Something that really bothered me before the new Beauty and the Beast came out was that so many people were angry about how they thought Lefou was going to be portrayed as a gay character.
Don’t get me wrong; if an LGBT+, POC, etc person is portrayed badly, there’s nothing wrong with calling out on it. But the thing is, people were getting upset over it before the film was even out–before they even saw the movie. People just automatically assumed that Lefou was going to be this horribly portrayed gay character just from their knowledge on the original film.
But no; you see the film and, yes, Lefou clearly has feelings for Gaston that aren’t shared and is loyal to him because of his feelings for this handsome asshole. But, as the film progresses, Lefou begins to realize how Gaston is actually this horrible person and slowly loses interest until there’s no love or loyalty for Gaston at all. Lefou becomes his own person and does what he thinks is right, even if that goes against what his former crush believed.
I’m just tired of people assuming the bad before they even see something in its entirety. Things can be completely different in reality than they seem from a few outside clips. Lefou was wonderfully done and his character development was fantastic.
i feel like we don’t talk enough about john’s acting in tfa. like
finn goes though so. many. emotions in such a brief time. from the very start of the film, he goes though: grief, determination, panic, resolve, fear, euphoria (the high of his successful escape with poe), and so much more.
i think what really sells it, for me, is finn/john’s ability to pull of levity in the midst of intensity. like, the “why are you helping me”/“it’s the right thing to do,” exchange between him and poe, or the “yep, i’m with the resistance. i am with the residence,” exchange later on, with rey.
the writing there is great, but those lines had to be delivered perfectly in order to land, and john absolutely brought it home.
anyway finn is amazing and unique, and john brought him to life brilliantly.
Simone Missick: I had the wonderful opportunity to meet @sharonjones while filming the season finale of @marvelslukecage There were so many things about this woman that inspired me: she had found huge success later in life(which for me was a testament that things happen in God’s time); she was a cancer survivor; and she had the most warm, down to earth, jubilant spirit. She felt just as blessed to be there as we were honored to have her. And although for only a brief moment in her life and mine, I feel thankful that our paths were able to cross. #rip#sharonjones#cancersucks#lukecage#soulmusic
You ever think of all of the circumstances that brought you and another person together? How intricate each of the events that led up to you meeting were? Every moment had to be exactly how it was for you two to be exactly how you are together.
PLEASE. FOR THE LOVE OF GOD, DO NOT SPREAD RUMOURS ABOUT LANA BEING PREGNANT.
This scene was filmed about 4 months ago, so if Lana was visibly pregnant then, we would probably have noticed by now.
This could be offensive on so many different levels, and it is certainly nobody’s business to be commenting on, ever.
She is not pregnant, and commenting on the natural curve of her stomach - that literally everyone has - like this is going to sound pretty awful to Lana, who will feel like you’re calling her fat. The last thing Lana needs is to feel body shamed on the internet.
Everyone who has Netflix should watch Metro Manila. It’s in Tagalog with English subtitles. It has an all-Filipino cast. The direction, screenplay, and script is amazing. The social commentary is raw and close to home.
The story is about a man who moves his family from the rice terraces in the Philippines to Metro Manila without any resources. He finds dangerous work and the movie takes a turn, but the story is first and foremost emotionally driven.
“I feel that I have the right to have just as much as a man. There is a great stir about colored men getting their rights, but not a word about the colored women; and if colored men get their rights and colored women not theirs, the colored men will be masters over the women, and it will be just as bad as it was before,” the abolitionist Sojourner Truth said in 1867.
I am thinking about Truth, and so many other African-American female freedom fighters, because of the imminent release of the film Suffragette, starring Carey Mulligan. If that movie chronicles the struggle for the vote in Britain, it also brings to mind our own suffrage story. But though we may have vague notions of the American women who fought so heroically for the ballot on this side of the Atlantic, they are, in our minds, in our imaginations, in the photographs and first-person narratives that have come down to us, uniformly white people.
