Jonathan Groff on Late Night with Seth Meyers, talking about Mindhunter, his experience of filming Mindhunter in Pittsburgh, voicing Kristoff in Frozen, and how Barbra Streisand inspired his portrayal of King George III in Hamilton.

November 07, 2017.

Highlight (one of the amusing parts of the conversation):

JG talks about how he got paranoid while filming Mindhunter and had to turn on the location setting on his phone just in case somebody (with bad intentions) “could jump out of a van and get [him]” when he’s running in the morning, and Seth’s reaction is:

“I like that your goal wasn’t not to get killed by a serial killer; you just wanted your body to be found! (Everybody laughs.) All your steps were about ‘recovering my body.’ (Jonathan: “exactly!”) ‘I just don’t want to put my family out, and have them looking forever. Just find out—’“

Jonathan: “Right, I’m gonna solve the mystery for them (by) just turn[ing] on those location settings. Exactly!”

Sam Holland x Reader: Watching a Horror Movie Headcanon

Originally posted by edsgazebos

• The movie is all of the rage right now, but you loved it before it was cool
• Your grandfather loved all of Stephen King’s books so he passed his collection down to you
• You read most of them, but they are slow reads due to the fact that you are scared easily
• So it’s a process
• Especially with your schooling and job
• But you still make it work and continue to read King’s thousand paged masterpieces
• It had not been your favorite book, and you felt as though it was a little over rated, but you had enjoyed it immensely none the less
• You had watched the original movie (TV mini-series actually)
• You had sat through 4 hours of it and loved it all
• Of course this was a few years before you met your fiance, Sam
• This boy had known about your obsession with Stephen King books since before you guys had even started dating, and when he saw that there was going to be an It remake he let you know about it as soon as possible.
• So he comes home after finishing up a scene for Harry’s new up and coming short film and immediately seeks you out to present you with the latest news
• It is no surprise to him when you start crying on the spot. With excitement of course
• You mark the date September 8, 2017 in your calendar
• As you lay in bed with Sam trying to go to sleep, all you do is mumble about what happened in the book
• And he rolls his eyes subtly because you have already told him approximately 6 times, but all he does is rake his fingers through your hair as he hums to show that he is listening
• You have that man wrapped around your finger
• And of course you make him read it before you guys watch it because duh
• When he had met you he had started reading Stephen King books to have something else to talk to you about, and he had enjoyed most of them
• The thing is is that he does not enjoy the genre of horror
• His brothers may or way not have called him a wimp multiple times in his life because he jumps at every jump scare and occasionally covers his eyes
• But Sam still had fun reading the books
• He had to agree with you. It wasn’t his favorite of King’s works
• It’s all good though as it was still highly enjoyable
• As the days approaches to Friday the 8th, you are practically jumping up the walls in excitement
• But your Sammy boy has a surprise for you
• He had bought tickets online to watch It the night before it was officially going to come out
• He knew that you had wanted to watch it on the night of the premier, but the movie theater that was offering it was 1 hour away
• None the less he rallies you into the car and drives you off to the cinema
• Of course you are quite confused for you had no clue what he was planning, but he just grabs your hand in his warmly as he deflects your questions
• After 35 minutes of driving Sam pulls the car over for a minute to blindfold you. You would figure out where he was taking you if he didn’t do it now
• “Now you’re covering my eyes? The last time we did this was in bed you naughty boy.”
• Sam just snickers and continues to tie the cloth around your head
• When you are off again you throw more questions his way
• But he does not budge, and when the automobile stops you are still in the dark (pun intended)
• After Sam helps you out of the car, he takes off the blindfold
• Your eyes shoot to the large board which advertises the theater’s name, and you can’t believe your eyes
• “No! You did not just…” You’re speechless. “Baby…”
• “I know, my love.”
• You stare into Sam’s green eyes, and they shine with happiness. Seeing you so joyful makes him feel delighted in return.
