may script

SKAM S04E10 Clip 8 - Dear Sana

[Incomprehensible chatter]

SANA: He’s the one who bought the toilet paper rolls.

THE GIRLS: Oh! That’s right!

VILDE: Where did they end up?

BOY: I just sold them to some friends at the Mosque. Nothing big.

EVA: Oh, okay.

BOYS: Eyyyy!

ESKILD: Eid mubarak! Eid mubarak.

SANA: Hi!

ESKILD: Hi!

SANA: Welcome.

ESKILD: Thank you and I just wanted to say Eid mubarak!

SANA: Eid mubarak!

ESKILD: Eid mubarak

SANA: Ohhh, how nice the two of you look!

ESKILD: Thanks! I’m the one who chose the outfits for tonight. I went to Grøndland and did some shopping. Yes.

SANA: Hijab and everything?

ESKILD: Hijab and everything. And I brought a little present! I brought a gift for the hostess. It’s two boreks that I put in a nice box.

SANA: That’s very nice of you.

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Season 13 - What we know so far!

The Season 13 spoiler sheet will get up and running right before shooting starts and, but until then, this is out place holder. So without further ado, here’s what we know about season 13. 

Information is listed newest first! Last updated: July 3

  • Jensen, Jared, and Misha will all be appearing at San Diegc Comic Con on July 23.
  • Shooting begins July 12 and goes until April 19th. Prep started June 26.
  • Whereas most seasons have 184 shooting days, this season will only have 179. This is due to the animated episode only requiring a few days of live shooting.
  • The production office reopened on June 19.
  • Kim and Briana have seen a script from next season, and Kim tweeted to Kathryn Newton about seeing her “a lot” soon - this may be the Wayward Daughters episode we’ve all wanted. Considering that j2 said at Phoenix that they have not seen scripts yet, this may be a script from last season that was bumped to season 13.
    • Andrew Dabb hinted that something related to Claire may be revealed closer to San Diego Comic Con
    • UPDATE: A backdoor pilot for Wayward Sisters in confirmed for season 13 with a script from Robert Berens and Andrew Dabb
  • Season 13 will premier on October 12. The day and timeslot - Thursday at 8pm, remains the same as the second half of season 12.
  • There will be an Animated SCOOBY DOO crossover episode. No I’m not making this up. (x) It will be written by Jeremy Adams and Jim Krieg. Jared, Jensen AND MISHA have already recorded their voice parts. This will be episode 16. (x)
  • Returning Cast:
    • Here’s what we knew about Mark Sheppard and Misha in Season 13 as of May 19. old
    • Misha Collins: On May 20, Jared lets slip that Misha is going to be in the Scooby Doo episode so we WILL GET MISHA/CAS Back. Misha confirmed this on twitter. (x)
    • Mark Sheppard: Conversely, it does not look like Mark Sheppard is coming back. (x) Update: Mark S is not returning as a season regular. (x) Mark has stated there are no plans at all for him to come back to Supernatural.
    • Mark Pellegrino: No solid information, but return in season 13 is likely.
    • Samantha Smith: No solid information, but return in season 13 is likely. 
    • Ruth Connell: No information.
    • Kim, Briana, Kathryn and Katherine: Kim mentioned at Asylum 18 that something was in the works for Season 13, involving them. This was repeated at JIB con by Briana and she mentioned it would be “All four of us” and it might be Next year so, this could be in 2018. (x) Kim and Briana mentioned something similar in Germany.
    • The Nephilim - Jack - is played by Alexander Calvert.
  • Richard Speight Jr. is once again directing 2 episodes.
  • Jensen is NOT directing. It was the plan but he had to pull out because of the brewery opening. :(
  • Something for season 13 was already shot during the shooting of episode 22!  Update: not shot, but recorded - the dialogue for the Scooby Doo episode!
  • The writers returned to start work on the season on May 15.
  • The writing staff is unchanged from season 12: Andrew Dabb and Robert Singer are showrunners, writers: Brad Buckner and Eugenie Ross-Leming, Robert Berens, Meredith Glynn, Steve Yockey, Davy Perez, John Bring (writers assistant, occasional writer).
  • Will  23 episodes.
  • Supernatural was renewed for season 13 on January 8, 2017.