Who would blame you if you thought there were no African-American women who lent their hearts and minds, their intellects, their bodies to the suffrage cause! Rendered invisible in so many accounts, they were in fact doubly brave, fighting a dual oppression—marginalized, trivialized, humiliated, and dismissed for being both black and female.
Women like Naomi Anderson, a suffrage activist who gave a fiery, controversial speech at the first Women’s Rights Convention in Chicago in 1869, and Mary Ann Shadd Cary, the second black female attorney in the country, renowned for her tough oratory, who organized the Colored Women’s Progressive Franchise Association in 1880. Or Anna Julia Cooper, who once announced, “The old, subjective, stagnant, indolent, and wretched life for woman has gone. She has as many resources as men, as many activities beckon her on. As large possibilities swell and inspire her heart.” Or the educator Nannie Helen Burroughs, who asserted: “When the ballot is put into the hands of the American woman, the world is going to get a correct estimate of the Negro woman. It will find her a tower of strength of which poets have never sung, orators have never spoken, and scholars have never written.”
Or Elizabeth Piper Ensley, who fought for—and won—full suffrage for women of all races in Colorado in 1893. And what of Sarah Massey Overton, fighting for the vote in California in the early years of the 20th century? And Frances Ellen Watkins Harper, who had the prescience to state, “I do not think the mere extension of the ballot a panacea for all the ills of our national life. What we need today is not simply more voters, but better voters.” (Could there be truer words, with our own presidential election looming?)
Alas, while black women fought and fought hard, many of their Caucasian sisters remained locked in the racist conventions of the day. When the stunningly accomplished Ida B. Wells, who founded the Chicago-based Alpha Suffrage Club, arrived in Washington, D.C. to participate in the 1913 suffrage parade, organizers asked the black women if they would mind very much marching at the end of the demonstration.
I had been planning to skip on writing a post this week, after all it’s not like I’m one for regularity or consistency. It’s been a dark and frightening week for so many, too many, with global ramifications. This afternoon I went to see Arrival which is a film I’ve been looking forward to for a long time. I won’t lie, I cried for about an hour afterwards. I can’t help but feel that it was scheduled to be released into a brighter world, a more optimistic week, but it is a wonderful and moving film and, honestly, the film that we need. Right now. Everyone should go and see it and open their minds and their hearts and just enjoy a film that both engages and challenges. I feel like, maybe, it will at the end of 2016 be a quiet sister-film to Rogue One. Time will tell.
More importantly, and relevantly, it is a rare film that acknowledges motherhood and the importance of it it, the importance of connection. Even amongst politics, first contact, and the seeming threat of the end of days. Which leads me (tenuously) to the actual subject of this week’s post (which will be a short one):
A long time ago - a long long time ago - I got an ask on my main blog that I never got round to answering, asking about the parallels between Padme’s Mustafar costume and Leia’s Boussh disguise. The similarities between the two costumes and scenarios are undeniable. Both costumes are worn by these women when they undergo a personal and dangerous mission to try to rescue the man that they love - one from falling over the brink into the darkside, one from imprisonment - a fun inversion of the Rescue the Princess trope. Neither mission goes entirely to plan, both women are stripped of their autonomy for greater or worse. But unlike her mother before her, Leia is ultimately and eventually successful in rescuing Han Solo from Jabba’s clutches.
L & C: Boush sketches by Nilo Rodis-Jamero, R: The completed costume from the archives
Somewhat notoriously Boushh, like Boba Fett before her, was a Joe Johnston creation. However, whereas Boba Fett was fleshed out from a rough helmet sketch by Ralph McQuarrie, Boushh was first explored in 3D by Johnston before any design pinned down. Using model kits, odds and ends and scraps from the costume and manufacturing workshops, a maquette was built around an artist’s model that was then passed on to the costume department. Due to this unusual prototyping approach, it meant that the influences in the design itself were primarily internal. The underlayer of a kimono, the wide belt called back to those same Japanese influences seen elsewhere in the franchise with Obi-Wan, Yoda and Luke, transposed into hardy suedes, leathers and rubbers. The quarter-circle cape was a nod back to Boba Fett placing her firmly within the galaxy’s underbelly:
‘It was supposed to be a different kind of bounty hunter. there were a bunch of them in the palace.’ Joe Johnston, p. 125, Star Wars Costumes: The Original Trilogy
The helmet shape was so other, that it took extensive building and reshaping to form something that could be comfortably worn by a person, nevermind taken off easily on camera.
