that Disney has been ascendant for 25 years, but from the 60s to the end of the 80s Disney’s animation studio nearly shut down half a dozen times. Having endured this long decline, Don Bluth, one of Disney’s veteran animators and directors, had enough. He left Disney and took 16 of the studio’s animators with him, intent on getting back to basics and producing feature-length animated films again. His name might not ring a bell, but you’ve definitely seen his movies: An American Tail 1 & 2 (the Fievel movies), All Dogs Go To Heaven, Anastasia, and the original Land Before Time were all Don Bluth movies. The Secret of NIMH was actually Bluth’s first post-Disney feature film, which unfortunately means it’s less well-known than some of his later successes.

The Secret of NIMH shows us the life of a simple farm mouse, Mrs. Brisby. Mrs. Brisby’s son is very sick, and she desperately needs help moving him before her home is destroyed by the farmer’s plough. The only ones that can help are the mysterious rats of the rose bush, strange, almost magical creatures that seem to have known her late husband.

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American Pop (1981)

If you’re going to talk American animation beyond the big 3 studios then you have to go back, before the Disney Renaissance. If you’re going to talk American animation before the Disney Renaissance then there are two giant, inescapable names that you must address: Don Bluth and Ralph Bakshi. Let’s talk about a Ralph Bakshi movie.

The king of rotoscope, Ralph Bakshi is the guy who really created and explored the idea that animation doesn’t always have to be for kids. What’s rotoscope? It’s literally animating on top of live-action footage. For ages it was used as a pre-CGI method for creating special effects (the original Star Wars, for example, featured heavy rotoscoping). Bakshi was the first director to use it to animate entire movies, admittedly with mixed success. Rotoscoping allows for incredibly realistic movement, but is (surprisingly) bad at translating facial expressions.

Considered one of Bakshi’s better movies, American Pop is an alternate history retelling of the rise of pop music in the United States. The story is presented through the eyes of four generations of a Russian Jewish immigrant family, each of whom has a profound impact on the music industry of their respective day. It’s a fascinating look at the type of people who defined musical genres through the years.

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Azur & Asmar: The Princes’ Quest (Azur et Asmar, 2006)

Another original fairytale from Michel Ocelot! Ocelot has this fantastic skill of drawing from all points of a culture’s folklore and making a movie that’s at once evocative of its inspiration but satisfyingly original.

This time around Ocelot draws from dozens of Arabic folk tales, including some of the more infamous stories of 1,001 Arabian Nights. He also employed a new technique for 3D animation, rendering non-photo-realistic figures on top of painted backgrounds. The effect is absolutely stunning, and gives the entire movie a storybook feeling without looking like a series of drawings. It’s absolutely overflowing with rich colors and intricate arabic designs, and is a complete treat to behold.

The story: On the French countryside two boys are inexplicably born with the exact same destiny: to save the djinn fairy of the east. One is born to a wealthy french household, the other is born to an Arabic nursemaid working in the same household. The boys grow together, are forced apart, and eventually meet back up as fate guides them towards their shared destiny.

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A Town Called Panic (Panique au village, 2009)



Most of the animated feature films worth a damn are dramas and serious adventure movies. They can start to weigh on you, if you watch them one after another. That’s why it’s so fantastic that movies like A Town Called Panic exist. An unapologetically silly, borderline nonsensical comedy that injects you into its bizarre world for 80 minutes and keeps you entertained the entire time.

A stop-motion animated feature that uses action figures (kind of like the old KaBlam! shorts on Nickelodeon), based on a Belgian/French TV series of the same name, A Town Called Panic recounts the lives of Horse, Cowboy, and Indian. Three roommates in a small rural town. It’s your average guys-order-too-many-bricks-for-a-birthday-present-then-accidentally-destroy-their-house-then-as-they’re-attempting-to-fix-the-house-with-the-bricks-aquatic-dwellers-start-stealing-their-half-finished-house romp. And it’s a delight. Highly recommended!

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The Secret of Kells (2009)

The Secret of Kells is a glorious reminder that 2D animation is very much alive, and capable of being infinitely improved upon. In this case the movie is animated with stylized 2D drawings, but uses computer graphics to add color-washes and other subtle effects. The overall product is an all-too-rare visual treat in a medium that’s increasingly becoming a victim of computer technology, when it should be a beneficiary.

A young boy raised among monks finds his calling as a manuscript illuminator. But in order to become skilled enough to illuminate the legendary Book of Iona he’ll have to brave the dangerous forests of Kells and discover nature’s secrets from its wild pagan spirits.

Gregg Araki, Eternal Teenager by Charles Bramesco

“Life is lonely, boring and dumb.” —The Doom Generation

“I feel like a gerbil smothered in Richard Gere’s butthole.” —also The Doom Generation

Gregg Araki likes young people. He likes their asymmetrical dyed hair and ripped denim, the tight fabrics that look like placeholders waiting to be ripped off. He likes shoegaze and dream-pop music, Cocteau Twins and Ride and the Smiths. He likes drugs, whether that’s the de-stressing release of a hand-rolled joint, the supercharged kick from a bump of coke, or the rush from the right colored pill. He likes junk food, low-budget grindhouse movies, and joyriding. And he likes sex— all different kinds, with boys and/or girls, with multiple partners, often at once.

Araki clutters his films with signifiers of his many fixations, like a student doodling in the margins of their marble composition notebook or taping up magazine clip-outs to the inside of their locker. It’s all mashed together into one overstuffed barrage of out-there allusions, conspicuously cool stylistic flourishes, and endlessly quotable catchphrases. In the case of Totally Fucked Up, The Doom Generation, and Nowhere—three of the director’s early films that fans have colloquially bound together as the “Teenage Apocalypse trilogy”—those qualities of adolescence and freewheeling messiness are inextricably linked. The soul of Araki’s trilogy, the key to its rowdy pubescent essence, lives in the flaws that make these films as perversely charismatic as they are. To be a teenager is to be a fuck-up, and nobody fucks up more beautifully or entertainingly than Gregg Araki.

His earliest films were highly experimental, blithely erotic projects slapped together for next to nothing, suffused with their director/writer’s passions and fetishes. But even as Araki advanced out of both his twenties and the five-figure budget range, his unapologetic teen spirit polarized audiences. It outright alienated Roger Ebert, who notoriously slapped The Doom Generation with a zero-star rating and called its director “a stylist who can use concepts like iconography and irony to weasel away from his material.” The esteemed critic objected to the constant sarcasm and thick stew of references, and while his charges may very well stick, they’re also integral to the film’s representation of teenager-dom.