Other resources: 

I’ll keep this updated as new info bleeds out, but I anticipate May and June to be pretty quiet on that front. As always - if you see something, send it my way

Cole Sprouse took the character Jughead and turned him into something completely different than any other actor would. Every dark expression, small smile, even soft touches with Betty, all of that is Cole. He may have a script, but HE is the one who really created Jughead to be as lovable and wonderful as he is. The depth we get from his character is intensified by how Cole interprets him. Jughead may have already been a lovable outcast, but it was Cole who brought him to life, Cole who made him magical and soft.

Script Writers Needed.

Do you enjoy writing scripts for voice overs that will go on our Youtube videos? Psych2Go is currently looking at adding a few script writers to our team.

We’re looking for someone who’s enthusiastic, enjoys script writing, working in a team environment but also from the comfort of their own homes.

If you enjoy putting together scripts from existing content, we’d love it if you can apply.

Here’s what to email us:

1. A bit about yourself and current goals.

2. Your motivation for joining

3. Your availability.

4. Why you love script writing.

5. What qualities you think make a great script writer.

Looking forward to connect! Requirement is about 1-3 hours a week. You will be assigned a topic and to forward a draft of the script to us.

Compensation, reference is available if this becomes a consistent thing.

Here’s our contact: interviews@psych2go.net

Deadline to apply: May 30th.

8

Omkara Singh Oberoi + Dance(?!) Moves

@tereishqnachayaMais’s (Belated) Birthday gift (LOL!)


BONUS:

Reading Movie Scripts To Get Better At D&D...

Hi Guys and Girls,

After watching a lot of movies and getting back into reading, I’ve realized how movie scripts can help you get better at writing your stories…

Movie Scripts are great at describing the scene, with audio and visual descriptions that can create some amazing imagery.

And by writing my stories like movies, I’m able to create great stories that can stay well within the 2 hour mark of a D&D Session.

So, sometimes on this page, you may see a random script or two pop up, whether the original script for some of the greatest movies, to the weird and wonderful scripts from the more “unusual” writers…

So if you like reading and movies, and D&D of course, then take part in suggesting scripts…

And this is personally something I do regularly and enjoy doing, so if you want to see more and read some weird, wonderful and really amazingly written scripts…

…then leave a Like, Reblog for fun, or leave a Comment or Suggestion!

So, this has been short, but thanks for reading!

And remember… HAVE FUN!!!

Un-uglify new tumblr controls

Tumblr’s new controls were obnoxious, disgusting and just a bad design choice in general, and I couldn’t stand it, so I wrote a script to make it actually look decent enough whilst still maintaining all the functionality. The only thing about it is that the dashboard button is gone, but that’s easily fixed with a separate link somewhere I guess.

It’s small, out of the way in the top right corner, has a transparent background and the buttons are all white with black text, but you can use filter:invert(100%) just like what we did with the old controls. [preview]

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Circus Baby & Friends EP01 - “Circus Baby’s Pizza World”

Young Circus Baby finally achieves her dream of owning a dinner theater pizzeria. One problem though, she doesn’t have anyone to perform with! She begins holding auditions for band-mates, but no one takes her seriously since she’s just a little girl. What ever will she do?!

Keep in mind that this is supposed to at least somewhat imitate the writing style and tone of early 90′s cartoons, so it’s gonna be a little cheesy and somewhat heavy handed. Enjoy!!

Dale Pike: Script End Scene

Sharing this for those who may have read the script and are wondering about its legitimacy.  

The script from Dale Pike is written by Dale.  In addition to Dale having said that they had written it, the end scene is different from the style which is used by the BBC Writers.  

Each BBC Writer has their own unique way of ending a scene.  It is kind of like a signature in a way.  Just a little unique touch.  The following are screenshots from the scripts released by BBC.

Steven Moffat: End Titles

Steve Thompson: Black Out, End of Episode #

Mark Gatiss: End

Dale Pike: Fade Out., End of episode.

The end scene does not match the end style of the other BBC writers. 

The scripts released by BBC were released after Dale had written their script and they did not go back and edit their script to make it match that of the BBC writers.  That said, Dale went through a lot of trouble to produce this script and make it look like it was real, but it was indeed writen by them. 

They are a good writer, and I am disappointed to see that skill having been used in this way.  The script could have been released on AO3 as a fanfic and people could have enjoyed it without it being implied and posted as something it is not.  I am glad Dale came out in the end as it indeed being written by them, but I think it is important to show proof as well for those who may still be questioning it  so am sharing this.