L: Sketches by Iain McCaig ‘The red is in her hair because it’s the end of the film, and i thought she might be going after the bull [Anakin] - Iain McCaig, The Art of Star Wars Episode III R: The final costume.
The costume worn by the heavily pregnant Padme to go after Anakin on Mustafar went through some vague conceptual explorations, before falling on this design. It is neat and simple, arguably elegant, a galaxy away from the complexity of the Boushh disguise, but it is obvious that it was used as a key influence. The suede fabric and colouring directly parallels the Return of the Jedi costume whilst making it something new. The front panel and sloped hemline echoes the under-kimono and fall of Boushh’s cape, whilst creating an empire-line shape that could potentially enable to Padme to continue the concealment of her pregnancy. Padme’s sleeves are an unembellished take on Boushh’s studded sleeves encasing her hands.
L: Replica WWI Nurse’s uniform. C: 1916-1918 Women’s Motor Corps of America uniform. R: Thimister Spring 2010.
While following the narrative symmetry of echoing Leia’s future in Padme’s present costume, there was also space to introduce a fashion element and historical element. This is especially evident in the leather detailing of Padme’s costume, the crossed belts holding a particularly military influence: echoes of cape suspenders, which were commonly worn by British nurses during in WWI for security when working, and Sam Browne belts which were a key component of military uniforms from the mid-nineteenth century and were adopted into some women’s uniforms as a statement piece. Sam Brownes in particular have appeared several times in fashion iterations, both in the lead-up to WWII, and again in high fashion in the ‘70′s, ‘90′s and noughties. In this cases, its appearance was more often than not a statement of protest against war and militarisation, even whilst set against military cuts. This point of protestation, quiet rebellion would not have been out of character for Padme as she is set to fight for the democracy that is crumbling around her, but equally it is a statement of strength and defence as she goes to save her husband from himself.
Some things run in the family. This is also a rare live action costume that was translated into TCW, in the season episode An Old Friend. The costume was altered slightly to include a darker suede overtunic, which is possibly to explain alterations made to Padme’s preexisting wardrobe as she began to show.
Drawing a direct line between Leia and Padme was a great opportunity to show character and explore both personal and wider stories through costume, and served to deepen the emotion of Padme’s actions in Revenge of the Sith through those future echoes. The differences in these two costumes show how radically the galaxy has changed, the changes in scales and tactics, the differences between the two women’s role. Padme’s mission to rescue Anakin failed because she was on the edge of dying hope, a galaxy falling apart, and because she was alone and isolated. Leia danced with disaster and hope was nearly lost, but she had already lost so much and had a team of friends to save her and save Han. Leia’s disguise was cobbled together (though i believe in the old EU stolen it was stolen from a preexisting bounty hunter), Padme’s was a product of fashion. Ultimately these two woman shared a determination, a hope, and a mission in the face of all odds. The connection between the two women gets lost so much both in fandom and in canon, so these moments of highlight are always notable. Like mother like daughter.
You know, I saw the things people wrote about the film on social media, the way the film seemed to open something very deep for people, and how so many people out there had lost people they loved, you know, just how many grievers there were. It was a very powerful feeling, and ultimately shifted something in me, and Susie too, and stopped us feeling so completely hopeless all the time.
It was like we had done something good for Arthur, all of us, and had placed the memory of him up there in the stars.