• You give your wonderful fiance multiple pecks on the lips in gratitude before catching him off guard as you suddenly grab a hold of his hand and drag him to the entrance
• You pay for the popcorn, candy, and fruit punch (much to Sam’s displeasure) because you like to contribute, dammnit!
• You choose the 2 seats in the middle of the theater to get the perfect view and munch on popcorn through the trailers
• Honestly, you are already scared before the movie even begins because those new horror movie are spooky!
• Sam has already shifted the arm rest up so he can reach out to you
• The intro to It begins, and you’re ready
• But then you aren’t because if you thought that the original Pennywise looked freaky, it’s got nothing on the new one
• And then Georgie’s arm gets ripped off, and you’re crying. Hey. No one else has to tell you that you’re a wimp. You already know.
• Sam is doing a little better than you because he’s not crying, but that sure was scary as hell
• Because you read the book and watched the original you were aware that this movie was more suspenseful than scary, but you are spooked anyways
• The music and sounds as well as the amazing visual effects make the movie wicked
• You are cowering in your chair in minutes with your feet on the seat and your hands covering your eyes as you peep through your half opened fingers
• Sam has also started to cower a bit, but he can’t because he is going to protect his partner!
• He tucks you into his side and rubs your arm confortingly up and down
• But as more and more creepy scenes pass you can feel Sam get more tense
• He’s scared, and you know it
• But this boy is going to comfort you while you are frightened and isn’t going to let himself become more afraid
• At every jump scare and suspenseful scene, he holds you tighter in his arms (he has switched to hugging you to his side) and moves his finger side-to-side on your upper arm
• 1 hour in and sweet Sam loses it
• It is just 1 too many jump scares, and he let’s out a short but very loud scream in fright
• Of course he immediately starts blushing, and you can see it clearly when you turn your face to look at him
• As you gaze at his red visage in the pale light, you chuckle lightly and place your hand on his chin to look at you
• And you just look into his green orbs as you rub his freckled face softly
• The world has momentarily melted away, and it is just the two of you
• That is until you hear the characters on screen screaming loudly in terror
• Both of your attentions move back to the movie, and you focus, but this time it’s different
• You need to protect your mans too
• So you do as you tuck his face into your chest and wrap your arms confortingly around his neck
• He nuzzles in deeper and sighs in contentment as he snakes his arms snugly around your waist
• You spend the rest of the movie like this as Sam ducks into your chest when he is scared and you nuzzle his hair when you want to look away from the frightening scenes
• When the film is over, you two untangle yourselves from each other, gather your trash, and walk out of the theater hand-in-hand as you discuss your thoughts about the actors, your opinions on different scenes, and the differences between the book and this remake
• And you continue on for the entirety of the ride home
• When you arrive, you and Sam work on turning all the lights in your home on because it is night time, and you two are always paranoid after watching horror films
• In bed you thank him again. “Thank you so much for doing this for me, mon ange. I love you so much”
• “Of course, darling. I know how ecstatic you were to watch this movie. I love you more”
• You turn to switch off the lamp next your side of the bed and quickly engulf Sam in your arms
• You stay like this for approximately 1 minute before you can’t take the overwhelming darkness of the room and quickly turn the lamp back on
• “Thank God,” Sam sighs. “I couldn’t handle that pitch blackness anymore”
• So he switches on the TV to play some type of cartoon or show for little kids like you guys always do to distract yourselves from thinking of the horror movie that you previously watched together
• As you gaze blankly at the mind-numbing show (that was actually keeping you from thinking about Pennywise the Dancing Clown), Sam grasps your waist tightly in one arm and pulls you on top of him
• You slowly fall asleep together as your minds are being calmed by each other’s love and comfort ing presence
• And when your loving fiance wakes up in a cold sweat because of the nightmare he just had, you are there for him pressing loving kisses across his face and murmuring sweet nothings into his ear in solace

Not sure if any of you are aware...