Totally Fucked Up is a Handicam-shot chronicle of queer teenage life in fifteen parts, The Doom Generation follows a nasty-tempered ménage à trois on a bloodsoaked spree across the California sprawl, and Nowhere tracks the evolution of a relationship between two polyamorous bisexual teenagers during a secret alien invasion. All three films share the foremost objective of replicating what it feels like to be young, punk, and horny. Rather than merely depicting the radical mood swings and world-is-ending dramatics of the pre-adulthood years, Araki’s films actively perform adolescence.

Nobody could possibly deny that Araki’s trilogy has a whirling chaos to it, but rather than the mark of an undisciplined filmmaker, this constitutes a deliberate aesthetic choice befitting the material. The Doom Generation’s combustible trio on the lam calls to mind the previous year’s Natural Born Killers as well as Bonnie and Clyde, Badlands, and a host of forgotten teensploitation flicks that all gibe with Araki’s arrested-development reference points. What, after all, could be more recognizably teenage than bearing your influences and personal faves for all the world to admire? Nowhere (named after the 1990 EP from shoegaze godfathers Ride) applies that more-is-more-is-more philosophy to its narrative structure, which jumps from character to character whenever the plot threatens to stagnate even for a moment.

His films are terminally chill when they’re not manic, finding quiet interludes (emphasis on ludes) for fake deep philosophizing. “Ever feel like reality is more twisted than dreams?” wonders James Duval as The Doom Generation’s cuckolded Jordan White. Araki’s not affecting the irony that his opponents so frequently accuse him of; while he’s not sincerely asking the question (even he’s not that stoned), he’s sincerely presenting the act of asking it. The director understands what would possess the character to say such a thing, and because he treats the line of dialogue as valid instead of an object for mockery, the overall tone comes off as sneering snark. The closest Araki’s characters get to an undying devotion of love is “I hope we die simultaneously, like in a car wreck or a nuclear bomb blast or something.” Grappling with meaning far beyond one’s sphere of comprehension is also a fundamental component of the teenage experience.

Oh, and the sex. There is, to put it mildly, a lot of doing-it in le cinema de Araki. He’s unabashed about the pleasure he takes in the image of the body, male and female alike (Araki has self-identified as bisexual), though most of his scenes aren’t oriented around mutual pleasure or even romance. There’s a hectic, desperate sting to the furtive rutting that goes on between the main couple of Nowhere, the assorted lovers of Totally Fucked Up, and the central threesome of The Doom Generation. The movements are fast, sloppy, driven by hunger. Araki skirts any unearned romanticization of youth sexuality and exposes a truth often denied by cinema: teenagers are not necessarily better at boning, they just try harder. Jordan and Amy Blue (a standout Rose McGowan) share the following exchange as they lie in postcoital cool-down:

“Don’t you think sex is, like, totally strange? Just the whole idea of it: all fleshy and stiff, inserted in these warm squishy places?”
“I think it’s more powerful than we’d like it to be.”
“It’s fuckin’ trippy, that’s for sure.”

Araki welcomes the awkwardness, the uncomfortableness, all the wrinkles of lovemaking that get ironed out with experience. The unsanitized experience, warts and all (occasionally literally), make it to the screen intact.

If the gratuitous sex or hormonal shifts in tone don’t get his detractors bristling, Araki’s retro razor-blade dialogue can still come off as overbearing. To acolytes of colorful Z-grade cinema scripts, lines like “You’re like a life support system for a cock!” qualify as sacred psalms. To non-believers, however, a one-liner as gleefully trashy as “This party’s about as much fun as an ingrown butt hair” sounds like the handiwork of a man infatuated with his own voice. But again, that characteristic, however amateurish, emulates the teen preoccupation with slang. Youths form social groups and individual identity through highly specialized vernacular; if it sounds like Araki’s speaking an insular language that only his chosen people can pick up, that means he’s on the right track.

The MTV-on-even-more-drugs highs and lo-fi lows, the incorrigible horndoggery, the too-cool-for-school dialogue, the efforts to do everything at the same time — it all comes back to Araki’s core nature as a trier. The Teenage Apocalypse trilogy finds Araki trying extremely hard to be cool, and this may be the most quintessentially teenage, nakedly honest aspect of his entire oeuvre. In his trilogy, Araki strives to produce a pop-culture object that will transfix the same burnout punks he fetishizes in his films, an obsession he clearly shares. That desire to be liked, to fit in, to be like your idols—that’s the central pillar of school-aged emotional immaturity.

Across the scores and scores of movies about young people, the default authorial viewpoint has been that of someone who’s been through it all. Tragedies and triumphs are kept in perspective, and by the time the end credits roll, our protagonist has probably learned a valuable lesson or two about the world of adulthood. But the most honest, true-to-life portrayals of teens don’t come from the worldly-wise stance of an adult looking back; they should hum with the ragged-around-the-edges, work-in-progress feeling of that specific life phase. Araki’s Teenage Apocalypse trilogy gives us cinema’s closest approximation of an impossible dream: a professional film about the agony and ecstasy (and Ecstasy) of being a teenager, straight from the source. Ah, to be young, hot and turned-on forever…

Book Ron vs. Movie Ron

In the books, the trio fits together and each of them fills a distinct role.

The movies basically ended up taking all of the good parts of Ron’s character and applying them to Hermione. So Hermione becomes perfect and all that Harry really needs, and Ron is just extraneous.

I could write a whole post about why airbrushing Hermione’s flaws is a problem, but I’ll try to keep this about Ron since I think he suffers the most.

Book Ron is a valuable member of the team. Movie Ron is comic relief and dead weight.

Here are some examples of what I mean:

Devil’s Snare

BOOK RON:

“Stop moving!” Hermione ordered them. “I know what this is — it’s Devil’s Snare!”

“Oh, I’m so glad we know what it’s called, that’s a great help,” snarled Ron, leaning back, trying to stop the plant from curling around his neck.

“Shut up, I’m trying to remember how to kill it!” said Hermione.

“Well, hurry up, I can’t breathe!” Harry gasped, wrestling with it as it curled around his chest.

“Devil’s Snare, Devil’s Snare… what did Professor Sprout say? — it likes the dark and the damp.”

“So light a fire!” Harry choked.

“Yes — of course — but there’s no wood!” Hermione cried, wringing her hands.

“HAVE YOU GONE MAD?” Ron bellowed. “ARE YOU A WITCH OR NOT?”*

“Oh, right!” said Hermione, and she whipped out her wand, waved it, muttered something, and sent a jet of the same bluebell flames she had used on Snape at the plant. In a matter of seconds, the two boys felt it loosening its grip as it cringed away from the light and warmth. Wriggling and flailing, it unraveled itself from their bodies, and they were able to pull free.