Nick Cave on the response for his film ‘One More Time With Feeling’
okay but can we just take a moment and appreciate this?
when we first saw bts’s short films, we only saw them in the realms of the hyyh/wings series.
but after reading the lyrics to bts’s new album, we can see that it’s so much more.
like in jungkook’s short film, he was crying for his “hyung”. we took it as him crying because somebody died and/or he was forcing himself to let go of his past and loved ones.
his solo was a love letter to his members, about how they took in his 15 year old self and cared for and raised him. How they “made him”. How whenever he sees his hyungs cry, he wants to cry instead and whenever they’re sad, he wants to die.
in rap monster’s short film, we saw him in a wall of mirrors. we thought it was him reflecting on himself for not picking up taehyung’s call and being there for him.
his solo was the thoughts and emotions he has when he’s alone. It was a reflection of himself. It talked about how even though he’s loved by so many, he still feels lonely. How he’s trapped in himself and how he’s learned to become familiar with darkness.
in j hope’s short film, he took on a character with munchausen syndrome. His symbol is Eva, Demian’s mother. We took this as a continuation of his character in the I Need U and Run mv
in his solo, he calls his own mother his “placebo” (which is the typical treatment for someone with munchausen syndrome) and tells her that now she can believe in him and trust him. That she doesn’t have to work hard anymore, that he is there for her.
In suga’s short film, we seem him automatically attracted to a broken down piano inside an abandoned building
in his solo, he calls the piano his first love and talks about his guilt for leaving it despite it always being there to comfort him throughout all of his struggles.
in taehyung’s short film, we see him locked in a cage singing the phrase “i’m sorry my sister”. we thought that he was saying this because his character failed to protect his sister from their abusive father.
In his solo, he not only says “I’m sorry my sister” but also “I’m sorry my brother”. In real life, Taehyung has a younger sister and a younger brother. He was talking to them through this song, and was begging for their forgiveness because he felt as if he failed to protect them from the things that life threw in their direction. Taehyung has been extremely busy this year with all of his schedules, it is possible that this song was the manifestation of his guilt for not spending more time with his family and being there to be an older brother to his siblings.
in jimin’s short film, we see this push and pull within his character. He looks at the camera smiling, but in the next frame he’s choking himself. We thought it was because he was forcing himself to pretend that he’s alright without j hope.
But in his solo, he’s asking his listeners to save him from his “lie” where he feels as if his true self is being swallowed up and forced to be something that it’s not. it’s possible that this is referencing the personality he has on camera and the personality he has off it, or maybe even referencing him being an international idol when he first started off as just a young boy.
in jin’s short film, we see him leaving the room and thus leaving all the symbols of the other six members. We see him burning 6 flower petals. we thought that this was his “awakening”, him forcing himself to wake up from the illusion of happiness he had with the boys throughout the hyyh series.
in his solo, he also speaks of six petals that he holds in his hands. this is still the same symbol that represents the members of bts. but, we also see him singing of how he can never fly like “those” flower petals and that he’s scared and hurt. Yet, despite this, he still wants to fight and run longer. This is referencing how he knows that he’s overshadowed by the other members of bts and he knows that he may never be able to shine like them. But he still wants to try his best and go all the way. Why? because those flowers are precious and beautiful to him and no matter the pain he may suffer, he still wants to fly and keep on going.
like the songs are not just to be seen in the context of the hyyh story, BTS took it and made it something extremely personal to them
it is here that their characters in hyyh are no longer just characters but true representations of themselves.
