someone find her a great film and a great character for her

lili & cole on betty & jughead

“But what I found when I was really diving in — because once we started putting Jughead and Betty together, I started diving into try and find out if that’s a narrative that even exists in the digests, and it turns out, it is. It’s a narrative that’s existed for a long time. There are a handful of digests in which Jughead would say things like ‘Oh, Betty, if I did like women I guarantee you would be the one I would marry outright. You are the best person around.’ He would say these things that are really romantic and cute with an appreciation for Betty and I think it’s become clear to me now that Roberto has taken off with that.” –cole 

“This is a new universe, this is a new take on Jughead, and he is this tortured damaged kid — this Holden Caulfield — who is looking for someone who can relate to him on a personal level and that narrative itself is also beautiful. While I think that [asexual] representation is needed, this Jughead is not that Jughead. This Jughead is not Zdarsky’s Jughead and this Jughead is not the aromantic Jughead. This Jughead is a person who is looking for a kind of deeper companionship with a person like Betty..and Betty ends up being this super nurturing, caring, catering person that with Jughead’s super screwed-up past they end up diving into each other and it ends up being a beautiful thing. How are people going to respond? Truthfully, they’re probably going to be quite incendiary about it at first. Do I think that’s ill-placed? No. Do I think they should give it a shot? Yeah, I do, because I think that after filming thirteen episodes, it makes sense to me and if it makes sense to me as the person who’s dumping so much time and so much argumentation into trying to represent Jughead correctly, it will make sense to other people as well.” –cole

It’s important to remember that — though Betty and Archie when they were younger were this cute couple — Jughead, Betty and Archie were the three childhood friends. So Betty knows Jughead probably just as well as Archie does in certain ways and she is also this sort of nostalgic force of what was once morally just. I do believe Jughead is absolutely obsessed with what was once Riverdale, and Betty still represents this morality and purity that he associates to this more ‘Peter Pan’-like childhood version of Riverdale. He finds great comfort in that and becomes easily accessible and resonates with him.” –cole

So there are a couple episodes — I won’t spoil too much — where you definitely get to see Jughead without a hat on, but we’ve saved it only for real vulnerable and personal moments. Yeah, you only see Jughead without his hat on in super vulnerable moments, because we kind of sold it as like his security blanket of sorts, and so – when he’s willing to take it off – it becomes this kind of special, vulnerable, personal thing. I think the first time he loses his hat is a moment with Betty.” –cole

“I’m really excited for people to see it. I hope their reaction is good. I mean, a lot of people– everyone has their own couple that they want to work on the show, but I think Betty and Jughead’s relationship as it progresses is really quite beautiful and they’re very supportive for one another, so I hope people appreciate that. And I think they will. Kind of all things aside, Jughead and Betty make each other happy.” –lili 

Jughead was this character that was very much searching for a comfort and companionship in other people, and he ended up finding that within this super nurturing, care-taking, loving figure that Betty Cooper has become. And I think it makes a lot of sense narratively, the way the show has taken place, that the two of them end up sort of teaming up and becoming this force of investigation and companionship. And, you know, it’s very much a– It’s something deeper and more romantic than what I think people are going to expect, which is nice.” –cole

I think Betty makes Jug happy… Brings out, you know, the happiness in him.” –lili    

“I think, in this show, he’s not a romantic and not asexual. I argued in the beginning, creatively, that he should be both, but in this show, he’s kind of a tortured youth that ends up finding a comfort and a resonance with another person who’s going through a lot of trauma. They end up forming this kind of beautiful, honest union, and I think that, to me, is a narrative that works with this universe of Jughead.” –cole

Betty and Jughead end up being a wonderful match.” –lili 

“I think Betty sees someone who genuinely cares for her and that’s not to say that Archie doesn’t, but I think Archie is preoccupied with other things and other women in his life. Jughead on the other hand is just dealing with his own family issues, which he doesn’t share with Betty until later on in the season. But he just really cares about Betty because she’s so lovable and I think he can’t help it. But Betty sees this genuine, outsider in him and she can relate because I think Betty feels like an outsider at times too. I think that is what draws her to him a little bit because they both don’t necessarily fit in.” –lili 

“I think they begin to learn a lot more about each other’s family histories and family life, especially when Betty finds out about Jughead’s homelessness and it’s kind of beautiful to see Betty accept Jughead’s past and conquer it with him.” –lili 

“Betty is best friends with Archie, which means she grew up with Jughead. They know each other, and they’re friends. Jughead is more outwardly dark and brooding, and Betty wishes she could be more like that. On the outside, they couldn’t be more different, but a lot of what Betty feels on the inside is what Jughead presents to the world — and that’s something that she hasn’t been able to do, out of pressure from her parents. She can’t present weakness to the world, and that’s what attracts her to Jughead. She’s attracted to his darkness because she relates to it. She feels like an outsider at the end of the day, which is why they make such a great pair. They’re both outsiders.” –lili 

I think that she can appreciate his moodiness and his darkness because she has that within her self as well and I think that Jughead is a very caring and passionate guy and Betty helps bring out that side of him.” – lili 

“They team up in that way — it starts with them working together, then their bond just gets closer. Jug helps Betty search for Polly, and she helps Jughead with [upcoming] family problems. It’s a beautiful friendship and maybe turns into something more.” –lili 

Jughead finds a kind of comfort in Betty, and Betty finds a comfort in Jughead that allows them to step outside of the shit in their private lives for a moment. They really end up exploring it across the episode, and well, it works. It does. Jughead really cherishes few people and when he does, he goes full throttle with it, and Betty is the same. They’re both looking for comfort… and they find it.” –cole

“I had sort of read it as, well, if Jughead can be a force of clarity in Betty’s life in that moment where she’s sort of hyperventilating and panicking – if his romance with Betty can be the thing that allows her to see clearly, that’s something I think he [would take] pride in.” –cole 

There is more than just a friendship there. It’s more than just platonic. But I think sex and being sexual is the last thing on both of their minds because they both obviously have a lot of family issues they’re dealing with. And even being sexual teenagers—again, they are more mature, while Archie is still stuck in that headspace. It just shows the different levels and the different maturities of the characters. At this point, Betty and Jughead are taking their time. That’s so much more satisfying to me as an audience member because it makes when they kiss so much more special.” –lili

When you put two passionate people together like that—especially when they’re trying to find Polly—a very intimate relationship comes out of it, and that’s what you see happens. In last week’s episode, Jughead was all about helping Betty. In tonight’s episode, Betty is all about helping Jughead. It’s a give and take, not one-sided, which may have happened in a less mature relationship.” –lili 

“They are pulled together because Betty keeps her darkness on the inside, and I think Jughead wears it on the outside. They are slowly drifting together because she’s attracted to his darkness and his ability to come to terms and live with his dark side, whereas she pushes it away. He doesn’t necessarily try to push his bright side away; it just doesn’t come out very often. I think Betty brings out that side in him.” –lili

“As a couple they– They’re like the investigative journalistic duo here, working at the Blue and Gold. And I think their relationship started off being the journalists, being the two detectives in the school, and then it kind of branched into something romantic for both of them.” –lili 

They compare themselves to Romeo and Juliet a couple times because he’s from the wrong side of the tracks and she’s the perfect girl next door. So I think there’s a star-crossed lover kind of aspect.” –lili 

“I think they’re both romantics, and being put in a situation where they’re solving a murder kind of brings you close to someone, and I think they have a deep appreciation for each other. I think it’s really, it’s real and it’s there.” –lili 

“I think in the following episodes, specifically episode 10, Bughead stops truly being like some sort of perfect, joyous thing; And the two of them start to investigate: Okay, can these personalities actually be compatible? Jughead is kind of the loner of Riverdale, and is intimidated by intimacy– and that gets explored. Betty’s this kind of person who’s outwardly striving for perfection, or people expect perfection of– and that also gets explored. And, so, it gets complicated, but understandable and real.” –cole 

“I think, from our show’s perspective– They’re both so opposite on the outside in their appearances, but they’re very similar on the inside. They’re both kind of these tortured souls in a way, don’t you think? So, I mean, they’re both kind of on the outside in a sense, and that’s what I think kind of brings them together a little bit.” –lili 

I think that similar passion was also the sort of thing that brought them close at the end of the day. I think there’s truth in that.” –cole 

lili on b*rchie & the love triangle 

“It’s more about the relationships between the characters. A lot of people go into this show thinking that this guy has to choose between these two girls, and that’s the plot of the show. But that’s very much not our show. These characters are working through real issues. The main plot point of Season 1 is Jason’s murder. It’s definitely not the love triangle. I don’t think there’s even that much of a love triangle. Betty has already accepted the fact that Archie doesn’t love her that way, and she knows you can’t force someone to think differently about you. She needs to move on.

Archie is such a mess! They’re just two people who are so much better off as friends, but she doesn’t realize it just yet. That’s OK. She’s young. She’ll realize it eventually.

“He’s a confused teenage boy. He doesn’t know what he wants, romantically or for his future. He’s just lost. She has sympathy for him, but she’s trying to protect him. At the end of the day, she doesn’t want him to get hurt or wrapped up in something dangerous. I think her opinion of him, as a person, doesn’t change, but her opinion of him, as a romantic figure in her life, changes. She grew up with him as a best friend, and when you grow up with a guy as a best friend when you’re a girl, it’s hard not to see yourselves becoming romantically involved. You’re like, “We’ve been best friends. Why don’t we just be together?” That’s what she thought. Maybe she wasn’t really in love with him. Maybe she just thought she was because it felt like the right thing to do. It wasn’t easy, but it was easier than you would think for her to get over the fact that they shouldn’t be together, romantically. She just had an idea in her head of the perfect couple that was Betty and Archie, but in reality, it wasn’t there and it wouldn’t have been as good.