“Lucky you pay attention in Herbology, Hermione,” said Harry as he joined her by the wall, wiping sweat off his face.

“Yeah,” said Ron, “and lucky Harry doesn’t lose his head in a crisis — ‘there’s no wood,’ honestly.”

MOVIE RON:

[Hermione tells them to relax, Harry does. He and Hermione fall through. Ron continues to panic and shout for help from above]

HERMIONE: [to Harry] I remember reading something in Herbology.

RON: [still trapped] Help!

HERMIONE: Umm…

RON: Help!

HERMIONE: ‘Devil’s Snare, Devil’s Snare, it’s deadly fun; but will sulk in the sun.’ That’s it! Devil’s Snare hates sunlight! Lumus solem!

RON: Aaahh! [Ron falls through]

HARRY: Ron, are you okay?

RON: Yeah.

HARRY: OK.

RON: Whew! Lucky we didn’t panic!

HARRY: [sternly] Lucky Hermione pays attention in Herbology.

So in the book, Hermione wrings her hands in a sudden panic and Ron reminds her to light one of her bluebell flames. Both Harry and Ron fall through at the same time. In the movie, Ron panics and is essentially deadweight while a calm Hermione solves the problem. And then Ron pats himself on the back for not panicking (comic relief for the viewers), and Harry coolly defends Hermione.

Snape calls Hermione a know-it-all

BOOK RON:

“That is the second time you have spoken out of turn, Miss Granger,” said Snape coolly. “Five more points from Gryffindor for being an insufferable know-it-all.”

Hermione went very red, put down her hand, and stared at the floor with her eyes full of tears. It was a mark of how much the class loathed Snape that they were all glaring at him, because every one of them had called Hermione a know-it-all at least once, and Ron, who told Hermione she was a know-it-all at least twice a week, said loudly, “You asked us a question and she knows the answer! Why ask if you don’t want to be told?”

The class knew instantly he’d gone too far. Snape advanced on Ron slowly, and the room held its breath.

“Detention, Weasley,” Snape said silkily, his face very close to Ron’s. “And if I ever hear you criticize the way I teach a class again, you will be very sorry indeed.

MOVIE RON:

SNAPE: Thank you, Mr. Malfoy. That is the second time you have spoken out of turn, Miss Granger. Are you incapable of restraining yourself, or do you take pride in being an insufferable know-it-all? [Hermione looks hurt]

RON: He’s got a point, you know.

SNAPE: Five points from Gryffindor! As an antidote to your ignorance, and on my desk by Monday morning, two rolls of parchment on the werewolf, with particular emphasis on recognizing it.

Ron shouts at Snape and gets himself landed in detention on Hermione’s behalf, whereas in the books he just twists the knife.

The trio meet Sirius Black in the Shrieking Shack

BOOK RON:

Without knowing what he was doing, [Harry] started forward, but there was a sudden movement on either side of him and two pairs of hands grabbed him and held him back…"No, Harry!” Hermione gasped in a petrified whisper; Ron, however, spoke to Black.

“If you want to kill Harry, you’ll have to kill us too!” he said fiercely, though the effort of standing upright was draining him of still more color, and he swayed slightly as he spoke.

“Lie down,” [Sirius] said quietly to Ron. “You will damage that leg even more.”

“Did you hear me?” Ron said weakly, though he was clinging painfully to Harry to stay upright. “You’ll have to kill all three of us!”

[Sirius says there will be only one murder, Harry asks Sirius if he’s gone soft]

“Harry!” Hermione whimpered. “Be quiet!”

MOVIE RON:

HARRY: Ron!

[Ron snivels incoherently on the bed, nursing his leg]

HERMIONE: Ron! You okay?

HARRY: The dog- where’s is it?

RON: Harry! It’s a trap! He’s the dog. He’s an Animagus…

HERMIONE: If you want to kill Harry, you’ll have to kill us, too!

In the books, Ron is right by Hermione holding Harry back, and while Hermione addresses Harry in a “petrified whisper” and tells him to be quiet, while Ron is the one to address Black directly and say that Black will have to kill them to get to Harry. Despite the fact that he’s barely upright. In the movie, Hermione looks like the brave heroine, sacrificing herself for her friend while Ron moans about his broken leg.

The movies omitted the part where Harry physically attacked Sirius and Sirius defended himself by grabbing Harry by the throat, but in that scene Hermione reacts by kicking Sirius hard enough to loosen his grip on Harry and Ron literally “throws himself on Sirius’s wand hand” in order to knock it out of Sirius’s hand. That’s a far cry from whimpering in the background while Hermione and Harry confront Sirius.

Other examples:

  • In CoS, when they “follow the spiders,” Ron resigns himself to following them. When they get deep into the forest and Harry asks if Ron thinks they should keep going, Ron says “we’ve come this far.” When they do encounter the spiders, Ron holds his own despite being terrified. He literally picks up a full-size boarhound and throws him in the backseat before throwing himself in the drivers’ seat. When they reach Hagrid’s, Ron sits in the car for a full minute and then vomits in Hagrid’s garden. It’s not that Book Ron wasn’t terrified out of his mind, it’s just that he was keeping his fear at bay in order to help Harry (and Hermione). Whereas Movie Ron just whines, cries, begs Harry to go back, and is completely useless in that entire scene.
  • In GoF, when Book Hermione reads Rita’s article about her and Krum. Book Ron is actively concerned for Hermione, saying that Rita is making her out to look like a “scarlet woman.” Movie Ron is barely paying attention as Hermione reads the article aloud.
  • In CoS, when Draco calls Hermione a mudblood. In the books, Ron Both jumps to her defense, but Book Hermione doesn’t even know what the word even means. Ron is the one to explain it to her. Movie Ron jumps to her defense, but in this case, Hermione already knows and explains it to Harry while Ron vomits in the background. Lots of other wizarding world exposition goes to Ron in the books and Hermione in the movies, for example, the discussion of Harry being a Parselmouth later in that same book.
  • In GoF, Ron acts like a spoiled brat to Harry and it’s never explained why. Whereas in the books, he acts like a sulky brat and Hermione explains why.
  • In OotP, Movie Ron makes a comment about going easy on Hermione during a DA practice. and then when she stuns him first, he tries to play it off like he was just going easy on her. Book Ron repeatedly praises Hermione and makes it clear that he thinks she’s better at magic. It’s easy to imagine Book Ron joking about something like that or teasing Hermione, but Movie Ron is completely serious and viewers get to laugh at his conceit.
  • In DH, Ron is freaking the hell out when Hermione’s being tortured, he’s shouting her name and banging on the walls. Movie Ron is much less concerned and emotional.
  • Important conversations that take place with only Hermione and Harry rather than Hermione, Harry, and Ron. the biggest example of this is the scene at the end of HBP where Hermione and Harry are talking about the future while Ron sits on the steps behind them.
  • Ron’s decisions/ideas or decisions that were made as a group turn into Harry (or Hermione)’s decision/idea. Individually they’re just tweaks to the dialogue and seem unimportant, but they kind of add up. Movie Harry will tell Movie Ron to do something that Ron volunteered to do in the books.
  • A lot of little moments where Ron defends Harry or helps him are omitted. It’s not that I expect every book moment to be there, but there are so many smaller moments where Ron tells Malfoy to shove off, defending him from Snape, or even telling Hermione to lay off Harry.