This is just a rough overview of each song, but literally no words can ever be enough for the emotions and thoughts that each member poured into their solo. Please go read the translations and learn more about the meaning behind their hard work.
so in UK land its just ticked over to Christmas day and as I prepare to go to sleep I’m feeling mushy as fuck so prepare your anuses (ani? eh who cares) aANYWAYH
i wanted to take a moment to thank someone who’s literally been the best thing that has happened to me this year. And no I’m not talking about Stefan Karl Stefansson, god bless his heart. I’m just talking about Steph, (Star, Starbot, yknow) and I can already feel the son comments on this oh boy here we GOOOO
but yeah so essentially not many of you will know this but before this channel became a part of my life I wasn’t doing super hot. My aspirations had always been to act, do YouTube, and to make films, but that was a far-fetched, dream, a silly idea for me to daydream about while I got on with a “real” job. It was around May last year, when I was doing the last of my Secondary school exams that I realised how I would need to make some serious choices soon. And given that I had no idea what choices to make… let’s say I was sorta desperate for some guidance. That’s when Steph came along.
See I had no idea what this channel would’ve become when my friend sent me the Starbot Dubs audition video. i’d never heard of this channel before, hell I never watched comic dubs before aside from some SuperShadic here and there. I was just happy to be on board, I figured it’d be something to do over the summer and nothing more but BOY WAS I WRONG
The person I met when I first signed up for this channel, I never expected to be the person I’d know now, or rather I never expected to be quite as indebted to them as I am. She was the first person I’d ever met who was smart, efficient, hard working, talented, and most importantly, fun as hell to work with and who’s probably the best friend I’ve ever had. It was seriously more than a blessing to think of how narrow my chances were of meeting someone who changed my life quite this much.
And I do mean changed. as you see after Summer ended I fucked off to my new school and well it was SHIT
The channel had helped me realise that my passion was for film, and that getting an A level in Drama, English Literature and Psychology wasn’t gonna help me achieve that. I was bloody terrified of my choices. I feared there was no way out. I was too scared to let anyone know how bad I was doing. And by the time I did, no other school would take me. So now this channel is my job, it’s all I do. And next year, I’m gonna be going to a school where I can do what I love, and pursue a life I’ve always wanted. That’s how much this woman has done for me and I genuinely don’t want to imagine what kind of a shithole I’d be in if not for her.
All I’m saying is, I am the person I am because of her, and although she might be busy most of the time, she is my best friend, and I hope to God that doesn’t change anytime soon. I love her to death and wouldn’t want anything bad to happen. THAT IS PLATONIC LOVE YOU SINFUL FUCKS I SEE YOU THERE
There are so many reasons why Chloe is important to the Pitch Perfect movies. Beyond being the other half of Bechloe and I feel like the films don’t acknowledge this.
Pitch Perfect 1:
She gets Beca to audition for the Bellas
she keeps the peace between Aubrey and Beca the whole time
she’s the choreographer.
Had she not texted Beca about being back in the finals they would not have won.
Because she decided to remove her nodes she acquired a lower voice range that gave the Bellas something they had never had before, it was specifically mentioned at the beginning of the movie that because women can’t hit low ranges was a reason no other all-female a Capella group had ever made it to the finals. She gave them that extra factor.
Pitch Perfect 2:
She is the one pushing them all to work hard, motivating the group.
She made the decision to let Emily join the Bella’s. Had she not they would not have had “Flashlight” for the finale.
She took them all to the retreat where Beca was finally forced to come clean about her internship and work through her fears of not being a good enough music producer.
They found their sound thanks to her improved singing of Cups (“when I’m gone”).
Once again she is the the person responsible for the great choreography of the sets. She brings the songs visually to life.
Her importance is not as noticeable but it is big. If you look at it closely none of this would have happened without Chloe. Beca is the face of the Bellas, “created the Bella sound”, but Chloe is the backbone. She deserves more credit than she gets, imo.
I first learned about circumcision in my college Human Sexuality class when we watched Whose Body, Whose Rights. The movie was really well done but pretty outdated so it became a dream of mine that I would someday produce a modern version and include many of the same voices.
It’s happening!!!!!!!!! The link above is a Kickstarter for the film and the gif below is how I feel about my dream really, really coming true.
I’ve been meaning to write this for a while. I really loved Moana. I loved it on so many levels, but the one I want to talk about is the way I related to it as a Jewish woman with a complicated Jewish identity.