“In the comic books, Archie just kind of picks between each girl every other day. No girl wants to watch a girl on television be pulled apart by a guy every which way. You want a girl who doesn’t let someone do that to her.

“No, I wouldn’t say that necessarily. I think there will always be the undertone of that famous love triangle, but for right now at this point in the season, Betty and Archie are kind of going off into their own little romantic endeavors instead of with each other.

It was important to us that Archie did not come between these girls. He does for a second, but the main goal of our show – and Roberto [Aguirre-Sacasa] talked about it beforehand – is that Archie is not going to stand between a friendship between these two girls who are destined to be best friends. They are classic frenemies, but on our show, they’re just friends. They just love and care about each other. Betty has a different love interest in the show. She comes to terms pretty fast with the fact that Archie doesn’t see her in a romantic way. She gets it and can’t be mad at him for not feeling a certain way about her. And she can’t get mad at Veronica for wanting to be with Archie ‘cause she gets how great of a guy he is. Veronica wasn’t intentionally trying to hurt Betty.” 

At first I thought, yeah of course they’re gonna end up together; at the end of the day, end of the series, that’s what’s right and what’s meant to happen. Now, I’m not so sure. I think Archie and Betty are so much better off as friends, and it’s kind of like when you’re so close to a person of the opposite sex, if things were to get romantic, it would feel so wrong.” 

K.J. is such a Betty and Archie [fan]! He wants them together!” 

“No, I feel like when he was introduced to the Archie story he was told Betty and Archie are endgame, so I think that’s what he sticks to and thinks must be the right thing. But you do see maybe some flares of jealousy; it comes with the territory when your best friend is with someone else. It’s like, “Who is this person?” It’s this territorial thing for your best friend.

Go Go ‘Power Rangers’ (2017 Review)

Is this good? Is this bad? Will my inner-child allow me to judge this appropriately?

“Power Rangers” is a reboot of the classic 1990s action-packed children’s show “Mighty Morphin Power Rangers,” which in turn is based on the Japanese tokusatsu “Super Sentai Series.” It’s directed by Dean Israelite and stars a cast of young actors, as well as Bryan Cranston, Bill Hader and Elizabeth Banks. The film is set in the small, fictional town of Angel Grove, where local high school students Jason Scott, Kimberly Hart and Billy Cranston (Dacre Montgomery, Naomi Scott and RJ Cyler, respectively) are all caught up in detention. Through a series of shenanigans, they come across Trini and Zack (Becky G and Ludi Lin, respectively) as they all discover an ancient, otherworldly construct. It’s there where they meet Zordon (Cranston) and his robot assistant Alpha 5 (voiced by Hader), and attain the responsibility of becoming a powerful team known as the Power Rangers, and to stop the destruction of an ancient, powerful witch known as Rita Repulsa (Banks). 

This is the absolute perfect “what if” movie. The answer to “what if they remade ‘Power Rangers’ for adults” question. This is the film we asked for, albeit cautiously. We really owe it to franchises such as the “Transformers” series, because without them, this film would be seen as an impossible reach.

Being a millennial, I was very much a child when “Power Rangers” had its long television run, and I stayed true through each incarnation, from “Mighty Morphin” to “Lightspeed Rescue,” and considered myself a retired fan after “Dino Thunder” (I was already in middle school at the time). So yes, shameful as it is, I know my shit. As you can see, I want this to be good. But was it?

Yes. Surprisingly, it was pretty good. It’s not shockingly “I thought this was going to be shit but it ended up being amazingly amazing” good. It’s just good.

Here’s one thing that the film does better than the TV show: the acting. In a great departure from the “Saved by the Bell” mood that the 90s actors gave us, we now have grounded, realistic, rebellious teenagers. These new actors fit the “teenagers with attitude” description way better than the 90s actors ever did. You have Montgomery as Jason, playing the rebel who ends up having to deal with the most responsibility. Scott plays Kimberly, the girl who does a good job of not just being the obligatory female casting, or the fighting damsel-in-distress, unlike the original. The dialogue between these two is usually filled with charm, whether its casual banter or a proclamation of their contempt for Angel Grove. 

But they do something different with the rest of the cast, which helps to modernize them. Cyler as Billy provides the humor and keeps the grittiness from ever getting lower and lower. Of the five teenagers, he is the one with the most charisma But he also serves to represent autistic teens everywhere. Yes, unlike the television counterpart, they made the Blue Ranger autistic, which is a pretty bold and commendable step for something based off a children’s property.

To keep the ball rolling, they then make Becky G’s Trini represent lesbians and confused, oppressed teenagers everywhere. Okay, this film had me at shedding light on autism, but encouraging more LGBT representation? Hats off to you, Lionsgate and Saban. Despite this, I found Becky G’s performance to be slightly annoying until about halfway through the movie, when they developed her much more, and gave her a more integral role in the plot. 

While I praised the rest of the cast, I’d have to drop the axe on Ludi Lin as Zack, the Black Ranger.  Compared to all these convincing performances, Lin’s is absolutely haphazard. The way he is introduced is to set up how much of a cocky outsider he is, so naturally he’s by himself. He then starts speaking to himself, which is one of my absolute biggest pet peeves in a movie. I despise movie moments where normal-functioning people start speaking or quipping to themselves, the only sensible reason being that the writers assume the audience is too dumb to know what the character is thinking. I get it if a character has schizophrenia or another mental illness, or if the words are limited to comedic inner-banter, but not in this case. He’s someone with decent social-competence and no reason to quarrel with himself, other than provide exposition to the audience.

But like Trini, I did find him to be much less annoying when he opened up. They gave him a pretty touching backstory with his own troubles, and they make his motivations really apparent. And just to keep the ball rolling, he’s also the most foreign one of the group, being bilingual, unlike the original black ranger. Now that I think about it, many of the Power Ranger series’ casts don’t feature any overtly foreign characters, apart from maybe of an alien race. 

That is precisely why this casting works. Whether or not you find these characters annoying, you can’t doubt that they’re there for a good reason, and you might even warm up to them as the movie progresses. They also help to introduce bouts of political correctness, but they aren’t preachy or condescending about it (which is really the only good way to go about political correctness). They represent people of various colors, mental states and social capabilities, showing (but not telling) that everyone is capable of extraordinary things as long as they have camaraderie.

I can’t say much about Cranston as Zordon. It’s a great homage, seeing as how Cranston has actually been a part of “Power Rangers” since the original television show, where he voiced many of the villains they face. I do love his voice-work here, and while it took some getting used to, I ended up really liking how they presented him. Rather than a chubby, floating head in a tube, they made him manifest into a wall, kind of like one of those pinpression toys. Not to mention they could have easily made him a one-dimensional character. But they went above and beyond to give him his own arc, his own set of feelings and doubts, and a world of lore behind him.

If you thought Alpha 5 was annoying in the television show, then you can rest your worries because Bill Hader fixed him up good. The original’s voice was so high-pitched and screechy; basically in typical 90s fashion (or how the 90s thought Aliens would sound like). This time, he just kind of does the same thing he did as Fear from “Inside Out,” except less screaming. His design had me slightly worried but I got used to it.

Now, Elizabeth Banks as Rita Repulsa has me split down the middle. On the one hand, I do like that at least ONE person in this entire film is trying to recall the absurdity and campiness of the original series. At the same time, I found her to be over-the-top, and incredibly outlandish compared to the rest of the grounded cast. She is guilty of overacting here, which is both a blessing and a curse. The prosthetics on her are amazing though, from both start to finish. She starts out as an outright horror character, which is something I didn’t expect to see even in the gritty version of a children’s property. 

If you kept up with me for this long, you know that a recurring theme here is that this film takes several risks that are rather uncharacteristic of a children’s property. Sure, there are hints of silliness to try and match the youthful appeal of the original, but they also throw in more mature bits of humor, about things such as drug tests and jacking off a cow (no joke). Me personally, I welcome these jokes. If anything, this is much more of a film for the adults who grew up watching “Power Rangers,” rather than children. The maturity really shines through in the form of character development and chemistry.

I must say that if you are bringing a child to watch this, keep in mind there will be mild swearing, and several mature jokes.

A common criticism (ad nauseam, pretty much) is that this film is a forced collision between two different movies. Two thirds of the movie is essentially the origin story, which focuses mainly on character development. At the same time, this is the section that appeals to the audience the most, whether you’re fans of the original or not. No one comes into anything titled “Power Rangers” and expects to feel for the characters. But through one particular scene where all the characters develop a kinship, we develop a peculiar attachment to each of them. It was at this moment that I’m glad these people are the ones I’m spending five more movies with (Yup, that’s right).

But when it sticks to the original, it definitely sticks, and that’s where the last third of the movie comes in. If you’re looking for cool looking suits fighting monsters with martial arts and gymnastics, you will get it. If you’re looking for giant robot dinosaurs battling another giant monster, you will get it. And MOST OF ALL, if you want to, at least once, hear the iconic theme song, you will get it. In all it’s pure, epic goodness.