Also for those who may be on the fringes; @loudest-subtext-in-tv and @ivyblossom are both extremely well known Sherlock fans.  Loudest is a meta writer, and Ivy is an exceedingly skilled fan writer.  Dale Pike had gone onto twitter and then proceeded to create two Twitter accounts that pretend to be Loudest and Ivy.  The twitters were “loudestTubSext” and “IvyBlosom”.  They then linked to the real Loudest’ old defunct tumblr and claimed to own it. They do not. The real loudest lost her old tumblr name some time ago and that is why the end of their name is now “TV”.   Every now and again posts under the “television” name will cycle through tumblr.  It belongs to TV, not Dale.

Tags below cut.

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anonymous asked:

My story focuses heavily on dialogue between one allistic MC and one autistic MC, and I've come across an interesting problem for my autistic MC. Namely, could difficulties with language/auditory processing create issues with using filler words when speaking? These would include "um", "uh", "like", etc. If so, what kind of issues? Eg. would he be using them excessively, not nearly enough, in unusual patterns? Thanks in advance, this blog is fantastic.

Language and auditory processing problems might well affect your MC’s use of filler words (but not necessarily).

There are various difficulties (including problems with word finding or word order) which might mean that your MC makes lots of pauses in their speech. Your character’s pauses might be longer or occur more often than most people’s, which would naturally have an impact on their use of filler words.

Many autistic people do use filler words in the same way as the rest of the population, but long or repeated pauses might lead affect the way that they are received. With a long pause, a word like “um” no longer fills the the gap, so there will be periods of silence. Repeated pauses impede the flow of the conversation, which can make it harder for other characters to understand.

Your MC may have a scripted response for when they are having difficulties, for example “I am sorry, I am having word-finding difficulties”. If they have greater difficulties with spoken language, their default might be something like “um, I can’t, I can’t”.

Some people will keep repeating the phrase that they got stuck on “I have been looking for a way to… a way to… I have been looking for a way to… [MC does a quick, high-energy stim] I have been looking for a way to speed up the analysis of these samples so that we have the results you need before Monday”.

Alternatively, some autistic people, when having word-finding difficulties, will stop talking without using any filler words. The extended periods of silence can be quite uncomfortable to people who are unaccustomed to speaking with people with language difficulties, but if they are invested in the relationship they can learn to adapt their own communication skills.

-Mod Snail

Cinema Variety’s Top Favorite Films of 2016

Well cinephiles and friends alike, my annual list of favorite films has finally arrived. I had to take these first few weeks in the new year to re-watch some of this years gems to order my list accurately. Through careful deliberation, I present to you my favorite films of 2016. Make sure to check out my top pick lists from previous years provided below! 

Top Picks of 2015 List
Top Picks of 2014 List
Top Picks of 2013 List

Honorable Mentions:
The Wailing
Elle
Goat
The Sea of Trees
The Witch
Green Room
Lemonade
The Odyssey
Black Mirror: San Junipero

** THIS LIST IS IN ORDER **


#18 - The Childhood of a Leader
Directed by Brady Corbet

Brady Corbet’s directorial debut is a chilling fictional tale about the rise of fascism in the early 20th century. The result is a character study focusing on the origins of evil. Corbet is clearly inspired by the aesthetics of Michael Haneke, Ingmar Bergman and even a little bit of Andrei Tarkovsky. Long tracking shots and an overpowering orchestral score brings the audience on this artistic journey. The conclusion of the film left me shocked, watch out for it.



#17 - Operation Avalanche
Directed by Matt Johnson

Operation Avalanche is a true hidden gem for anyone who delights in films centered around conspiracy theories. The theory of the moon landing being a staged production might be one of the most ridiculous hoaxes out of them all - and there are groups of people who truly believe it. However, this film is made in a way that actually makes it seem like a very possible reality. The movie is cleverly filmed in a POV mockumentary format with a classic 60s filter. The film shifts in tone from a comedy of sorts and ends in paranoia. I found it to be one of the most underrated films of the year.



#16 - Swiss Army Man
Directed by The Daniels

It’s an impressive feat when a film featuring constant flatulence and directional erections can also end up being a heartfelt and existential story of friendship. There are very few comedies on this list, or on any of my other annual lists for that matter. Swiss Army Man succeeded on making me laugh multiple times. I praise it simply for its originality and the fact that the filmmakers tackled on such ridiculous themes in a way that they didn’t become immature or worthy of an eye roll. Another shoutout to the energetic score and colorful production design.