Ron is still comic relief, but he’s the butt of the joke rather than the source. The movies omit a lot of humor, probably because it kind of screws up the tone, but the filmmakers tend to either use Ron as the butt of a joke or have another character (like Hermione) to say/do something that will lighten the moment.

Seriously? WTF, filmmakers.

Why I Think Farkle Should Be Like The 'Shawn' of This Show and Have More ~Dramatic~ Character Arcs
  • Farkle parallels Shawn in the “first meeting” scene in Bay Window
  • We’ve known from a few episodes into season 1 that his parents have a shitty marriage
  • They fight constantly, like Virna and Chet used to
  • Boy is visibly going through some shit omfg
  • Like it’s either the writers purposefully having that or Corey is a bad actor? Which he isn’t. So it’s intentional.
  • Trust me it takes a lot to go from “colorful-hyperactive-boy-talking-a-mile-a-minute” into ‘all-dark-greys-and-blacks-look-at-my-teen-angst-as-I-mumble-words-now"
  • Most tv shows and movies use dark clothing as a visual cue that a character is going through a hard time/has depression. And the way Farkle seems to have lost his energy backs that up tbh
  • Also to back this up, Shawn was always in darker clothes than Cory
  • Throwback to Shawn always being disrespectful to authority figures because a lot of kids act out when they don’t know how to handle bad situations
  • Throwback to Farkle literally antagonizing the old English teacher into retirement
  • And in the same episode they used Turner to reinforce how much Farkle is like Stuart. Except, you know, Stuart would never disrespect a teacher
  • Farkle’s mental health WHY IS THIS BOY ALWAYS FAINTING
  • DOES HE SLEEP
  • Or are his parents yelling too loudly jfc
  • And oh hey didn’t Shawn sleep in class a lot??? Could’ve easily been 'home problems’ written off as laziness, and then by the time he’s with Turner he’s developed a sleep cycle that’s too hard to break
  • That whole Autism thing??? Like okay yes he doesn’t have Asperger’s. But wtf medical professional says “Well hey kid I don’t know what the fucks up with you I quit we’ll just stop testing now” like omfg
  • Also okay listen up do you know what’s better than a direct parallel??? An indirect parallel. Opposites. We could go to town with Farkle/Shawn bullshit omfg
  • Shawn’s dirt poor, even homeless a few times. Farkle’s the son of a multibillionaire. But both grow up in situations that leave them escaping to the Matthews place just so they don’t have to hear all the screaming??? Holy shit.
  • Two different situations resulting in the same feelings of emotional neglect, depression, alllll the things that fuck up kids coming from unhappy homes
  • ALSO Shawn was always very insecure about his intelligence. Shawn never applied himself in school because Shawn firmly believed he was stupid. He thought his only real redeeming quality was being attractive (which is, of course, because that’s one of the only things people ever validated for him; People tried to get him to try harder, but no one ever really sat down and beat it into his head that he’s more than a pretty face, he's smart and a good person)
  • Farkle is incredibly insecure about everything but his intelligence. He doesn’t think he’s attractive, he doesn’t think he’s funny, he’s literally said that he doesn’t see why his friends like him. (And apart from a cute “You don’t have to impress us! We love you just the way you are!” no one’s really validated him either. No one’s really told him why they like him so much- just like with Shawn, failing to see the depth of the insecurities and therefore failing to convince him that he’s worth more than his mind.)
  • So basically both need outside validation and in their minds, their only redeeming quality is something the other one hates about himself. Do you just. See how golden this is.
  • We know Chet genuinely loved Shawn, but he was completely unable to express that the right way. Because of his alcoholism and gambling and assortment of other problems, Chet had it in his head that what was best for Shawn was anything but himself.
  • Minkus clearly loves Farkle- but it seems very strained. Like, every time he comes on the show it seems like there’s more of a wall between them.
  • Whereas a lot of Chet and Shawn’s problems tended to boil down to 'Chet can’t hold a job’, Stuart and Farkle’s problem is that Stuart’s working too much.
  • Virna stormed out and came back again how many times???? Way too many. Didn’t Cory make a quip about it in Master Plan, like 'oh hey it’s Tuesday, better leave my family’ (I really don’t remember the actual line)
  • “This is the ring my mother keeps throwing at my father’s head! But she always wants it back by Thursday, so I need to move fast.”
  • The few times we saw Virna on the show, she’d always claim that she loved Shawn and he was the most important thing in her life. Except, you know, her actions clearly showed otherwise. She never took him with her when she left, even one time took their entire home, knowing that would leave a 12 year old on the streets. Fought loudly with her husband when she knew he could hear, enough that he considers “I WANNA BE NORMAL, CHET” something…well, normal to hear. There was that whole thing where Cory was trying to convince her to go home??? And she was like “They have to learn how to be a family”??? And she said it as if any problems Shawn had weren’t her fault at all??? Then of course we can’t forget about the time she found out Chet died, and promptly sent him a letter that boiled down to “I’m not your real mom never contact me again”.
  • We’ve seen Jen on gmw exactly once, and it was…weird. She seemed really controlling in her marriage with Stuart, she brushed off everything she did on bmw as if it was a normal teenage mistake. And omfg then when she was like “Nothing ever scared me, but since I had a child, the thought of something happening to him haunts me” or whatever
  • mmmhmmm O.K. Sweetie, so then where were you on DECEMBER 25TH, 2014, CHRISTMAS DAY, WHEN INSTEAD OF BEING HOME WITH HIS FAMILY, YOUR SON IS OUT ON THE MATTHEWS FIRESCAPE, AT NIGHT, ALL ALONE, NO COAT ON, 12 YEARS OLD, NEW YORK CITY, ARE YOU KIDDING ME???
  • Or literally all the other times where Farkle is literally just shown to be spending all his time on Riley’s fire escape (I think it’s safe to assume he’s there to escape his parents fighting, because idk why they’d even mention it in season 1 if they weren’t eventually going somewhere with it you know?). But like. He’s 12 in season 1??? I feel like if Jen was really worried about something happening to him, maybe she wouldn’t be letting him walk around alone at night in New York with barely a coat on. And fire escapes are not always the safest places in the world. Am I crazy or…?
  • So I really do think that focusing on Farkle’s home life could be a great arc to cover, you know? There are kids that have to deal with parents fighting constantly, and they usually manage to convince themselves that everything wrong in the relationship is their fault. There are kids that have to deal with feeling ignored and neglected.
  • And also, I know very few people can identify with him on the 'multibillionaire father’ aspect, but there are a lot of times where people’s problems get brushed off or not taken seriously because they have a lot of money. Like that is literally a thing. And it could be interesting to see handled, like “just because someone can afford more than you doesn’t mean that they live a better life than you” or something.
  • In gm Money, his little “He’s not…around the house that much.” tore my damn heart out and honestly come on they can do so much with Stuart and Farkle’s relationship they don’t gotta indirectly parallel Chet and Shawn forever p l s
  • Okay and like consider the fighting gets worse and Farkle starts acting out even more- becomes a little more notably like Shawn
  • And once people notice they realize his little throwaway comments about his parents relationship shouldn’t, well, be thrown away
  • Y'all know Cory’s gonna figure out something’s up when he has to give Farkle an F on a history test
  • They could have Stuart and Jen finally giving up and getting a divorce and show how that effects the kid
  • I don’t think either of them would be civil about it I think there’d be a nasty custody battle
  • Farkle coming over to Riley’s in the middle of the night for angsty Bay Window talks because he feels like his entire life is going to hell
  • It could be used to explain why he’s loved Riley since first grade- whether she knew she was doing it or not, she always manages to cheer him up when he’s upset
  • (Honestly I think that’s a probable. Why else would he always go to her house? He knows where his other friends live)
  • I’ve said this before and I’ll say it again- If they do the divorce route, I deadass want to see Jen winning custody and deciding to move back to Philadelphia. We’d get a retelling of “Topanga Moves To Pittsburgh” storyline. I want it omfg (Lucas moving back to Texas would be too obvious a choice. Like a 'groan loudly and ignore the episode exists bc this is dumb’ too obvious.)
  • Everything we’ve seen and heard about the marriage so far is lowkey on my radar like Jen’s throwing things at him and “You told me to marry you” and “Who does what I say?” “Everybody!”
  • Like consider somebody actually taking time to acknowledge men can be trapped in abusive relationships HOLY SHIT.
  • ESPECIALLY ON A SHOW WITH A LOT OF KIDS WATCHING IT
  • ESPECIALLY SINCE THEY’VE ESTABLISHED THIS IS A WELL OFF, VERY SMART MAN, AND THEY CAN’T SAY HE GOT TRAPPED BECAUSE HE’S WEAK OR STUPID (which is what too many people say about male victims)
  • BUT NO THEY KNOW HE’S SMART AND SUCCESFUL SO CAN YOU IMAGINE SOMEONE BOTHERING TO DO THAT STORY
  • u g h ohmyGod so much to work with there I can’t
  • But yeah you can get a lot of drama out of Farkle and I think it’d be super interesting
  • Especially when you compare episode 1 Farkle to current Farkle- a lot has changed omg
  • Depression storylines are important we all know this
  • Also I just really want Cory and Farkle to have a lowkey Turner and Shawn relationship is that too much to ask for
  • It’d be great
  • Also if we’re being real, every show has 'that’ character who life just constantly fucks over and so far that looked like it was set up to be Maya but she’s not doing the job well lol
  • Riley seeing he’s upset or not telling them something and doing her Riley Thing to get him to open up
  • Corey can handle the acting I have faith in him
  • I had a lot more points than this but it’s after 3 in the morning
  • Overall from the standpoint of a writer, this would be a great direction to take the character and I really hope the show writers deliver
Just a little thing about the jokes in Ghostbusters 2016