But this is where I have to defend my appreciation for this movie, because many people will come in accusing me of being “blinded by nostalgia.” Despite having these borrowed features from the original show, there is really nothing nostalgic about it. The action here is far better than most of the show’s episodes. There is no silliness to be had apart from what would be silly by realistic standards (as opposed to having two obligatory bully characters).

Even some elements taken from the show are vastly different. Case in point: Rita, who in this film is actually getting shit done by herself rather than sitting up in some moon tower yelling at everyone.

Even the formula of the show is broken up here. Back then, everything was so fast-paced to where every time a new series was brought in, the new team of Power Rangers would unrealistically form intimate familial connection and extraordinary abilities within 20 minutes. This film actually shows you that the Power Rangers had to train for this, both physically and mentally. They didn’t just have these abilities bestowed upon them as a result of the plot rushing it together. You see them work for it, which is something I really appreciated about it.

I had to bring that up because many of the people who didn’t like this film will be quick to see reactions like mine and guilt me for “nostalgia.” But that “tone difference” that they’re faulting this for is the reason why you can’t pin nostalgia on this. All that means is that everything I liked about this film has been on its own merits, maybe (at most) perpetuated by quick little homages to the original. 

I suppose before I wrap this up I should mention one more thing. Not really a problem, but more like something I wish happened: I wish they played the theme song more. It was wonderful hearing the iconic theme song, perfectly borrowed from the 1995 film, and at the height of its “Power Ranger-ness.” But I felt that if they really were gonna throw it in there, they should have totally owned it and at least left it playing for a bit longer. If not that, then at least make an instrumental cover to play in the background during the climax, rather than GODDAMN KANYE.

This is a film that has fans and critics alike split down the middle, but it’s pretty clear that everyone who hates it is hating it for the same two reasons: (1) It has a massive tone-clash towards the end, and (2) It caters way too much toward product promotion for Krispy Kreme donuts. I do agree with the latter, make no mistake. But when I hear people complain about this tone-clash, it reminds me of people who complained about the “slow parts” of every other superhero film, whether it’s “Captain America: Civil War,” or “Batman v Superman.” Apart from being a “Power Rangers” movie, this is also an origin story film. And for something as ridiculous as “Power Rangers,” it definitely requires a slow initiation process. To get us going on a six-movie deal, the creators will have to help casual viewers acclimate to the premise, because chances are the naysayers are the ones who skipped out on this franchise as children, and therefore missed their window of opportunity. Ironic how a movie based on a children’s property requires a mature level of patience from the audience.

As I said before, if you came into this wanting to see colored suits, martial arts, explosions and giant robots, you will get it. If you’re dragged into this film but appreciate elements like character development and chemistry, you will get that too. As someone who enjoys both, I actually would go so far as to say I loved this movie. I don’t care if I’m alone on this, but I can comfortably say that I loved the “Power Rangers” movie.

Epic Movie (Re)Watch #124 - Zootopia

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: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. #412.

Format: Blu-ray

1) From the very start this film is excellent storytelling. The opening scene where young Judy and her classmates clearly establishes the conflict of predator vs. prey and the biases that come from that, the film’s humor and heart, and Judy as a character.

2) My mother is an actuary. My brother is studying to be an actuary. Actuaries don’t do this.

Little Jaguar: “Today I can hunt for tax exemptions. I’m going to be an actuary!”

3) Judy’s parents (Don Lake & Bonnie Hunt) are so funny in such a sad way.

Stu: “Judy, you ever wonder how your mom and me got to be so darn happy?”

Judy: “Nope.”

Stu: “Well, we gave up on our dreams and we settled. Right, Bon?”

Bonnie: “Oh yes, that’s right Stu. We settled hard.”

4) Gideon Grey.

Originally posted by masha-russia

Gideon is a perfect example of how nothing - NOTHING - in this film is superfluous, but I’m actually going to speak on that further into the film.

5) The police academy scene gives wonderful exposition. It sets up the environment and rules of Zootopia’s various ecosystems in a way that feeds into Judy’s conflict and character.

6) Ginnifer Goodwin as Judy Hopps.

Originally posted by floppy999

Goodwin (a massive Disney fan herself) breathes perfect life into Hopps. The best voice over work is when you’re not distracted by the voice actor. When their voice and their heart match with the character so perfectly that you don’t hear - say - Kristen Bell as Anna or Mike Myers as Shrek, you only hear the character’s. Goodwin is able to balance Judy’s massive optimism and heart along with the scenes where Judy has lost those things perfectly. I don’t think anyone else could have voiced Hopps as well as Goodwin.

7) If you want to avoid a slew of bad animal puns, don’t look too hard at Judy’s iPod.

8) “Try Everything” by Shakira.

Originally posted by raddestboy

Written by Sia, Tor Erik Hermansen, and Mikkel Storleer Eriksen, the theme song which deserved an Oscar nomination captures Judy’s optimism and struggles perfectly. The song’s lyrics speak of optimism in the face of constant failure, a theme which is very relevant to Judy in the first half of the film. It also provides the perfect backdrop to the visual introduction of Zootopia as Judy enters the city on train.

9) Subtle.

Judy [after Clawhauser calls her “cute”]: “Ooh, ah, you probably didn’t know, but a bunny can call another bunny ‘cute’, but when other animals do it, that’s a little…”

Originally posted by wish-for-the-moon

10) This film really runs with the animal puns.

(GIF originally posted by @baawri)

Bogo [turning to an Elephant officer]: “Francine. Happy birthday!”

11) I love the way the filmmakers handled Judy’s office discrimination. She is treated just as a token bunny, someone who’s only there for PR. Except she was top of her class at Zootopia police academy: a difficult feat for anybody, let alone a bunny. But this just feeds into the biases Bogo already has about Judy: she’s not really that good, they just said she was because she’s a bunny. That plays into real life way more than it probably should.

12) Wow, I did not catch how entirely speciesist this line was until now:

Ice Cream Parlor Owner [to Nick]: “Look, you probably can’t read…”

Damn that’s speciesist.

13) Jason Bateman as Nick Wilde.

Originally posted by a-zootopia-fan

Remember how I said great voice over work is noted by not realizing you’re listening to a voice over artist? The same can be said of Bateman’s performance of Wilde, 100%. To start, Bateman captures Wilde’s surface level of sly con artists WONDERFULLY well. He’s devilish and charming in the same vein as Danny Ocean or Han Solo, and Bateman expresses this perfectly. But as the film progresses Bateman is also able to show off Nick’s layers. His troubled past, his occasional lack of self-worth and anger at the world. And the honest level never changes. It’s not like Bateman was hired ONLY for the slyness of Nick’s role and had to power through the rest, he’s able to do it all. It’s a great voice over for a great character.

14) The relationship between Nick & Judy is the cornerstone of this film. What I personally like about it is its honesty. There’s no BIG moment when these two meet, it’s a chance encounter which grows to conflict and then budding friendship so organically you don’t even know it’s happening.

Originally posted by surreal-teal

15) There is nothing even remotely superfluous in this film. Nick makes a comment about how he’s been running his popsicle con his whole life and that will come back to bite him in the butt later.

16) This pig is played by Josh Dallas, Ginnifer Goodwin’s onscreen partner in “Once Upon a Time” and real life husband.

17) The chase through Zootopia is an incredible amount of fun, especially when Judy and Duke get to Little Rodentia. The filmmakers are able to play with their concept in a visual entertaining and imaginative way, which in turn keeps us as the audience wrapped up in the world they’ve established.

Note: I’m going to take about Alan Tudyk as Duke later in the film, at a very specific moment.

18) Again, there is nothing superfluous in this film (a note I’m going to be making a lot):

Judy [after saving Mr. Big’s daughter]: “Love your hair.”

Mr. Big’s Daughter: “Aww, thank you!”

It is this little encounter (and, you know, the fact that Judy saved her life) that saves Judy & Nick from getting “iced” by Mr. Big later in the film.

19) Again, nothing superfluous in the film. As the “non-onions” that Duke stole end up being very important later on.

20) Disney is at its bets when it pokes fun at itself.

Bogo: “Life isn’t some cartoon musical where you sing a little musical and your insipid dreams MAGICALLY COME TRUE! So let it go.”

Originally posted by rinshi-chan

21) Can we all just take a moment to appreciate Nick’s face after Judy says she’ll arrest him for, “felony tax evasion,” after he brags to her about how he’s been running this con since he was a kid and how much money he makes?

(GIF originally posted by @animations-daily)

22) Again, with the idea that nothing in this film is superfluous: Judy’s recording pen becomes very important as the movie goes on.

23) Only Tommy Chong could play this character.

(GIF source unknown [if this is your GIF please let me know].)

Like there’s a chance he’s not even reading from a script, they just had Tommy Chong come in and told him what the movie was about and he just started talking.

24) This is the funniest part of the whole film, in my opinion.

Originally posted by officialmoviegoer

The entire DMV scene plays well not only with the concept established by the film of an animal society in a way which is funny on its own, but the continuing conflict of Judy’s eagerness, Flash’s slowness, and Nick’s desire to throw a monkey wrench into the whole thing leads to amazing comedy.

25) Did you know Kristen Bell is in this film?

Originally posted by musicallyfoxypokemon

Bell landed the role not only because of her working with Disney on Frozen, but also because she is a noteworthy sloth enthusiast (as seen on “Ellen”).