I’m a huge film buff // photography enthusiast.  I actually had the pleasure of having a drink and spending some time with actor Gabe Nevins this week, the star of Gus Van Sants film Paranoid Park.  He gifted me a signed copy of the beautiful photography book “GAbE” shot by Nick Haymes.  
I know this is *not* true crime related but it is an extremely dark, gritty, and intense photography book and I highly suggest you guys check it out if you are able to.  Truly some of the best candid photography I have ever had the pleasure of seeing.


RADIOHEAD  “Live @ I-days, Monza, Italy 2017″ [HD Full Concert]


Desert Island Disk
Ful Stop
15 Step
The National Anthem
All I Need
Pyramid Song
Everything in Its Right Place
Weird Fishes/Arpeggi
The Numbers
Exit Music (for a Film)
Paranoid Android

No Surprises
2 + 2 = 5
Fake Plastic Trees

Encore 2:
Lotus Flower
Karma Police
(With Thom acoustic + crowd sing-along afterwards)

Gilda is confusing. In it, hatred is more powerful (and sexier) than love. Gilda’s husband of one or two days, Ballin Mundson (played with a beautiful and disturbing mix of insecurity, impotence, and deadpan calculation by George Macready) confesses to Gilda, “Hate can be a very exciting emotion. Very exciting. Haven’t you noticed that?” Later, Gilda echoes those exact words into Johnny’s ear, and her arousal is palpable. Gilda is not meant to be clear. It is meant to plunge the audience into an atmosphere so emotionally claustrophobic that even Johnny’s voice-over can’t provide escape or enlightenment. In fact, his voice-over drops away in the final section of the film, so that Johnny’s feelings about Gilda in the last scenes are never revealed. Most noir voice-overs provide backstory and explanation. Not Johnny’s. There are some things that are buried too deep. The only characters in the film who have any perspective are the washroom attendant and the police detective. The leads have none.

* * *

Gilda is a destabilized hybrid of polished studio musical and pitch-black noir. The film looks both backward, to The Shanghai Gesture, Casablanca, and To Have and Have Not, and forward, to the sexually and politically paranoid films of later noir. There is a cadre of eccentrics as well as a couple of wandering leftover Nazis. There’s a “tungsten cartel” that recalls the uranium ore in the contemporaneous Notorious and is equally irrelevant to the story. Gilda also features an “exotic” setting, like Notorious and those earlier films, with characters who may not actually be allowed to return home. The docks and casinos of Argentina in Gilda represent the end of the line. The mood is violent, sexual, chaotic. Hayworth is often shot in complete darkness, not even a bar of light across her eyes. Characters’ shadows on the walls are so elongated that they appear to be detached sentient beings. In one scene, Ballin stands in the foreground, a looming black shape on the right of the frame, with Johnny and Gilda fully lit across the foyer. The scene ends with Ballin turning his head, a flat black silhouette superimposed on the scenery beyond. These are psychosexual noir effects, tipping the studio movie into the muck.”

from The Long Shadow of Gilda

By Sheila O’Malley

Read the rest of the essay here.

Worst Films, 2016 (commentary)

01. The Neon Demon - A profoundly stupid commentary on female friendship as “demonic” and “ruthless,” perpetuating the tired narrative that women are “othered” and “unknowable.” Comes to the offensive, simplistic conclusion that women cannot excel in their careers without “losing themselves” in the process. Confuses vague symbolism with depth. A better recommendation: compare the wholesome depiction of female companionship in the effortless, uplifting ending of Paul Verhoeven’s Elle.

02. Captain Fantastic - A film intensely uncritical of its protagonist’s inherent privilege and manipulation of his children. Smug and condescending, where the family “cut off” from everyday civilization to go live in the woods without modern comforts looks down upon everyone else as a joke, as though they (and they alone) have found the “true meaning” of life. No acknowledgement that their ability to up and leave to go live in the woods is a privileged ability because they have the safety nets of family/friends to return to, which is a far reality from the many underprivileged poor who view this kind of backwoods lifestyle as a burden rather than an escape. The father is also an authoritative figure rather than a hippie, free-thinking one, where his kids are completely cut off from the diversity of perspectives and opinions outside their sheltered bubble, despite their claims otherwise. This is a film paranoid about popular culture and condescending towards “everyday” people. Tries to make cute and quaint what is essentially a “Jesus Camp”-esque group. A better recommendation: Wendy and Lucy, Hunt for the Wilderpeople.