I admit, I’ve only seen this movie once and I haven’t seen the original in many years, but I think the new film’s jokes are a little more cerebral (to use the term the film itself used) than the old film’s.  And, I suspect I missed a bunch as have some of the reviewers I’ve seen.  SPOILERS follow:

I remember the old film as having mostly slapstick comedy.  Also male-type humor, like making fun of the EPA guy’s ‘equipment’ and Rick Moranis’ distinct lack of machismo, despite his best efforts at presenting himself as a studly, popular man about town.  Also stuff like making Sigourney Weaver’s character get possessed and then want to have sexy times with Bill Murray after literally being sucked into her refrigerator.

This one, though, had a bunch of jokes that you had to have some background for in order to think they were funny.  You have to know the full name of the actor on the screen to get one.  You have to have seen JAWS to get one.  You have to have lived in either New York or New Jersey to get one.  (OK, so you probably don’t have to have lived there, but I can say that having lived on the ‘other side’ for two years, that joke was way funnier to me than it was to my daughter, who hasn’t.)  You have to know about all the internet comments that have swarmed around this film ever since it was announced to get several of the jokes.  You have to look in the background and see Taxi Driver and Willard up on the marquees in Times Square and then understand the connection between those films and the antagonist of this film.  (Hint:  It’s the social outcast and his actions thing.)  And, probably most importantly, you have to have seen the first film.

You also have to interpret the things you see like Holtzmann’s ‘Screw U’ necklace and the very 1980s suits that Erin wears.  (Seriously, in 1984 I had the same suit she’s wearing at the beginning, except that mine was a different color.) 

And, you have to take into consideration the things like the first ghost being that of a woman who had been locked in the basement for years in a house owned by a racist, privileged man.

Compare, for example, the scene where Erin is trying to get through the glass wall of the restaurant to the scene in the first film where Rick Moranis is trying to do the same thing.  In the old film, there’s the dorky guy who just wants to be popular banging on the glass walls and being ignored by the rich patrons inside while he is chased down by wild supernatural animals.  In the new film, there’s the female scientist banging on the glass walls and trying to slide them open so that she can warn the rich, influential patrons inside of the coming disaster.  She isn’t ignored, though, she’s called ‘sad’ for trying to get through the glass.  Sure, it’s a glass wall instead of a glass ceiling, but it seems pretty clear that she’s fighting ghosts of the past (look again at the movies on the marquees at the end and the ghost pilgrims and such in the final showdown), both literal and figurative here.  Rick Moranis’ character from the original film could easily have been the antagonist in this film.  They are treated much the same, but while he is merely ignored, she is insulted as well.