26) It is nice to see Nick freak out when he realizes he and Judy are in Mr. Big’s limo, as it shows us a part of him we haven’t gotten to look at much in the film so far.

27) Maurice LaMarche as Mr. Big.

(GIF originally posted by @rocktheholygrail)

LaMarche is a noted voice over actor known primarily for his roles as Brain on “Pinky & The Brain”, various characters including Calculon on “Futurama”, and Mr. Freeze in the Batman Arkham series of video games. Here, we get to hear the veteran voice over artist do his best high pitched Brando impression.

28) This film has its fair share of nice surprises, details and twists which keeps you on your toes. The earliest of these is the revelation that the missing mammal Judy & Nick are looking for - Mr. Otterton - was in fact the one who attacked the limo driver (and not that he was the one attacked, as originally perceived).

29) This scene gives me life.

Bogo [after Judy’s witness disappears]: Two days to find the otter, or you quit. That was the deal. [Holding out hand] Badge.

Judy: But sir, we…

Bogo: Badge!

[Judy starts to turn in her badge]

Nick: Uh… no.

Chief Bogo: What did you say, fox?

Nick Wilde: Sorry, what I said was… NO! She will not be giving you that badge.[Bogo flinches] Look, you gave her a… a… a clown vest and a three wheel joke mobile and two days to solve a case you guys haven’t cracked in two weeks? Yeah, no wonder she needed to get help from a fox. None of you guys were gonna help her, were you? [Bogo starts to speak but Nick cuts him off] Here’s the thing, chief. You gave her the 48 hours, so technically we still have… 10 left, to find our Mr. Otterton. And that’s exactly what we’re gonna do. So, if you’ll excuse us, we have a very big lead to follow and a case to crack. Good day.

30) And then there’s this…

I saw this film twice in theaters and both times I was tearing up during Nick’s backstory. Anyone who has ever been bullied as a kid for being different will relate at least a little bit to what Nick went through. And it is this scene when Nick is at his most honesty with Judy, when they become pretty good friends and form a trust with each other.

31) NOTHING IN THIS FILM IS SUPERFLUOUS!!!! NOT EVEN A BLINK OR YOU’LL MISS IT STICKY NOTE ON BELLWETHER’S DESK!!!!

32) I did not think a Disney movie would make me jump like this (stop at 2:11).

33) This is incredibly rare for me, as someone who sees more than 60 films in theaters a year, but after Nick & Judy found the missing mammals and had the mayor arrested I had absolutely NO idea where the film was going after that. At all. I love it!

34) Nick’s face when Judy links the savage animals to being a predator…

(GIF source unknown [if this is your GIF please let me know].)

35) I had a film student criticize this film not based on the merits of its story or character’s or anything, but because they didn’t understand the metaphor. He noted that it’s not a clean comparison between white people and minorities and that’s exactly the point. This film is not about the people in power vs the people who aren’t, because who’s in power? The mayor may be a lion but the most biased character in the film - Chief Bogo - is prey. Bias goes all around and it can infect anybody, no matter what you think. Even Judy, for all her merits, is biased. She carries around fox repellent all the time and even has this line:

Judy: “It’s not like a bunny can go savage.”

That’s what I love about this film. It’s universal. It’s not about one real life society, it is about all societies everywhere and how bias can infect them and taint them and it’s up to us to work against that.

36) Fun fact: I had no idea otters were predators before seeing this film.

37) Gideon Grey returns.

Originally posted by klaus-baudelarie

If only all childhood bullies were like that, but again it gets to my oft-repeated point that nothing in this film is superfluous. Gideon could have easily been the one note bully from Judy’s youth who gave her the motivation to prove him wrong, but he comes back 15 years later in the most perfect way. She sees that people can change and that people who are good now are not always good (Gideon when he was younger, Judy when she was biased). It is a really important moment for her that was established all the way in the first ten minutes of this movie. I love that.

38) Judy’s apology to Nick and the way he handles it is something I truly love about this movie and their friendship as a whole.

And then I really love the little joke at the end about Judy trying to get to the pen and can’t help but wonder: was that written in the script? Was it Jason Bateman’s improv that made it into the film? It’s just so natural I must know!

39) Okay, I think this is the last time I will give this note, BUT NOTHING IN THIS MOVIE IS SUPERFLUOUS!!! This is most apparent to me when Nick does a little thing like expressing how much he likes the berries on Judy’s farm and it becomes so important to the plot latter when they switched out those berries with the Night Howlers in Bellwether’s dart gun.

40) THE BOOTLEG MOVIES!!!!

(GIFs originally posted by @bridgetjones)

41) And it’s followed up by this!

Both characters are voiced by Alan Tudyk. Because Disney just can’t let that one slide, can they? I love it.

42) Same Duke. Same.

(GIFs originally posted by @baawri)

43) The sticky note on Bellwether’s phone earlier was for Doug, the guy who mixes the night howler drug that makes animals go savage (this is the same drug who’s key ingredient was mixed from the non-onions Duke stole earlier in the film, FOR Doug).

44) At one point Doug - who is dressed in a yellow radiation suit and makes drugs for a living - lets his client know that “Woolter and Jesse” have arrived.

Originally posted by knurd-dna-denots

And yes, they did that on purpose.

45) The entire subway chase sequence is really great, because it is based heavily on the idea of action = consequence. A ram is running at the door, he gets through and hits another ram. The train goes too fast into a turn, it tips over and Judy/Nick are up a creek. It all works very nicely

46) Honestly, I didn’t figure out Bellwether was the bad guy until just before it was revealed the first time I saw this.

Originally posted by lostchel

47) Bellwether’s line about, “Fear ALWAYS works!” to keep the people in check should not be as relevant in 2017 as it is.

48) Okay, one thing I need to know: Bellwether is in jail, Mayor Lionheart is in jail, and Chief Bogo is still the police chief…SO WHO’S MAYOR NOW!?!?!?

Originally posted by justalittletumblweed

49) I know this film was pretty much a buddy cop movie, but I would be totally fine with a buddy cop movie where Nick is actually a cop.

Originally posted by blueberrycarrots

Lethal Weapon where Nick is Mel Gibson and Judy is…Danny Glover? Okay, that comparison doesn’t really work, but you get me!

50) And of course…

Originally posted by livelovecaliforniadreams


I honestly think Zootopia may be a perfectly written film, and that is not something I say lightly. I made it clear above how I find nothing in the film superfluous, which is an incredible feat I think. And they did it in a way that was never boring, with entertaining characters, an intriguing mystery, and a fun world. Zootopia may be my favorite Disney animated feature film, and it’s definitely my favorite of the “Modern Era” we’re in now (The Princess and the Frog - Present). Just a great, great, great film which deserved its Best Animated Picture win at the Oscars. A true treat all around.

The more I think about it, the more I think the main thing that ‘went wrong’ with Andromeda is that it plays everything so safe. I still like the game, but that is the one overarching issue that stopped me from enjoying it as much as I wanted to.

This is a new galaxy; they could have done anything, but it all feels so utterly familiar.

The story starts at the wrong point in the time line

The biggest mistake they made, story wise, was making us come into the galaxy at the point that we did. I will never for the life of me understand why they took a game that was going to be about exploration and how ‘we’re the aliens now’ and not let us be the first humans to arrive in Andromeda.

Just start the game at that point. Before the uprising, before the outposts, before the Nexus is half-built. Have us truly be the first humans the Angara meet. Have us struggle to understand each other, and slowly win their trust, only to lose it when the Uprising happens and they see a darker side to humans.

How devastating would it be to have worked to gain their trust, gain Jaal’s trust, and then see it all get swept away by events out of our control?


This way we also get more chances to bond to Alec, as he’ll be around for longer than 2 minutes. Think about establishing those first outposts on Eos with Alec, only to see them fail disastrously with us, the pathfinder team, carrying that guilt with them.

This also means we’ll see the Nexus fail, see Garson murdered (not entirely clear on the timeline for that tbh). And eventually we will have to see characters we know turn against us during the Uprising itself!

And if they have to get rid of the dad, he could die during the Uprising (adding a personal touch to having to deal with the Exiles), or hell, maybe he joins them. 


As it is now, it just feels like we missed a large part of interesting narrative in Andromeda. We’re made pathfinder in 2 seconds and succeed from the word go. There are obstacles to getting the outposts up and running, but no real struggle. Another consequence of setting the story 18 months (I think it’s 18) from when the first people arrived is that it robs us of being the first.

(I’m also not entirely clear on why the Nexus had to be there first, because it can’t function without Outposts, they need a pathfinder to find outposts, but the arc’s had the pathfinders and they were meant to arrive later on? Also, no one on the Hyperion says they arrived too late, but on the Nexus they say they thought everyone was dead, which seems to indicate they were waiting for longer than they thought they had to? I might be missing something here.)

Planets are not inviting to explore

As it stands, it just adds more familiarity into a game that already suffers from taking too few risks.

Everything from the planets to the wild life to who we encounter feels so safe. Storybeats are repeated from the original trilogy, enemies as well. On four of the planets we already see a lot of milky way equipment/ milky way species. And even Kandara Port (though I like the design), which was built by the Angara feels like it wouldn’t be out of place in me2.

All the planets are a bit of a let down when it comes to how not-alien they feel, excepting Havarl and arguably habitat 7, they don’t feel that alien. And the frustrating thing is, this isn’t filmed on location, they’re not constrained by planet Earth; they could have gone all out. 