#15 - La La Land
Directed by Damien Chazelle

The musical genre is most definitely one of my least favorite ones. Other than a few exceptions (Across the Universe, The Wall, Dancer in the Dark), I have found most musicals to be unbearably cheesy. The cheese is still there in La La Land, but it is effective because that is the intended tone. It truly is a throwback to the golden age of Hollywood filled with allusions from earlier infamous musicals such as Singing in The Rain. I anticipated this film from the start both because Damien Chazelle blew me away with Whiplash and because Ryan Gosling is my favorite actor working today. Shot on a film, in a dazzling Technicolor format, it also features some of the most awe inspiring cinematography out of all the movies released this year. I believe La La Land is the film that we needed to end 2016 with - a film filled with magic and hope for a better future.



#14 - Manchester by the Sea
Directed by Kenneth Lonergan

Man did this movie crush me. It squeezed everything out of me and left me a hollow shell. I went home and sat on my couch and just cried after leaving the theatre. Don’t let this lead you astray from watching it, it’s just such a realistic heart-wrenching drama that I couldn’t help but be affected by it the entire day after seeing it. It might not be a masterpiece as such critics claim it to be, but it is a moving insight on the loss of loved ones and the emotional wreckage that can come out of it. There is no overly-done melodrama or redemption in the denouement. Instead, it focuses on little moments that end up forming a much greater whole by the end. Casey Affleck’s restrained performance was something I empathize with as he held a tragic rage behind his eyes.



#13 - Jackie
Directed by Pablo Lorrain

This was a film that grew on me days after seeing it. I was absorbed by it while I watched it in a small art-house theatre, but it was afterward where it really began to resonate with me. The JFK assassination is a momumental tragedy in history that has always greatly interested me. I remember being haunted by the video footage when it was shown to me in a college history class. While the script may be lacking in areas, the performance by Natalie Portman is the saving grace of this production. Portman has transcended her star status in this role by flawlessly emulating the former First Lady. Jackie is a film that plays like a fragmented memory - it jumps in time throughout. The production design transported me to the 1960s and Mica Levi’s score really is the standout aspect of the film.



#12 - The Blackcoat’s Daughter
Directed by Oz Perkins

I believe The Blackcoat’s Daughter is the year’s most underrated and ignored horror film. The very few critic reviews I found online all have positive things to say, while most audience reviews are the opposite. This is the feature film debut of director Oz Perkins. He has created a richly nuanced horror film that never reaches any outrageous or flashy climax, which is a breath of fresh air compared to the usual tripe that comes out of Hollywood year after year. Perkin’s directs the film with a restrained control that would make his horror-icon of a father, Anthony Perkins, proud. There is a thick haze of dread that doesn’t ease up until the film’s bleak finale. The films minimal use of dialogue works perfectly in unison with the nonstop rumbling score. The entire aesthetic of The Blackcoat’s Daughter is what made it work so well for me. Loads of unnecessary dialogue and jump scares are replaced with well executed tracking shots and genuinely upsetting violence. The end product is a deliciously evil exercise In dread.



#11 - The Eyes of My Mother
Directed by Nicolas Pesce

The Eyes of My Mother is the type of art-house horror film I feel like I’ve been waiting all year for. Everything about it speaks to me as a horror fan. The story seems as if it was ripped out of one of my worst nightmares; Or better yet, if you could visualize the musings of a demented asylum patient - the result would be The Eyes of My Mother. This film would never have been as effective if it wasn’t for the lush, gorgeous black and white photography. Camera shots are shrowded in shadows which adds to the aforementioned nightmare effect. Thank god this film has such a short runtime (it’s only a little over 70 minutes). I wasn’t sure how much more I could take of this grueling tale. The last 20 minutes of the film takes a plunge into the heart of darkness - which to many viewers could be considered completely morally reprehensible. Well, a desensitized horror junkie such as myself was pleased by the filmmaker’s decision to conclude this story as depraved as possible. I decided to celebrate Christmas this year in the holiday spirit by showing this movie to my brother. By the end of it, he just turned to me and asked: “Why do you do this to me?”.