In the film, Moana is a young Polynesian woman, who feels called to the sea. She longs to voyage, but her father expressly forbids her from travelling beyond the reefs bordering their island. As the story unfolds, Moana discovers that this is a recent development in the story of her people: her ancestors were in fact voyagers, with a culture based around travelling and exploration.
The strength of the story is the way it looks to the past but moves towards the future. Moana is not required to reject her present to connect with her past; instead she is able to draw strength from her ancestors while building her own, unique, future. I think it is this that speaks to me so strongly.
I am a Jewish woman whose connection to Jewish culture was nearly severed by the Shoah. I have been trying to rebuild this connection, and it is hard, so hard. There are no members of my family left alive who truly remember what it was to be fully part of a living, practicising culture, so I have to learn from other sources. Moana teaches me that this is okay. It tells me that it does not matter how I feel a connection to my ancestors; that feeling it is enough. It reminds me that our ancestors are only part of who we are; that we write our own stories and that culture is adaptable and persists despite terrible circumstance.
My ancestors carry me forward, but it is my decisions and actions that define me. In the end, I will write my own stories, and we will create our own cultural histories. This is what Moana says to me: that it is okay to be lost because together, as a community, we can find our way.
Moana is for those children of severed cultures, for children who feel they are half, not whole, for children who know they don’t have their whole story but are looking for ways to find it. Moana speaks to me, and gives me hope for my future.
Edited to add: I do not in any way mean to speak over Polynesian people and the meaning this film held for them. My interpretation and what it meant for me falls secondary to theirs: Moana is first and foremost a film that should be for them, and I apologise for any insensitivity on my part.
Diego Luna is gorgeous. A precious gift. And it’s SO awesome that many latinx kids will feel identified with his character.
Apparently the new Star Wars combo is British girl+Latino guy. And we all love it.
Even though I want more brown and black and asian girls in Star Wars, having a girl as the main character in the last two movies is just perfect. Telling girls everywhere that they can be heroes and not only princesses is the best. Really thank you <3
The only white guy in the film’s gang of rogues (who are the good guys) is a robot, so I don’t know if he even counts.
The rest of the gang is made of: a woman, a latino, two asians, and an indian. A perfectly colourful ensamble.
And we can add Forest Whitaker.
Not exactly in the gang, but the other (and visibly only) white guy is Mads Mikkelsen. And he’s perfect. Anyway, have you noticed that he’s everywhere? Well, I am definitely not complaining.
I’m not gonna spoil anything BUT there are a lot of cameos. Like a LOT. You’ll be very happy when they happen.
Darth Vader. Darth. Fuckin. Vader.
And capes. Wonderful capes. Let’s ignore Edna Mode’s advice and let them wear wonderful capes.
I finally got to see the Moana movie and I ended up having so many feels about it.
- brown people everywhere! (I actually cried) - both her parents are alive and happy (a HUGE deal for a Disney film) - great relationship with her parents and her grandma (g-ma gave me feels) - Moana wasn’t turned into some other creature - beautiful animation (colors were gorgeous) - lovely music - BABY MOANA!!! AAAHHHHH!!! The babies were so cute!!! - all the people in the movie were BROWN - no. frickin’. romance!! (I loved that!) - pure action/adventure and it was awesome - all the human characters were likable - heck yeah, people with tattoos!!!
Why are films adding so many gay characters this year?
They are trying to be inclusive and represent us.
they're trying to shove downs gayness down people's throat!
no they're not. They wanna show we're here! We have feelings and we need accurate representation.
my thing is, it's either a learned condition or a generic condition. You're defective.
I'm not defective because I'm gay! It's not a learned condition because my life is full of heteros and I'm still hella gay.
if heteros get to be represented, why can't LGBTQ+ be as well?
why do you want to be represented?
So that they know we are all human and we matter. No one is going to jump a straight couple holding hands on the streets. No one is going to call them names just for loving who they love! We go through life being judged and hurt by other simply because they don't understand. That's why we need representation.