An important moment in the film is when the antagonist is explaining his motivation.  He feels like he’s been mocked and ignored and cast aside for his entire life.  But when Abby tells him that he sure as hell isn’t the only one in that situation, having had a similar experience, and that he shouldn’t go through with his plan, he ignores her.  He even stated earlier in the film that he recognized Patty’s similar plight in her job, but he still doesn’t care.  Her problem isn’t his problem.  He just wants to be admired and followed, even if he has to become a ghost himself to get there.  It’s all about his big, male ego, and how that outweighs anyone else.  He blames everyone but himself, while the women he’s talking to try to get him to see that, yeah, there’s a lot of oppression going on and a lot of jerks out there, and they’ve had a really hard time of it, too, but they’re going to keep on working to make things better and maybe he could at least see that good people exist, too.  But he’d literally rather die than see things from their perspective and count them as equally important as himself.

There are a lot of ghosts, both literal and figurative, in this film.  Lots of stuff being recalled from the 80s and the 70s and even Pilgrim days.  But in the end, it is so very timely that these women decide to go for change and perseverance and community while most of the men are either trying to deny the problem exists or just blow the whole thing all to hell if they can’t get enough wontons in their soup.

Civil War: About Sharon

***disclaimer: if you are a SteveSharon shipper, please do not read this post. This is a post about Sharon from the POV of a Stucky shipper through Stucky-rose colored glasses and I don’t want to offend anyone. ALSO. CACW SPOILERS FROM HERE ON OUT,

So. On that note. By god I fucking love Sharon Carter. Not only is she an incredible character and a kickass gorgeous lady, she brought so much to this movie in ways that even reminded me of Peggy sometimes. Now as for everyone’s talking about - that kiss. Not only did I not mind the kiss, I think it was 1) absolutely vital to Steve’s character 2) shone this gigantic fucking spotlight on Stucky that honestly took my breath away. So if you’re feeling miffed about it, sit back and let me tell you why the SteveSharon kiss went from disappointed to holy shit wow, I thought I loved the Russos before. 

Keep reading

mockingbird-22  asked:

Do you have any thoughts as to why Mick always wears gloves? I mean we've seen him wear them even when he's just chilling in his room and drinking (and eating) not even on a job. Sorry if you've answered this before.

I’ve taken to understanding that gloves can represent a character concealing or hiding something in film/tv. I’d read that on tumblr before but the only sources I can find for it are Disney’s Frozen movie and the theme of ‘concealment’ therein, so maybe it’s not such a long-standing thing and is instead just a recent thing done by that movie. Not sure.

But it is often the case regardless that gloves can be used as a symbolic element of some sort. Whether it’s because someone is concealing something about themselves or if the gloves get taken off as a means of indicating a ‘duel’ of some nature or whether they tie into some color symbolism for a character or what-have-you, they tend to serve some purpose (unless the character is wearing them purely because of their occupation).

In season 1, people thought maybe Mick wearing gloves was to key in the audience (i.e., foreshadow) deception and the reveal of him as Kronos? I don’t know if the wearing of gloves was consistent enough in season 1 to have properly foreshadowed that, but I do think it’s the case that he stopped wearing them for the final few episodes of the season, post-Kronos. So there’s that.

In season 1 also, Len wears gloves when handling the cold gun, but it’s worth noting that hallucination!Len was also wearing gloves. Deception? Or more broadly, an indication that something isn’t quite what it seems?

Looking for a trend, I just skimmed all his scenes in season 2. So far, it’s mostly just clear that the only time he’s not wearing them is when he’s in a period-costume he can’t pull off gloves with.

For instance, he woke up wearing them when Oliver was there, so the first time we see him this season, he’s in gloves. He’s wearing the same outfit when Amaya fights him in the kitchen (thinking Mick killed Rex) in episode 3. In episode 4, we see him wearing gloves when he’s having a beer alone in his room when Ray shows up. The same is true in episode 5 when he’s teaching Ray to use the cold gun, and in the van later that episode avoiding talking about feelings.

He’s also the only member of the team to be wearing gloves in the old west in episode 6. Literally none of the rest of them were (I double checked). This is particularly neat to me given that he wasn’t wearing gloves for any of the other period-outfits up to that point, and conceivably could have been. It seems he’s only wearing the one black pair and only when it fits with his outfit, otherwise not bothering. He wears them the entire episode.

Same with the crossover Legends episode, and he wears them the entirety of episode 8.

So… the only pattern right now is that Mick likes those gloves a lot. On a symbolic level, it might just be to set him apart from the rest of the team, to have a visual device to show that he’s the black sheep of the group (they are black gloves after all). Could also be to show that he’s concealing his emotions or suppressing them, maybe. Could be a widower thing over Len. Could be tool to mark him as a criminal (think that was suggested for one reason why he and Len wore gloves in season 1).

On a characterization level, which is probably more what you were going for…. Mick is wearing gloves when he clearly has no need to be. He’s wearing them just cause. He wears them when eating and drinking. It’s got to be at least a somewhat deliberate choice. And only that set of gloves.

I wonder if they were Len’s (and he’s stretched them out? They’re real leather so it could work). I wonder if they’re just to commemorate Len, really as a mourning thing, wearing black like a widower. It might be that it’s because he’s protective / self-defensive right now, emotionally vulnerable, and the layers of clothing and the constant glove-wearing help him hide his feelings, or at least feel like he is.

On that note, going over his scenes, it became increasingly obvious that he’s spent like half this season crossing his arms. it was actually hard to find shots of him not crossing his arms in some scenes so that I could get a decent screenshot of his gloves (I took at least one per episode…). He’s even crossing his arms when the president is thanking the team for saving them from aliens, the only one in the group to show an aggressive/defensive posture.

So… like the gloves, this pose seems to show him saying “steer clear of me, stay away, I don’t want to engage with you”. It’s closed body language. He’s closed, right now. Protecting himself. Concealing his feelings. Keeping everyone at bay.

It’ll be interesting if he continues to wear the gloves in the second half of the season or not. What I’m really hoping to see is a change so we can analyze what catalyzes that change, but I guess we’ll have to wait and see if they go there :)

as-safe-as-lifeee  asked:

yes PLEASE do another favorite parts of trc post

back by popular demand: my opinions!