#10 - The Light Between Oceans
Directed by Derek Cianfrance

Derek Cianfrance is one of my very favorite directors working today. His first two films (Blue Valentine and The Place Beyond the Pines) both have found a place in my top 15 favorite films of all time. Needless to say I’ve been tirelessly anticipating his latest feature. It didn’t have the same impact on me as his previous features; however, it still ended up being an impressive and heartbreaking picture. Adam Arkapaw works wonders as the DOP. His camerawork captures the coast of Australia beautifully. Michael Fassbender and Alicia Vikander work perfectly off of each other (yet another instance of Fassbender completely investing himself in a role). Keep an ear out for the perfectly utilized “Funeral Canticle” track that has never failed to give me goosebumps since the first time I heard it in The Tree of Life.



#9 - Cemetery of Splendour
Directed by Apichatpong Weerasethakul

Describing this film is a challenge in itself - let alone reviewing it. This is the second film I’ve seen by Apichatpong Weerasethakul and they both are masterpieces in my eyes. Cemetery of Splendour, much like the soldiers affected by a sleeping epidemic in the film, lead me down the rabbit hole into a deep trance state. I love films which feel like I dreamt them after they’re over, and that’s exactly what this movie achieved. The long takes, minimal use of a score, and gorgeous natural scenery worked together to create a relaxing and mind expanding experience.



#8 - Moonlight
Directed by Barry Jenkins

I might not think that Moonlight is the very best film of the year, but it might just be the most important. It’s not everyday where you hear about masterful films that deal with homosexuality in the African American community. Jenkins tackles this subject perfectly by not making this aspect of the character’s persona the focal point of the film. It’s just as much a coming of age story about masculinity than it is a story about a guy struggling with his sexual identity. I related to this film on a very personal level because I know what it’s like being harassed by peers in school on the basis of being gay. Moonlight follows the central character Little from his adolescence in grade school all the way until manhood. Although three different actors are playing the same character, I was utterly convinced it was the same person for they all adopted the same mannerisms and personality traits. Moonlight makes a grand statement about finding out who you truly are. It sends the message that it’s possible to find acceptance by people other than your immediate family.



#7 - Midnight Special
Directed by Jeff Nichols

Jeff Nichols is being praised this year on the award circuit for his touching film Loving, but it’s this film that stayed with me after watching. Never has there been a film made about supernatural abilities that has hit me on such a deep level. Midnight Special deals with a plethora of themes other than a child with superhuman abilities. These include the responsibilities of fatherhood and the special bond between parents and their child. It opens ambiguously and the intelligent plot slowly unfolds in such a way that questions are answered little by little until the absolutely soul-touching finale. Even though she has limited screen time, Kirsten Dunst added to this films perfection. The sheer humanity displayed through her performance as a mother who will do anything to keep her child out of harms way is an admirable thing. Midnight Special is a sci-fi film for the ages.



#6 - Embrace of the Serpent
Directed by Ciro Guerra

The fevered madness of the jungle is alive in this flick. Embrace of the Serpent addresses the duality of man. His ability to create yet also his sure-fire knack to destroy goodness. His willingness to help others yet also falling victim to his own egoic desires. In this film, the Westernized man leads to the downfall of an ancient Amazonian civilization. Serpent focuses on two different white men, separated by decades in time, who traverse into the depths of the jungle guided by the last living member of a tribe. Both of these men are looking for a hallucinogenic plant - one to cure his terminal illness, the other for purposes of being able to dream. The end product is a head-trip into psychedelia where plant medicine is the supreme deity.



#5 - Arrival
Directed by Denis Villenueve

Villenueve knocked it out of the park again this year with his latest film. Is there anything this man cannot do? The French-Canadian filmmaker strayed away from the dark and somber tone of his previous works and created something life affirming. Arrival is an example of smart science-fiction that has been coming out of the film industry recently (something along the likes of Interstellar). Humanity is put to the test in this movie as they try to figure out the intentions of the alien visitors. But it’s a story about love and loss above all. Arrival is edited perfectly by manipulating the viewer’s sense of time. Once I reached the ending and pieced it all together, I was a wet-faced audience member in that dead silent theatre as the other attendees sat dazed.