Besides not feeling alien the planets also feel so… dead. I know there is a bit of an in game reason for this, but 1. they created the reason 2. I don’t think that’s the reason.

Every planet gets one or two pieces of plant life, looking only slightly alien from what we see on earth. The rest is desert, snow desert, almost barren ground. Throw in a lot of rocks. And 4 different animals, all just reskins of that same set from other planets. (Even those acidic lakes are things we can find right here.) And why do we still not have a weather or day/ night cycle? It’s one thing if you just work with smaller hubs, but bragging about your huge maps and then have them be utterly static seems a bit weird.

We also only get one alien city. One, and it’s tiny. At least it feels more like a city than Val Royeaux, but not by much. I do like Aya’s design though. We do see some smaller camps? settlements? of the Angara, but if they were such a presence in the cluster until 80 years back when the Kett arrived, where are the ruins to their civilization? The abandoned cities of the Angara?

The Jardaan certainly piqued my interest, but what do we really see of them? The vaults, that one giant starship, not-Meridian, and Meridian itself, which is one of the few places that was inviting to explore so of course we couldn’t. Did they just not leave any other marks on the planets except those things and the ‘points of interest’ (that are not interesting)?

All we really have to interrupt these huge boring maps, clearly designed to only rush through with your Nomad, is some random fights (the same two variations I think) and ‘points of interest’, except there’s never anything of interest except some remnant to kill and a container? After a while I just gave up checking them out tbh, so please point out any great ones you found.

There are of course a lot of sidequests thrown in, some of them I found pretty fun and a huge improvement on da:i, but they don’t invite you to explore. The planet itself isn’t worth exploring so when doing a sidequest you just rush to the point you have to get. In other games, games that do this concept well, you set your quest and then while going there get distracted by things you find out in the world. Here that happened maybe a few times, and usually it was because I came across a point for another quest and someone hailed me. It was never because I saw something that piqued my interest and I went over there and it had something fun to do.

A lack of new species, and disappointing returning aliens

They never showed a lot of the milky way species and the ones we did see lacked diversity. The just picked one head morph - or two in the case of Turians where the females have different facial structure - and slapped on some paint. I expect more not less from a newer game. The Asari were the most jarring - to the point I avoided Kerri because she has Lexi’s face and it’s just ridiculous. But the Salarians have just as little diversity. Google salarians in mass effect and you’ll see they did so much more with them in the original trilogy. And I have to say, there were too many Turians with white faces,  a few of them important characters as well, I still mix up Kandros and Avitus.

And what do we get in exchange for all the species we don’t see return and the diversity that’s gone? One new species. One. I love the Angara, but I can’t help but be disappointed that we travel to a new galaxy only to discover one new race. Unless we count throw away enemy the collectors .2 the Kett. But really, they only brought back 4 of the original trilogy’s races and still didn’t have enough resources to add some diversity to Andromeda? Really? We just get the Angara…

Finally…

I would just have scrapped the giant maps, and gone for smaller but denser packed ones, like Havarl and Habitat 7. Add much more plant life and animal life and real diversity in those two, to all the planets. And make them more alien.

Have no more than one desert planet, I vote Elaaden as it was the best desert, and stick more sunken ruins in it that have actual things to discover about the Jardaan. And make that the only planet so huge that you absolutely have to use the Nomad.

Make Kadara much smaller, with much more lakes so it looks more like a deadly lake planet.

If we have to have a snow planet, make it more original than a white reskin of a desert planet. Maybe we have to drive in giant ice caves, maybe we don’t even get to walk on the surface, maybe the Angara have buried themselves underground in ruins of a old Jardaan city.

And this is just sticking to the planets in game, but they should just have scrapped all of them except Havarl and gone much more alien than they have.

I still like the game, I just think there was a lot of potential there they never bothered to explore. All in all it just feels like they played it safe. Maybe that’s a reaction to the backlash after me3′s endings, but I think it’s where they failed the game the most, and for me it leaves the game in ‘if only’ limbo.
Why Newt Scamander is NOT a cinnamon roll and why he’s flawed:

First of all, I am NOT saying that I hate Newt at all – I LOVE Newt, I LOVE Eddie and I’ve loved watching Eddie act since I saw him in “The Theory of Everything”. I think Eddie is fantastic, and I do love Newt’s character.

HAVING SAID THAT, this rant is more to do with the fandom than anything else – as in, me being pissed off with the fandom because of their “Newt is a precious cinnamon roll/Newt is too good for this world/Newt is perfect/Newt needs protecting” mentality. This isn’t all of the fandom, of course, but it’s a fair few and I’ve found myself getting gradually more and more infuriated over the past few months about it. This shouldn’t be regarded as hate, more as a retort/insight as to why I disagree with this silly mentality.

Let me start off by saying: Newt Scamander is VERY flawed. There, I said it.

Newt is NOT perfect. He’s awkward, has little to no regard for other humans, and is pretty untrustworthy to be honest. How? I present to you, an extract from the screenplay:

TINA
So, you got your wand permit? All foreigners have to have them in New York.

NEWT
(lying)
I made a postal application weeks ago

Small but think: if he’s lying about a postal application, chances are he’s lying about a lot more important stuff too. Either way, she was going to write him up. He had very little to gain from lying. I would also like to add that he’s breaking yet another law (even if it’s silly, it’s still breaking a law).

The thing that we, the audience, have to understand about Newt is that we like him because we know he’s a protagonist – we know he’s Eddie, we know the kind of person he is even before we watch the film. But if you look at it from an inside perspective – i.e. someone who lives in the universe of the film – he’s shady as fuck. He not only didn’t bother with a wand permit application, he also smuggled beasts into the country illegally (he had full knowledge of what he was doing, don’t deny it), apparated with a No-Maj, then didn’t obliviate that No-Maj, accidentally set a Niffler loose in a bank and basically decided “hey, fuck the law, I’d rather expose wizards than lose my Niffler/miss the egg hatching” when he apparated with Jacob. Standing on the steps of the bank, talking to an abusive woman/leader of the NSPS, he probably looked even more suspicious (especially seeing as she openly called him “friend” – which, to be honest, doesn’t really mean a lot but just imagine you’re there and that happens…you’d probably be a bit iffy about it).

How else is Newt untrustworthy in the first half of the film? He lies to Tina about why he’s in New York in the first place and he then blackmails Jacob into sneaking away from the girls’ apartment even though they gave them food and hot cocoa. You know when Newt says “you do realize that once they see you’ve stopped sweating, they’ll obliviate you in a heartbeat”? It’s sly blackmail. He knows that Jacob doesn’t want his memory wiped, he knows that Jacob is enjoying this new world that he’s been exposed to, and Newt is using that to his advantage. The choice in front of Jacob he’s setting out is: “Help me find my creatures and remain in this wonderful world…or, you know, stay here and have your memory wiped”.

I’m not denying the friendship between Newt and Jacob – their friendship is wonderful. But at this point, they aren’t exactly friends really, even if they’re starting to head that way. Newt was perfectly happy to attempt to sneak out of the apartment on his own before Queenie called him out – part of the reason he’s probably bringing Jacob is because he knows that Jacob will say something otherwise. I mean, Jacob is a good guy – he didn’t want to leave because he knew it would be rude to just leave the girls after all they had done for them. I’m not saying that Newt isn’t a good guy, I’m just…well.

Newt also has a total disregard for other humans/safety; “yep, let me throw a Swooping Evil in a No-Maj’s face for a joke”. Total dick move, even if he thought he knew what he was doing. “No-Maj is lying on the floor bleeding – nah, he’s fine, where’s the creatures?”. “Let me bring a No-Maj on a hunt to find potentially dangerous creatures”.

Actual thing in the screenplay when Jacob has been bitten by a Murtlap:

“With TINA’S back turned, NEWT makes towards the door”

What makes Newt turn back?

“TINA emits a guttural scream as the Murtlap comes scuttling out (…) NEWT spins, catching the creature by the tail”.

Newt wasn’t concerned at all for Jacob – “oh, it’s not serious”. Yeah, maybe not to a wizard but to a No-Maj whose physiology is different? Potentially extremely dangerous.

But, yeah, no - Newt is absolutely perfect of course so we’ll forget about it. (sarcasm)

He isn’t just awkward either, okay? He had no problem dragging Jacob down into the case, nor when it came to pushing Tina’s hair back at the docks. Every time I see a fic where he stutters out “I-I-I-I l-lo-love you”, I puke in my mouth a bit. That is so OOC and silly. When it’s humans he knows and likes (loves, in Tina’s case, fight me), he’s more confident and assured – so please stop saying that he’s awkward and will forever be so awkward that he cannot have human friends/love interests.

Newt has great qualities, of course, I’m not denying that…but please stop writing him/saying he’s perfect…or that he’s “too good for this world”/”too pure”/”too innocent”. He’s really not. He’s flawed, as all the best characters should be, and if you love his character then you should also be able to say “he’s got flaws and that’s okay”.

With this image of him being “perfect”, there comes my next pet-peeve: Tina hate.

I have legit seen people say that Newt is “too good/perfect” for Tina. I can’t even begin to sum up the stupidity of that idea; shipping aside, they’re both flawed characters in their own ways and that’s totally fine. I feel that some of the Tina-hate stems from either jealousy or the idea that Newt is too perfect; it’s like “oh, my OC is perfect because she’s just like Newt”. Please, no. Don’t.