(favorite scenes part 1)

  • ronan throwing noah out the window! i want to address that right out of the gate since lots of people pointed out that it should’ve been on the original list, and i agree, and i’m very disappointed in myself
  • when orla and blue were arguing in the beginning of tdt and orla did an impression of gansey and she sounded like “a drunk robert e. lee”
  • when cabeswater disappeared and gansey handled it with an online shopping binge and bought a pool table like the eight-year-old child with an unlimited credit card that he is
    • corollary to this: when blue found out and yelled at him because, among other things, he bought all this junk but still couldn’t get himself a decent pair of shoes
  • bluesey night drives and phone conversations and basically any time when they were gross and in love
  • when maura and the gray man went on a date and they were cute and flirty and he told her that he owns bellbottoms and an orange disco shirt but he can’t wear them because he’d have to change his name to mr. orange
  • the flashback to gansey and adam’s first meeting when adam was like “oh shit you’re too rich and cool i’m embarrassing myself i shouldn’t have stopped please don’t make fun of me too bad” and gansey was like “thank god you’re here, i know literally nothing about cars and i haven’t asked someone what they know about welsh kings for a good 2 hours”
  • when the gray man held piper hostage at gunpoint and greenmantle just made everyone some cheese and crackers and then afterwards piper complained about having missed yoga
  • the implied freakout that blue and noah had when adam scryed too hard and the two of them decided the only way to snap him out of it was for blue to fcking stab him
  • gansey hanging out at blue’s house and calla yelling at him to go buy them a pizza “WITH EXTRA CHEESE, RICHIE RICH,” which means she’s starting to like him
  • adam and ronan pulling their horror movie twins routine on greenmantle and scaring the shit out of him (lmfao get wrecked)
  • when adam disappeared from the ganseys’ house and they cancelled all their plans and got everyone they knew to go looking for him and then he called gansey’s phone and was confused and tired and broken…bye…
  • blue and noah “sometimes it’s better with tongue” czerny making out but in a sad way
  • when helen bought her mom a fancy plate that wasn’t glass and her mom’s entire birthday was ruined
  • gansey bringing the animals back to life in the cave i get chills every time
  • when the fox way ladies were hanging out talking about gwenllian’s merits (or lack thereof) as a roommate and blue landed a nice comeback and orla rewarded her for it by painting blue’s nails the color of the pig
  • gansey coming back from DC, expecting to see his car totaled, and instead finding it good as new and ronan bouncing around like a very happy and proud small dog
  • when they were exploring the cave and gansey told ronan to keep time by singing songs he memorized for irish music competitions and blue and adam were both like “he did what! this is the best day of my life”
  • when adam and blue and noah were driving to cabeswater and ronan’s mixtape was in adam’s car and the murder squash song came on and blue and adam were both like “NO, PLEASE GOD NO. FUCK.” and noah was in the backseat laughing so hard he would’ve choked if he was alive

paleosteno  asked:

Favorite animated film from each of these major animation studios: Walt Disney, Studio Ghibli, Pixar, Dreamworks Animation, Blue Sky Studios, Sony Pictures Animation, Laika, Illumination, AND Don Bluth. (Also any extra favorites from different things for bonuses.)

Walt Disney: The Lion King

If you know like, anything about me, you know that this is my favorite movie and has been basically for my entire life. I’d be hard-pressed to say that nostalgia isn’t a huge factor in my love for this movie, but it’s such a fantastic tale of a young lion who was largely ignorant to the world and felt invincible, only to have the weight of the world come crashing down on him. The pacing of the movie after Mufasa died was so powerful; everything slowed down and became so barren and bleak in an otherwise energetic and colorful movie up to that point. The ability the movie has to exactly capture the tone it tries to set is impeccable. The viewer grows up with Simba. We feel connected and invested in this character and we understand his confusion, his anger, his distrust. We understand his desire to put the world behind him and start anew.

I’ve always kind of hated movies that have the generic love interest just so the main character can have his trophy girl at the end of the movie. But Nala totally isn’t that. She holds all of the qualities necessary to keep Simba strong, young or grown. She is the other half that he needs to refrain from slipping into a vortex of self-hatred and regret. He needs her to take hold of reality – to not be trapped between a state of “no worries” and subconscious agony. Because escaping from your problems doesn’t make your problems go away. It feels like so few movies lately have characters that truly matter and that are so tightly interwoven with the personalities, strengths, and flaws of other characters. I could gush on and on about this movie for probably a good twenty more paragraphs, but yes. This movie is important to me.

Originally posted by expertinawkward


Studio Ghibli: Princess Mononoke

Yeah, it’s probably not super uncommon for this to be a favorite Ghibli movie. But it’s just so… dang… GOOD. The thing I love about this movie on top of its beautifully done animation is the sense that you get that there’s no clear evil side in this story. Everyone is doing what they feel is right and is morally correct. Villains are cool sometimes, but this story just felt so much more believable because of this fact. In the same way as The Lion King, the romance that developed didn’t feel forced and was in fact fairly hostile initially. Add the movie’s good atmosphere on top of some fun-to-watch action and you’ve got yourself a pretty awesome movie.

Originally posted by suitsu


Pixar: Up

I’m actually just now changing this. If you asked me a few days ago, I probably would have said The Incredibles. The beginning of this movie was disturbingly powerful and reminded you that the world is a beast and it can rip happiness from you almost instantly. Riding on the lowered morale of the viewer, it delivers an uplifting story that feels that much more uplifting since you are so down in spirits. I don’t know how they did it, but Russell is probably one of the most believable kid characters I’ve seen in a movie. No deep analysis of his character… nah, none of that. He’s just SUCH A KID. It’s great! That’s totally what they were going for and they nailed it. Kids have this insane ability to be obnoxious 99% of the time. But then every once in a blue moon, they say the realest shit that makes you question your morals and your life. Up capitalizes on this and uses Russell as a vehicle to expand Carl, a very old man, as a character. Everyone can learn from anyone if they sit down and listen to what they have to say.

This is the only movie literally ever that has made me cry. I’d been choked up before by movies, of course, but I’d never cried. It wasn’t at the beginning either like people would suspect. There is something too powerful about the scene where Carl kneels down to Russell at his Wilderness Explorer graduation to say “I would like to award you the highest honor I can bestow: the Ellie Badge,” I couldn’t hold back. I almost had to leave the freaking theater. Watching this kid who has had a not-so-steady parenting experience gain not only an older person who treasures his existence, but a friend as well… Damn.

What a good ass movie.

Originally posted by stars-wisdom


Dreamworks Animation: Kung Fu Panda 2

What a silly movie. Movies don’t have to be super serious to be good and that’s so clear to me with this movie. This dork became the dragon warrior – a position to be revered, and seemingly by fluke. Turns out he’s pretty good a kung fu though.

It has some cool action sequences and some tag team scenes that are enjoyable to watch, but there are two main reasons why I enjoy this movie, as well as the first one. 1) The characters, and 2) the moments where it does get serious. Tigress is a badass. She’s a bad ass. Her ass is bad. Crane’s a nerd, Monkey’s a clown, Mantis is bigger than his body allows him to be, and Viper is savage AF. It’s a wide range of personalities and it’s fun to watch them mesh with each other. Simple as that.