#4 - The Neon Demon
Directed by Nicolas Winding Refn

Is it a dazzling grand statement on the depraved narcissism of the professional modeling industry? Or is it just more pretentious artistic masturbation which has become expected of Refn? My thoughts are with the former. Refn’s auteur style that he has developed upon since the release of his magnum opus Drive has been particularly polarizing among critics and audiences alike - almost as polarizing as Terrence Malick. I believe people dislike The Neon Demon for some of the same reasons why the general masses reacted so negatively to Spring Breakers: it tries too hard to be artsy, it’s just a boring music video, the dialogue is unrealistic. At the same time I feel as if these audiences didn’t grasp onto the fact that these films which shed light on the hedonistic lifestyle of deranged young women are purely satirical. They’re supposed to be absurd. The irony is is that this absurdism is actually reflective on the types of females that move to LA for the pursuit of fame and recognition. It certainly is the best looking Refn film to date, with even banal or commonplace locations drenched in neon hues. And Cliff Martinez has outdone himself with the synth-heavy score which guides us along this fairytale of horrors. How far would you go to get to the top? In Refn’s surreal vision of Los Angeles there is no such thing as going too far to reach fame, even if it means bloodshed. As one character says in the film: “Beauty isn’t everything, it’s the only thing.” It would be nice to write off this statement as pure subjectivity, but what else has the media taught us but this ideal?



#3 - Nocturnal Animals
Directed by Tom Ford

Do you ever really know the person you love? This is the thought running through my mind while watching Tom Ford’s romance story disguised as a crime-revenge. Ford has created a highly innovating form of storytelling with Nocturnal Animals. A violent story of revenge is presented to symbolize the betrayal that Amy Adam’s commits against Gyllenhaal’s character. What made this film so enjoyable was the aspect that it was like two different films in one, yet both stories suitably complement one another. The frustratingly ambiguous ending was delightful as the audience searches for the intentions of Gyllenhaal’s character. The whole thing was a stylish story of betrayal.



#2 - Knight of Cups
Directed by Terrence Malick

My cinematic idol returned in 2016 with many ambitious projects: two different documentaries about the birth and death of the universe with Voyage of Time, a festival premiere date set for his forthcoming Song to Song, and the stream of consciousness visual poem which is Knight of Cups. I believe there is such thing as a Malick gene. His films either strike people with such awe and wonder that they come out of his films feeling enlightened or they are the cinematic equivalent of taking an Ambien for others. I have total faith that this film will be considered a classic masterpiece in decades to come. Sometimes it just takes time for a film to receive that cult status. Unfortunately, a formula which critics took such a liking to with The Tree of Life quickly became redundant and meandering in the public’s eye with his two follow-up works. Just like with all great art, it takes repeated viewings to really appreciate the philosophical mastery of this film. I’ve seen it over five times now and each time I walk away with something new -  a blossoming appreciation that such abstract and soulful cinema can be financed. If you have any idea about Malick’s life then you understand that Knight of Cups is the last film in his autobiographical trilogy. I see it as a sort-of spiritual sequel to The Tree of Life. A sense of disassociation is felt through the floating camerawork which follows Christian Bale on an odyssey of temptation in Los Angeles. Malick abandons small-town rural settings and older time periods for a tale set in the present day luxury land of LA. I must admit that when the credits started to scroll I couldn’t help but ask myself: “that’s it?” The abrupt finale left me feeling a little hollow. It left me with nothing. But I soon realized that this was Malick’s intention. This was the loneliness and isolation he felt as a big-shot Hollywood director even though he was surrounded with admirers. So to save himself, he leaves that lifestyle and finds his redemption through the glories of divine Mother Nature. I am so happy that there is a director who I feel so connected to, someone who expresses his eloquent ideology through some of the most beautiful movies ever in the annals of cinematic history. Knight of Cups is a fervent reverie on love, loss and life. A haunting meditation of redeeming oneself after a swift fall from grace.



#1 - American Honey
Directed by Andrea Arnold

A film so filled with life that I couldn’t help but feel exhilarated after it ended, American Honey is an epic road trip story for the millenial era. Its plot is open and free flowing much akin to the characters who traverse across the midwest in a van selling magazines to folks from all different social and economic backgrounds. American Honey exposes the dark underbelly of American households, especially for low-income ones. Youths search through trash cans in order to find a fitting meal. A drunken stepfather takes advantage of his stepdaughter. A junkie mother falls unconscious on the couch unable to take care of her young children. I might be making American Honey sound like a film filled with sorrow and hopeless situations. However Andrea Arnold takes the subject matter and actually gives it a twinge of hope. The chemistry between all the characters, most particularly between Sasha Lane and Shia Labeouf, makes it practically impossible to look away at could very well be a trainwreck waiting to happen. As soon as you think some awful event is going to happen to end the roadie’s journey of freedom - it doesn’t. American Honey sometimes feels more like a documentary than a feature film. The dialogue comes off as mostly improvisational and the plot is minimal at best. Arnold has taken cues from Larry Clark’s style of filmmaking when he released his controversial HIV drama Kids in 1995. Considering that film is in my top 10 favorite films of all time, it’s clear as to why American Honey was my favorite work released this year. With its unique aspect ratio, colorful and eccentric characters, and one hell of an eclectic soundtrack, American Honey breathed new life into me. By the end I felt almost as purified as Sasha Lane does as she takes a dip into a lake, descending to the bottom only to emerge from the surface a newly realized person.