Tina-hate also seems to stem from the fact that she “turned Newt in”. The usual rant goes here: a) it was her job, b) he’s pretty shady, c) you’d all complain if she put a guy she barely knew over getting her career back on track….etc. etc. Suddenly, because Tina DID HER JOB and it happened to involve arresting Newt, that makes her the fandom’s number one enemy.

Tina isn’t the only one I’ve seen receive hate: I legit saw someone say that they hated Queenie for “forcing Newt to get with Tina” and I just…? Since fucking when? How does “you need a giver” translate as “you have no choice but to marry my sister and live in Dorset with her”?

As I said, this fandom is so obsessed with the idea of “precious cinnamon roll Newt is too good too pure he needs protection”. He’s NOT this. Please stop making him like this. He’s a flawed man, he makes mistakes, as do we all, he’s far from perfect.

As I said before, I love Newt, he’s a great character, but the way that the fandom categorizes him as “a perfect sexy wonderful cinnamon roll who is too good for this world” is actually vomit-inducing and makes me start wanting to hate him – it genuinely puts me off being in the fandom when they push the idea that a character is too flawless, and Newt isn’t flawless which is why he’s a great character.

This rant made little to no sense really and I’m now off to write fanfics.

Eternal Love (Tom x Reader)

Request from anon: Can you do a TomxF!Reader imagine where they’ve been together since they were young & they’re at the final HP Deathly Hallows part 2 premiere and she is also in HP,apart of trio, and while she does her speech with the the trio,Tom proposes to her? ❤

Ahhhhh!!! I love this idea! Thank you so much for requesting anon! *If my schedule has worked correct, it should be Friday atm*

Originally posted by k2sodone


This was it; in a few moments, you’d be sealing what had been the greatest adventure of your entire life; Harry Potter had brought you love, eternal friendship and so much happiness. You looked at yourself in the mirror, still feeling the same nerves you felt ten years ago when you were turning up to the Philosopher’s Stone premiere - now here at the Deathly Hallows Part 2 premiere, you quarrelled on how quickly time flied. You still recognised yourself yet you had matured - you had experienced so much and you were so lucky.

Practicing your mantra in an attempt to control your breathing, you took a breath for seven seconds, held it for five and exhaled for six. “Having fun?” You heard an all too familiar voice chime from behind you. You turn around, spotting Tom stood leaning against the doorway. “I’m so nervous.” You declare, walking over to him to give him a peck on the lips. “You look ravishing.” Tom comments looking you up and down with a smirk. You were wearing a navy full length dress that hugged your curves in all the right places. He was wearing a navy suit (which just so happened to be the same shade) and his hair was tousled just the way you like it. “So do you.” You replied in an oddly surprised tone. Tom hadn’t really bothered with the previous premieres, even turning up in jeans and a t-shirt to the last one. “You sound so surprised, love.” He chuckles, intertwining his fingers with yours. “I am, I didn’t think they’d make you look this sexy. Now I have to compete with all the other girls.” You chime, reaching up to peck his lips once again. “You’re not competing, Y/N, I’m already your boyfriend. Besides, you look amazing, should I be worried about any man trying to steal you away?” Tom asks with a grin on his face. You shake your head. “Of course not.” 

Keep reading

Armed Detective Agency Off-Set

Atsushi- Atsushi’s personality takes almost a complete 180 off set. He’s quirky, fun and loud. He finds his outfit kind of annoying to deal with because the belt keeps smacking him in the ass and legs when he’s filming. He also thinks he looks kinda like a hobo, even if that is the point of his getup. The hardest part in filming was trying to keep a straight face as Akutagawa spit out the word ‘Jinko’ because of the strange accents he would do. Atsushi is crazy dedicated to filming and is always seen with his script in hand. But, just like the Show Atsushi, they’re both kind to everyone, although irl Atsushi likes to joke around a lot more. When they were filming the Chazuke part in the beginning, he couldn’t finish it all, so the crew teamed up to help him.

Dazai- Dazai is so extra that he refuses to take off his costume until the set is actually closing, and even then, it takes five people to shove him into a change room. He’s really cheeky and mischievous to people that he’s comfortable with, but the entire crew can tell you that he kept to himself for the first two weeks because he was really shy. He’s a crazy good singer, but the only person he sings seriously for is Chuuya. They aren’t officially dating, but everyone knows that he will eventually.He’s pretty good at keeping in his alcohol too. Also, Dazai is the king of pranks. He once switched out everyone’s scripts for the Bee Movie script (even Asagiri’s). Dazai also acted like Yenpress Dazai for a week, driving everyone insane. A not-so-funny prank ended up with him in the hospital after accidentally hanging himself as a joke. The wiring was faulty and he was choking for a good 20 seconds before Yosano panicked and said that it was indeed real. There’s at least one crew member watching Dazai’s actions from that scare.

Side note: The entire crew once played ‘Never Have I Ever’ without Dazai there for fun and accidentally found out that everyone has had a crush on Dazai at least once from the entire time they worked with him. They all vow to keep it a secret (although Chuuya is slightly jealous, he would never admit it) They can’t help it, he’s really charming. 

Fukuzawa- He’s the most like his character than anyone on the set (excluding several other members). But… he’s actually semi-allergic to cats, which kills him inside because he loves animals. He, Hirotsu and Mori are always seen together talking about politics and other things that most of them don’t care about. Fukuzawa is great friends with everyone and is in charge of making sure the studio doesn’t burn down from everyone’s shenanigans

Ranpo- He’s not as lazy as everyone thinks. The guy goes for an hour runs before filming begins because he knows the amount of food he’s going to consume is ridiculous. Ranpo sometimes kidnaps Carl to freak Poe out, which sometimes leads into really loud bickering. He can be found helping with the cameras/filming or reading a book in the corner while blasting rap music from his headphones. He’s also brilliant at chess and graduated early. Ranpo has never found a job he actually likes until he became and actor on BSD

Yosano- Still Queen off and on set. She and Kouyou are best friends, but everyone has been trying to get them together since the production began. Yosano and Ranpo had a slight fling back then, but are still pretty great friends. Because she plays someone with medical knowledge, she does actually have training so everyone goes to her when they have an injury. She also really adores kids and always gives candy to Kyouka, Yumeno and Kenji (and Oda’s kids, but they’re rarely around)

Kunikida- He’s actually pretty laid back off the set and is always willing to give advice. Dazai’s antics have worn onto him, and is sometimes seen helping him out with pranks and such. Kunikida thinks his character is ridiculously uptight, but the crew has already placed bets as to when he’ll discover that some of the behaviours are coming off the screen and into his own life. He’s known to tie with Dazai and Chuuya when having drinking competitions.

Haruno- She’s Naomi’s stylist and helps out in the set and crew when she’s not on-screen. She’s surprisingly handy with technology and constantly wonders how she puts up with all the weirdness on and off set. Haruno loves them all though

Tanizaki Siblings-  Tanizaki siblings love each other, but not that much. The whole incest thing wasn’t really their choice. Junichiiro believes his outfit is pretty similar to how he dresses, but Naomi finds it kind of gross and wants to change his style. She constantly goes to Kouyou to get fashion advice  and drags Haruno, who is her designated stylist to go with her. She finds wearing her school uniform slightly convenient because she has to rush there after filming anyways. Junichiiro is always roped into zooming through traffic on his motorcycle to get her there on time. They are also designated to get coffee each morning because everyone has given up on Dazai getting it for them.

Kenji- No matter what his role is in the show, he is most definitely not a farmer’s boy. If anything, he’s the most corrupt 14 year old any of them had met. His mind has surpassed the gutter and currently lives in the 9th circle of meme hell. Everyone wonders what happened to him. Regardless, he’s still pretty sweet and loves to cause chaos on the set. He’s also quite a charmer and has a small crush on Kyouka, leaving a small love triangle between them and Yumeno. The entire team is divided between the two boys and some of them *cough (Kunikida and Haruno) wonder why their lives aren’t as cute as theirs is. Kenji is also crazy smart and sassy af.

Kyouka- Everyone adores Kyouka so much. She’s the princess around the set and you can see Chuuya and Kouyou absolutely spoiling her. Her personality also takes a big turn. She’s not into cutesy things at all, at least that’s what she said when everyone gave her giant Dango pillows, but unbeknownst to them, she still has them in her room. Her pigtails feel childish to her and she finds it annoying every time Kenjii flicks them like reins. She’s extremely sassy and knowledgeable about the relationships between everyone on set. People constantly watch their back, but she’s like the black market dealer for secrets, no one knows how she does it. Kyouka comes from a rich family, but because of that, she’s homeschooled, so everyone tries to pitch in and make her life fun to make up for all that she’s missing. Also, Kyouka hates the phone around her neck in the show; more than once they’ve had to refilm a part because one of her 5 cellphones go off in the middle of a recording. Normally it’s one of her online friends or a recording studio asking her to come to a cover for them.

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Sherlock Holmes on Elementary is definitely a jerk. But he’s also a good person with a deep sense of empathy. Let’s explore how Elementary fits into the legacy of Holmes Adaptions, and how the character is depicted in these complex, contradictory ways.

Transcript below the cut

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FOUR  STAGES  &  FOUR  CASES

________________________________________________________________

SOME STRANGE CONNECTIONS BETWEEN TFP, TLD, TST, TAB & THE GREAT GAME

.