03. Suicide Squad - A ridiculous, grimly serious storyline. Jared Leto commits way too hard on an unimportant character who’s nothing more than the kind of greasy, unlikeable gangster types that David Ayer has depicted throughout his career (with little variation or nuance). Viola Davis in comparison never smugly made claims to “serious” method acting yet elevated whatever scene she was in with effortless acting chops. Still, nothing saves the movie. Not the assault of popular music in every single scene as a futile attempt to emulate Guardians of the Galaxy (they used cliched, recognizable music too. See: “Fortunate Son” with a shot of helicopters. Compare to the richer song selection in Guardians with tracks by Raspberries, 10cc, Redbone, and Marvin Gaye). Not the “wacky” comedy that often defers to weird, racist stereotyping (Killer Croc requesting “BET,” Diablo as a tattooed Mexican gangster like an extra from End of Watch). Bizarre plotting with a boring villain. A better recommendation: The action is better in the Captain America movies, and it’s good humored too.

04. Hell or High Water - Taylor Sheridan is a shit writer who has been riding on the pretense of antiheroes with “moral ambiguity” even though his conflicts of good and evil are pretty cut and dry (are they really antiheroes, then?). Lazily uses people of color as merely suffering/dying props to motivate his heroic white narratives (see also: his terrible screenplay for Sicario, which gives a safe and reductive and misleading picture of narco trafficking as a “thriller” where dead bodies are a source of spectacle rather than a real human tragedy). A better recommendation: the more honestly exploitative/campy Nocturnal Animals, Killer Joe, and Cold in July. The towering Blood Simple.

05. Hacksaw Ridge - The hack Mel Gibson continues pushing religious conservatism disguised as thrilling action, where complex themes such as Catholic redemptive suffering and guilt are rendered onscreen as pointlessly bloody violence bordering on “torture porn” like Hostel or Saw or (lmao) The Passion of the Christ. Compare to Martin Scorsese’s Silence, which uses violence sparingly but far more effectively: where Catholic suffering is a theme that raises more questions than answers and leaves the faith shook by the end of it. A better recommendation: You want a war movie that better (and poetically) reflects Christian theology and suffering? The Thin Red Line. Also, the aforementioned Silence (both the Scorsese and Shinoda adaptations).

06. Deadpool - “This Ain’t Your Mom’s Monologue.” A better recommendation: the funnier, fourth-wall breaking Funny Games.

07. Green Room - Confuses violence and gore for tension. Flimsy villain with no nuanced backstory/motivations other than “neo-Nazi.” Compare to 10 Cloverfield Lane’s antagonist, and how it draws tension through playful dialogue and maximal use of space (every single room utilized, even the spaces in the walls) instead of graphic violence. A step down from the superior Blue Ruin. A better recommendation: 10 Cloverfield Lane, Blue Ruin, (hell, even Don’t Breathe made better use of space and camerawork).

08. Assassin’s Creed - Only reveals to us that most videogame stories are incomprehensible trash with convoluted mythologies and poorly written characters. The problem isn’t that the interactivity of videogames can’t be translated to a passive medium, but that videogame stories are just bad to begin with. A better recommendation: Go play a good videogame story like Silent Hill 2, or Kentucky Route Zero, or The Last Guardian.

09. Swiss Army Man - So-called “serious” storytelling (read: we used a metaphor) undercut by juvenile humor and sappy sentimentalism. Didn’t find the right balance in tone. A better recommendation: the more absurdist and funnier humor of The Lobster or Force Majeure.

10. Krisha - Wants to provoke as a searing melodrama, but is really just a compilation of shouting matches that purports to be D R A M A. It’s pointlessly exploitative and the characters aren’t given enough personality or story to support their freakouts. A better recommendation: the still exploitative but more enjoyable films of Xavier Dolan, like Mommy.