anonymous asked:

Sorry to go back to this it just interested me but what's the Dom!Cole thing? Like Lili is a submissive??? They seem pretty even to me?

lol. No need to be sorry. @zumpie is probably better at explaining this than I am but I will do my best (but seriously - if anyone else has something to add - please do!)

Unfortunately, I feel that, due in large part to a poorly written, badly researched, sad excuse for an erotica novel that was published and sub-sequentially turned into films, there has been some misunderstanding what the term Dom means in this context. Also - think of this as a spectrum. There are really hard core people who exist in this lifestyle and then there are people who are in a fully equal relationship and will - on occasion let one partner lead more often than the other. Remember - the power always actually belongs to the Sub - but I digress.

As far as my opinions on Cole (and indeed on Juggie in general - but that likely bleeds from being played by Cole - I doubt it’s in the script) I feel there ought to be a fundamental lesson on what I mean. Like I said, it’s a spectrum.

It’s also important to point out that in a relationship like this - just because someone is more dominating does not mean in ANY WAY that the other person can’t be a strong, self-actualized, independent person (Something that Lili obviously is - she’s badassed and awesome) For example, I don’t think Cole has a ‘room’ in his house where he ties up his girlfriend to have his merry way with her and she’s not wearing a collar and kneeling on the floor when he’s sitting on a chair or anything. (Not to throw personal judgements in there - if they WERE that kind of couple it’s their business and theirs alone.) HOWEVER - to get back to the point in hand, you can be a more dominant person without all those things that you’ve read about or seen in terrible Dakota Johnson movies (and seriously - I allude to that particularly badly written book/film enough but you don’t even want to get me started on my opinions about the inherent abuse and poor grammar and bad research. ICK). 

When I say Cole is clearly more Dom - it’s shown in the way he moves his hands (we joke about Sprousehart shoulder touching - but seriously, the boy touches her all the time and has literally no respect for personal space at all) - it’s almost like a reassuring/possession thing. That sounds bad… the possession part - but the MINE that it screams doesn’t have to be predatory or anything - it’s more of a “mine to protect” evolutionary thing. Nevermind that I’m sure Lil could kick someone’s ass if they tried anything she wasn’t happy with. But yeah. It’s not even just a sexual thing - though if anyone is calling anyone Daddy in this relationship it’s Public=Lili!Daddy and Private=Cole!Daddy.

It’s also shown in the expressions on his face (when he sets his chin when he’s about to say something he wants very clearly understood), and little things - like he’s obvious the one who walked Lili around a museum in Mexico or in an abandoned hospital in BC to take pictures. (That’s not to say that he wasn’t absolutely whipped when Lili said she wanted to go to Antelope Valley… and then he made that happen - but the two are not mutually exclusive points).  

Another friend described Cole as such: “Dom but whipped as fuck! That’s our little intellectual. ” and I thought it was a freaking apt description.

He’s older (though not by too much) and has had more experience in the world. Wouldn’t YOU take the world traveller when he wants to show you parts of it that he’d know you would enjoy? Why take the rest of your friends when you could be alone together… with his arm at the base of your back? lol. (and that right there is an example of a dommy kind of behaviour that doesn’t include whips and chains. The hand on the base of the back - or on her freaking NECK when he kisses her (even when he’s just filming that - you can’t tell me the script said, “Jughead uses his thumb on her neck as he bites her shoulder” – that was ALL instinct, dude.)

And if we look at how through the course of Riverdale (but Zump actually pointed it out with a clip of 16 year old Cole as Cody too) - the character starts to take on some of those same qualities. The way he leads, corrects, takes charge etc. That may have hit the script for Z&C - but by Riverdale, no way. Regarding Jughead’s behaviour - (and quoting Zump again) “When the’re on Betty’s bed (in the morning, with her mom around, no less), he demands she “c’mere” and Betty immediately leans in to comply—-plus his hand is slipping up her thigh and immense, quiet but not concealed, irritation at Alice’s cockblocking” even though he is a teenager sitting on her daughter’s bed. That look returns in E13 with the knock to the trailer door.