It happened quite accidentially that I discovered the following similarities. A little scene almost at the end of ‘The Final Problem’ started the ball rolling. Sherlock pushes open his prison room and suddenly stands in front of Musgrave Hall - the old home of the Holmes family.

Keep reading

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New interviews:  Alex opens up about Big Little Lies with The Hollywood Reporter and Entertainment Weekly!

WARNING: These interviews contains spoilers from the Big Little Lies season finale. Read at your own risk!

From The Hollywood Reporter:

The actor talks to THR about working with Nicole Kidman and that “brilliant” finale death.

“It’s obviously a huge problem in our society,” Skarsgard tells The Hollywood Reporter about the domestic violence storyline.

Skarsgard spoke further with THR about the importance of exploring Perry and Celeste’s relationship, the violent and “emotionally draining scenes” they shared and his character’s “brilliant” demise.

The Hollywood Reporter:  The show explores the real-life issue and severity of domestic abuse, violence and rape. Your character, Perry, is the abuser in these cases. Going into the role, what was your thought process on how to tackle these stories and portray this character?

Alex:  I thought it was such a rich script and the tone felt very unique. It felt like such an emotional roller coaster that I thought was brilliantly written. In terms of the character, I saw it as an opportunity to play an abusive husband who wasn’t this stereotypical abusive husband. It was such a well-fleshed out relationship and the dynamic between Perry and Celeste was fascinating to me. I saw it as an opportunity to find a character where you see him struggle with his demons as opposed to being the traditional wife-beater.

THR:  What makes him not the stereotypical abusive husband?

Alex:  She fell in love with this innocent kid that he’s got within him. In a way, he is like his sons. He’s a very social, outgoing guy and loves to have fun. In those moments, those demons are hidden far within him and then they come out. You do see that he’s struggling with it. He can’t control it. They just take over and consume him. What I thought was interesting about their relationship is it ties in with their sexuality as well and that makes it more difficult to leave him. She blames herself and says, “I’m an accomplice. I’m part of this.” When we have sex, it is very violent and I love that, but then she [thinks] “Maybe I push him too far.” Which she doesn’t, but she blames herself for it and feels that, deep down, he’s a good guy and a great dad and loves her and [she] can fix him and that he just has to deal with those demons. But he can’t. That’s what’s killing him inside. He can’t control it.

THR:  The abuse scenes are very violent. How difficult were those for you to shoot?

Alex:  They were really tough to shoot. Jean-Marc works in a way where it’s more like shooting a play than shooting a movie. It’s not traditional filmmaking in the sense where you have the master and two-shot and then you move in for coverage. There are no tape marks on the floor. It’s all existing lights and a handheld camera that roams around which is a great opportunity as an actor to explore this space and play around and find new things. One take can be very different from the previous. That really helped those scenes.

Nicole and I got to know each other really well before we started the project and spent time together and worked on our relationship. We just got to know each other. We both felt it was very important that when we step into that room and shoot those scenes, you have to get to a place of 100 percent trust. The scenes were emotionally and physically so draining. They’re incredibly hard to shoot. It was more about getting to know each other  and spending time together and working on that trust. And talking about their relationship and figuring out the nice part about these characters and how they connect and why they fell in love, what’s holding them together. We wanted to find that. We played the whole scene from beginning to end. We weren’t restricted by any tape marks on the floor or any technical issues. It was very primal in a way and some of the toughest scenes I’ve ever had to shoot. It was completely emotionally draining.

THR:  Nicole has spoken about how physically and emotionally draining they were for her. Have you spoken with her about that?

Alex:  It was important every day after shooting a scene like that to check in with each other and make sure that we would reconnect and talk about how we felt about it and what we went through. We both knew that jumping in your car and going home after a scene like that is very tough. You need to share that connection with the person you just went through that with. I had the best partner in the world with Nicole in doing that. She’s not only an extraordinary actress, but such a warm and generous person. That made it be even more difficult. 

THR:  How important is it to tell this story of domestic abuse on television?

Alex:  It’s very important. It’s obviously a huge problem in our society. It’s stigmatized. [Wives] are protective of their husbands and in certain cases they blame themselves and say, “It takes two to tango. I’m partly responsible for this.” They don’t really see themselves as victims sometimes. It’s not until you talk to someone outside that you can get an outside perspective and you realize then, “This is an abusive relationship that I shouldn’t be in.” It’s important to reach out and to have someone help you and talk to someone who can get you out of it. It’s not your responsibility to change another person.

THR:  Perry is obviously dead. What’s your take on the ending for your character?

Alex:  I love that they all gang up on him and kill him, in a way, together. It gets very primal and they’re all over him and kill him together in order to protect Celeste. It felt like something out of a nature documentary where you see a predator being attacked by smaller predators and by the sheer force of numbers they take him down. That’s what I had in my head where I was physically stronger than them as individuals, but together they brought me down. (Laughs.) I thought it was brilliant. 

THR:  What was filming that scene like?

Alex:  It was tough. It’s a very physical moment. But it was exciting and fun because we were all together. Up until that point, it had been a lot of separate stories. Those ladies are amazing women and so much fun to be around. So it was a fun two weeks of night shoots with all of them. We were all excited about the ending and how it all comes together. 
Big Little Lies finale: Alexander Skarsgård on why he may never get another job

THR:  What were the conversations with Jean-Marc like about who Perry is and how he reaches his fate in the end?

Alex:  I liked that the introduction to the family was dream like. It’s exactly what you want. They have beautiful kids, an amazing house, a great job, everything is perfect and then you crack the surface and see there’s a lot of darkness there. We were both excited about an opportunity to play this character who can be charming and a great dad, but there’s a switch and the lights go out and he’s not himself. With the camera watching the women in the very last scene, it leaves the ending open-ended. It’s Perry in his Elvis outfit, but with a broken neck up on the beach watching them. (Laughs.) It’s payback time. He’s back from the dead and it’s time for revenge. Season two will just be him killing them all off. (Laughs.)

THR:  Could there be more episodes? 

Alex:  It was set up as a miniseries. That was always the intention to leave it with them on the beach and living with this secret and accepting that and moving on with their lives. It leaves it open-ended in a way, but there’s no cliffhanger for another season or anything. 

Article source:  Brian Porreca for TheHollywoodReporter.com (x) via THR twitter (x)

From Entertainment Weekly:

As you probably know by now, Alexander Skarsgård’s Perry Wright died at the end of the seventh episode of Big Little Lies. Some might call it murder, some might prefer the ladies’ explanation that he fell to his death. Either way, Skarsgard made for an excellent villain. Regardless of the hate he inspired because of how he treated his wife, he also wanted to change and really did love Celeste. Those were some dark demons residing inside of him, demons he was unable to exorcise, regardless of how he tried.

We talked to Skarsgard about his character, the challenges of playing him, and why he’s pretty sure he’s not going to be working again in Hollywood anytime soon.

ENTERTAINMENT WEEKLY: Your storyline with Nicole Kidman was one of the most compelling in the show. What was your first reaction when you read the scripts?

ALEXANDER SKARSGÅRD: I was very excited. I thought the tone was so unique. It’s funny and twisted and camp and then really dark and twisted. The pendulum would swing back and forth between different tones. I was very intrigued by the relationship between Celeste and Perry. I thought it was an opportunity to tell a story about an abusive husband that wasn’t a stereotypical wife-beater. I thought it was fascinating that he was a good dad, loves his kids, and adores his wife. On the surface, they have a perfect life and then he’s struggling with these demons and he doesn’t know how to handle that. It’s almost like a switch flips and he goes black and he goes violent.

EW:  The intimacy between your character and Nicole’s is really intense, both the violence and the sex. How did you two approach that? Was it difficult?

Alex:  We had some time to get to know each before we started filming. It was important to build that trust and understanding, knowing this journey we were about to embark on. It is a very physical relationship. It’s the envy of most people when they first see this couple. It’s too good to be true. The kids, the house, the sex, everything. There is more to it than that. It muddles the line because their sex life is violent and they both get off on it. It makes it difficult for her to draw the line, for her to feel that he’s abusive, because she feels like an accomplice. But there is a difference between liking it rough in the bed and pure abuse which he crosses that line early on. It’s tough and I think that’s what makes it interesting on a character level. Because it’s tough for her to move and to accept the fact that he’s bad for her and the kids. There is a lot of love. She loves him when he’s not abusive. In those moments he’s great. And that’s what makes it an interesting story.

EW:  Career-wise, what did you think about when you took this part?

Alex: I have a feeling this is going to be my last interview ever (laughs) because after Perry Wright, I’ll never get another job. But, hell, it was worth it.

EW:  Why do you think that? Because he’s such a monster?

Alex:  (Laughs) Yeah. I’ll never play leading man, that’s for sure.

EW:  So, you’ve typecast yourself?

Alex:  Sure, but if you ever need an abusive asshole, I’m your guy (laughs).

EW:  Did you take that into account when you signed on?

Alex:  Nah, I don’t ever think about that. I played a guy who had sex with an underage teenage girl in Diary of a Teenage Girl. I’m either drawn to material or I’m not. It’s a visceral reaction. There isn’t a strategy to it. I don’t think about what it’s going to do to my career. I always know instinctively if I’m right for something or I’m not. If I’m not intrigued by the character, I shouldn’t do it. In this case, it was easy. The material was so well written. It was such a fascinating character, albeit incredibly, incredibly dark. And I was drawn to him. He wasn’t a one-dimensional bad guy. It was very interesting. In the same way Monroe in Diary of a Teenage Girl wasn’t a typical bad guy. He was a soft, sweet guy and there was a lot of darkness there as well. I guess I’m drawn to that. That’s all I’ve got. When I read something, if I don’t want to learn more about that character, it’s not going to be something for me. 