The 2nd point is also the reason why I love The Fresh Prince of Bel-Air so much as well. Comedy is great in my opinion because it makes the serious moments that much more hard hitting. It’s like “woah, where did the happiness go?” Fresh Prince was a master at that and Kung Fu Panda 2 did the same thing with the plot point about Po’s parents. The overall movie was fairly light-hearted, but with this looming dark past that Po repressed. I love Dreamworks because they dare to go darker with their plots than Disney.

Originally posted by modernlyancient


Blue Sky Studios: Rio 2

The birds are cute. I like Jewel and Blu’s chemistry. I don’t like it when characters have kids in sequels, but the kids actually didn’t annoy me too much in this. Strange. I think I liked this movie overall more than the first one because it was more about the birds and less about the humans. Also, the colors are sooooooooooooooooooo good! That’s probably the thing this movie does better than any animated film I’ve seen. Not to mention the music is super enjoyable. If they make a Rio 3, I’ll probably be looking forward to the music the most. I think both movies probably deserve a 7/10, so they aren’t my favorite movies out there, but I would certainly have no problem watching this at any time. It’s just such a fun movie.

Originally posted by cockaspiel


Sony Pictures Animation: Hotel Transylvania

I actually haven’t seen any of the other Sony Pictures Animation movies so I guess I have to default to this movie. I don’t have much to say about it to be honest other that I enjoyed it.

Originally posted by brosoupgifs


Laika: Coraline

ParaNorman is a close second I would say, but I enjoyed Coraline more. Again, don’t have much to say here but it caught my attention pretty early on just because of the art style. The good story held my attention. Got really freaky at the end and that extra held my attention.

Originally posted by good-vibes-goodlife


Illumination: I haven’t seen any of these actually.


Don Bluth: The Secret of NIMH

I love seeing a mother as the protagonist. That’s really rare but strangely appealing. I actually don’t remember much about this movie but I remember enjoying it and I like it more than the other movies Don Bluth has made.

Originally posted by emilianadarling


Extra Movie 1: Wolf Children

God diddly dang, if you ever wanted to get hit by a feels train, here’s your movie. Like I stated above, Up was the only movie that made me cry. But this was probably the closest next to that. I was so choked up and it hurt so freaking much. It has the same kind of thing going on as The Lion King where you watch the characters grow up and you feel like you know them personally. And the mother… Oh the mother. She tries so hard and you really root for her, especially under her circumstances. Whenever anything goes south in this movie you feel horrible and you have this intense desire to just want everything to go right for these characters because you develop so much love for them over the course of the film. In terms of getting me attached to the characters, this movie is top notch. Probably my second favorite film behind The Lion King.

Originally posted by xx4everanimexx


Extra Movie 2: Fantastic Mr. Fox

I. Love. This. Movie. I could watch this movie over and over. It is so dang witty and the characters are all charming. This is my third favorite movie and I feel bad because for a movie that I love so much, you’d think I’d have more to say about it. But I don’t. Just, I love this movie.

Originally posted by mackenziepotter

how i read/write violence: this is really about power

For any of you following along at home, the ‘realism’ bug has crawled up my butt and nested in the most uncomfortable niche. Having just finished a reread of The Lies of Locke Lamora and a rewatch of Snowpiercer, I’m going to discuss a topic near and dear to my heart, both as a horror writer and a fan of monsters: VIOLENCE.

Nick and I recently started throwing our first mutual attempt at epic fantasy back and forth, so in the name of storytelling research, I had us pick up Scott Lynch. I had read Locke Lamora before, and remembered Lynch’s deftly plotted storytelling, his engaging narrative, and his fully realized world. Unfortunately, all books have their strengths and weaknesses, and while Lynch’s world is rich, his character arcs leave something to be desired. Locke is about as complex as a velcro sneaker. Jean is perhaps a shoe with laces.

This becomes a problem for motive, particularly late in the game. There were two things I had come to understand about Locke as the novel progressed: his extraordinary cleverness defines his ambition, and this often exceeds his ability to carry out his plans. That he loves his friends and is a priest were also facts I understood but which lacked gravity. The pain of his loss was so immediately overshadowed by the plot’s demands that he scramble to his feet to avenge himself upon the villain that a loss which should have transformed the vowels, the verbs, the resonance of the entire story was reduced to no more than a sad croak, a hiccup, a chapter that changed the direction of the plot.

There’s a certain violence you come to expect in genre novels. There will be red shirts to lose, bad guys to stab, vengeance to be wrought. The violence here will be either a tool or an obstacle. It will be a bludgeoning or a cutting device.

I prefer to see violence employed as a poison.

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Michael Ford’s Top 30 Worst Movies of All Time

I’m sure you all know I LOVE movies. I review movies, I talk about movies a lot… movies are one of my favorite artforms, and they really mean a lot to me. But as with any great artform, there’s always some shitty stuff in there too. I don’t like absolutely everything I watch, that’s for sure. Here are the 30 films I found bad, insulting, disgraceful, mediocre letdowns, or what have you. Some of these choices may even surprise you; there’s a lot of odd movies I have a great hate for.

As a quick note, the following films are not on here, because these are probably the stereotypical things you’d imagine to be on the list:

  • Minions: As I mentioned in my review, it’s not bad. Yes, it stars Minions, but they’re not as intolerable as I would have suspected, and for something so blatantly cashgrabby there’s a shocking amount of heart and effort in it.
  • Anything by Michael Bay: I hate Pearl Harbor as much as the next guy, but overall I like quite a few of his films. Yes, even a couple of the Transformers films, 1 and 3 particularly (2 was dumb but not dumb enough for this list)
  • The Star Wars prequels: Setting aside 3, which is a great movie, 1 and 2 are kinda pointless and dumb, especially 2, but I have a bit of nostalgia for them, though that’s not why I’m not putting them on. Even all the nostalgia aside, they aren’t awful, just… mediocre.
  • Kingdom of the Crystal Skull: This is one of my favorite movies. No joke. I love this film. Yes, it is the weakest Indiana Jones film, but even the weakest Indiana Jones film is still a fun time for me. I wasn’t even too bothered by the fridge or aliens, only thing that bugged me was the fucking CGI prairie dogs.
  • Pirates of the Caribbean 3 and 4: While three is a bloated mess and four isn’t amazing, they’re both perfectly decent films in their own right.
  • Man of Steel and Dawn of Justice: I like both of these movies. I don’t love them, but they’re both pretty good, especially the latter. Jesse Eisenberg as Luthor, on the other hand…
  • Battlefield Earth, The Room, Foodfight, any other infamously bad movie: They’re not on this list for a very special reason which will become apparent soon enough.
  • Anything else not listed: Just ask, I’ll tell you why it’s not here.

With all that aside, let’s begin:

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