Also - there was the BTS and the deleted scenes shots of Cole draping his legs all over her and her hands resting (very naturally) on his inner thigh. That final Bughead scene at Pop’s where her arms are wrapped around his leg (which is up in the booth) - that’s not accidental and while I believe that one was probably scripted - we know there are lots of mannerisms Jug has that are Cole’s ides (ie. the sitting in the booth like L etc.) “Even as early as episode 7, when Juggie’s sprung from jail, he nods his head for Betty to come over when he’s ready for her” (after talking to his dad) “and she hurries to his side to comfort and attend to him” - or even how she DOESN’T touch him in the hallway in E12 because he’s mad (not at HER so much as the situation - but she knows when to be more submissive… this was likely scripted - but it also speaks to the character). “So not always (because he remains an insecure boy with all sorts of issues), but frequently, someone’s actually been quietly leading things for awhile.” In another ask, we discussed at length how Jughead has control issues - and I believe Cole does too (simply based on the way he was raised and the life he lived) - so making sure everything is right in your world seems pretty important to him. There is a whole camera!duels discourse we could get on as well - but I’m going to leave that aspect for now.

What’s funny is - Cole is actually a HUGE goofball. His laugh is loud. His gestures gregarious. He’s very clearly the life of the party and not afraid to laugh at himself and make others laugh (without resorting to infantile tactics like some of the others) But quite clearly, when he walks into a room and he’s always the first one there - he kinda… absorbs the air? Yeah. That’s the best way I can describe it. Sucking all the air out of the room while still making the people in front and all around him feel like they are the most important people to him right this second.

Does that answer ANY of your question, Grayface? I mean - I’m not a Cole expert, but I observe and yeah. I hope this gives you a little clue into what I’m saying when I referr to Dom!Cole anyway. 

may playlist

Ali - The Story So Far

Don’t Look Back - Born Cages

Juarez - Gerard Way

What A Wonderful World (cover) - The Ramones

Swallow It - Brandon Flowers

The Older I Get - Skillet

Novocaine - Fall Out Boy

Everchanging - Rise Against

Party Poison - My Chemical Romance

No Parallels - Hands Like Houses

High Regard - The Story So Far

Rebel Yell - Billy Idol

This Charming Moment - The Smiths

Stand Up And Run - Billy Talent

No Shows - Gerard Way

Sympathy For The Devil - The Rolling Stones

Believe In My Blood - Cold Cave

Under Pressure (cover) - My Chemical Romance & The Used

Moving Home - Moose Blood

Brown Eyed Girl (cover) - The Sex Pistols

Through Two Hearts - The Wonder Years

Hallelujah - Panic! At The Disco

Sure Feels Right - Sixx:A.M.

Piano Man - Billy Joel

A Beautiful Indifference - Rise Against

Fucking Up Young - The Dirty Nil

Jailhouse Rock - Elvis Presley

Tainted Love - Soft Cell

New Slang - The Shins

Two Years - Have Mercy

The Only Hope For Me Is You - My Chemical Romance

House Of Gold - 21 Pilots

Somewhere - Soundgarden

K.E.N.N.E.T.H.S. - The Kenneths

Let’s Go - Sixx:A.M.

Change Your Mind - The Killers

Seen The Light - Supergrass

Just As I Am - Major League

Savior - Rise Against

Incesticide - Nirvana

Little Bird - Ed Sheeran

Another Brick In The Wall (1&2) - Pink Floyd

Life - Mikelwj

I’m Just A Kid - Simple Plan

Chocolate - The 1975

Boulevard Of Broken Dreams - Green Day

All Apologies - Nirvana

Hold On Till May - Pierce The Veil

Home - Our Last Night

Millions - Gerard Way

Someday - The Summer Set

Sugar We’re Going Down - Fall Out Boy

How Do I Tell A Girl I Want To Kiss Her? - Modern Baseball

Fucked Up World - The Pretty Reckless

It’s Not Right For You - The Script

Dark Blue - Jack’s Mannequin

Fire It Up - Black Label Society

She’s The Prettiest Girl At The Party… - frnkiero and the cellabration