Article Source:  Nicole Sperling for EW.com (x) via EW twitter (x)

Photo credit:  bradleycramp instagram (x): "The Perfect Family" (lol!) 

Rhetorical Ink Reviews: Beauty and the Beast (2017 Live Action)

**Careful for SPOILERS below**

I will be the first to admit that I’m a HUGE Beauty and the Beast fan. I had the book as a kid, wanted to be Belle, and have had a large fascination with the story and believe it spurned me into wanting to draw more.

So, the Live Action adaptation had HUGE shoes to fill for me before even going in. I tried to look at the film as a standalone and not judge it based on the predecessor…a VERY hard task when watching, I might add.

My best friend saw it with me and she loved it! What did I think? Well, putting ten thoughts alone would not do my favorite childhood movie justice. So instead, I am doing a Top Ten Likes and Top Ten Dislikes. Careful for spoilers!

My Top Ten Likes of Beauty and the Beast (2017):

Originally posted by dailyplanetnerd

10. The set and costumes: Everything has layers and detail and colors that pop but also makes sense for the time period. I LOVED the costumes and even the yellow gown, considering the wardrobe “makes it” in this, grew on me quickly. As for the sets? They are beautifully ornate and have a classic “other worldly” look to them. I could watch the movie over and over to gawk at the scenery and character designs.

9. The Opening Scene: Nothing will ever live up to the deep voice of the narrator and the stained glass…but there was something so fresh about how we started on the Prince, how the dance unfolded, and how the Enchantress appeared. She looked gorgeous and the classic French scene was a welcome addition (more so than others…but we’ll talk of that soon). In any case, it is a worthy contrast from the beginning, when he’s surrounded by beautiful girls, to late when there’s only Belle.

8. Kevin Kline as Maurice: Kevin Kline is a fine actor, and he brings such a charm and dignity to the formerly bumbling character. I still like Maurice in the animated movie, but it makes more sense for Belle’s father to be an artist and hopeless romantic than a “world famous inventor.” Kline’s performance was a highlight for me and definitely added to the movie as a whole.

Originally posted by luuuuuke-evans

7. “Kill the Beast!” I’ll talk more about some other songs below, but this was by far my favorite number; this is EXACTLY what I was hoping for with this song in live action form. It does not disappoint. Speaking of “Kill the Beast…”

Originally posted by lukecastellan

6. We see Gaston and Lefou learning where the castle is: A big question I had as a kid was, “How did they know where to go to find the Beast?” In this, we get our answer. Lefou and Gaston actually follow Maurice to the woods, where he believes he can route them to the Beast’s castle. This backfires on him, but in any case we learn how Gaston and Lefou knew where to go in the first place.

Originally posted by wizardfrenchfries

5. Belle is more an inventor….and a teacher: It makes sense for Belle to be as learned as she is to be more of the inventor. I loved the little scene where she does her own laundry with the contraption she made and is trying to teach a little girl to read. After having to sit through a preview for a CGI movie where the boy character is an inventor and the girl, lo and behold, wants to just be a dancer…it’s nice to see “ahead of their time” people represented in a modern movie’s version of a classic time period.

Originally posted by bigbadroman

4. Lefou paying off the people to dance and help during “Gaston:”

It was a little tidbit to note for the film, but Lefou pays off the people to help dance in the “Gaston” music number; and Belle does pay for the food in the market she gets. It’s little touches like that which help to cement this story in a more “realistic” world.

Originally posted by chandelyer

3. The ensemble of side characters:

This entire cast was well-chosen. Josh Gad as Lefou? Perfection; he was born for the role! Emma Thompson as Mrs. Potts?  She’s about as close to Angela Lansbury as you can get for this role, I feel. Ewan McGregor as Lumiere? I was on the fence about this casting, but it works so well. Luke Evans as Gaston? He fits the part great. Sir Ian McKellan as Cogsworth? Again, I had no clue what to think, but he may have been my favorite in the whole side cast. Even Stanley Tucci and the Wardrobe’s actress were great choices. They really did a perfect job casting the side characters…but as for the main characters…

Originally posted by parkxiaowu

2. Dan Stevens as The Beast/The Prince:

This WAS perfect casting! I know they’ve altered the voice and distorted it to sound similar to the animated Beast. But seriously, the motion capture work on his face and his range of emotion are perfect here. It’s hard to believe, but I care more for his character as the Beast than the animated (for reasons below); plus, the main thing: He looks SO much better as the human Prince. From the opening to the end scene, he may be my favorite character, actor, and part of the film. Definitely a genius casting choice and excellent performance!

Originally posted by noplaceforsanity

1. All of the added scenes of Belle and The Beast learning about one another:

If I had one, minuscule complaint with the original Beauty and the Beast, it is that we don’t get many scenes of Belle and the Beast “falling in love” and getting to know one another. He saves her, gives her a library, and then they just sort of fall in love post-dance…obviously, it’s not a huge issue, since you’re pacing this out in movie format.

However, I feel this movie allowed more time for these two to connect. Also, they found common ground; first, with their love of literature, but second, with losing their mothers and how their father’s shaped who they were: The Prince’s with hate, and Belle’s with love. It was a beautiful duality and connection created between them and it helped to make the ending better and more satisfying.

Originally posted by partofyourtaleasoldastime

Of course, especially considering the movie is based on a staple of my childhood, it CERTAINLY has flaws, as noted below.

My Top 10 Dislikes of Beauty and the Beast (2017):

10. The obvious Enchantress:

I do like the twist of The Enchantress being Agathe, a character we see throughout the story…perhaps she’s keeping the magic strong? However, there are a lot of problematic elements of her being in the movie so much. For one thing, she saves Maurice, which is good, but then when Maurice confronts Gaston, she doesn’t do anything. She could have stopped all of our conflict! Also, at the end, while she shows up and it does make sense in a technical sense…she just vanishes. Belle doesn’t even see her…what was the point? In the animated movie, the spell was broken without her having to be there. Having her there didn’t answer questions; it created more! It just seemed awkward at times.

Originally posted by luuuuuke-evans

9. Gaston’s “post-war” blood rage?

While I appreciate them trying to flesh out Gaston’s character…this was their choice? He’s got post-war bursts of rage? I love how the animated movie treated Gaston just as the jerk-bro who becomes jealous and can’t stand that Belle chooses someone over him. Here, his villainous outbursts are “justified” by his post-war blood lust. It just seemed almost like a distraction and didn’t seem warranted for me. Gaston is a near-perfect villain. Let Luke Evans do a good job of playing him without trying to make him too complex. Gaston’s not smart enough for that.

Originally posted by luuuuuke-evans

8. The unnecessary additional songs:

Maybe I’m in a minority here, but I wasn’t crazy about the new songs. The Soundtrack of Beauty and the Beast is nearly flawless. Even the special edition with “Human Again” is okay. The Broadway songs they add…are okay. “Evermore” is not a terrible song (we’ll talk more about it below), but the song about “Sunny skies” and “Evermore” are not necessary to make the story better. If you wanted to include them in a “Director’s Cut,” that would have sufficed for me…I just didn’t see the need for them here…again, I’ll touch back on this point twice below.

Originally posted by jacobkowalskis

7. Don’t bring an arrow to a gun fight:

In the original, Gaston was a hunter, so it made sense he had multiple weapons at his disposal. It also made sense for the time period. And he hunted a lot of deer-like animals, so it seemed fitting that he would shoot an arrow at the Beast and then stab him with a knife….hunting tools for the type of game he hunted.

In this? We just full blown (literally) gun the Beast down. Gaston shoots the Beast three times in the climax. At the very least, he still uses a club like the original. It just seemed like overkill and to me, didn’t make as much sense as keeping like the original would have.

Originally posted by luuuuuke-evans

6. The rushed beginning and scenes out of place:

The opening, I loved; however, once that scene was over, the first thirty minutes seemed SO rushed! They rushed through “Belle,” then moved some scenes around, and quickly went through the reprise! There wasn’t the “wedding proposal” scene with Gaston and Belle! I did LOVE, LOVE, LOVE the reaction of Maurice and Chip, but there were little scenes that were skimmed over and rearranged that just seemed to rush the opening and didn’t let us the audience “settle down” into the film. It’s not until we’re at the scene of Belle running away from the castle that the movie starts to slow down. The editing of the movie in those places was a little disappointing to me.

Originally posted by alittlebiteverything

5. Lefou and the lack of controversy:

Okay, so the last week has been filled with news stories about how Lefou is the first openly gay character in a Disney film. It was a huge source of controversy…but….in all seriousness……you wouldn’t really know that watching this film. It’s clear he cares for Gaston, but the animated picture portrayed that as well. He shares two seconds with a male character at the very end of the movie in a brief dance…but that’s it. All that press and controversy for a tiny scene that seems inconsequential. Eh. Come on, Disney. Commit or not; don’t try to play up something that’s halfway even developed.

4. The Enchantress’s book:

I loved the extra scenes with Belle and Beast developing their relationship over the course of a few scenes. However, one comes out of nowhere and does nothing to the plot as a whole. At one point, the Beast shows her a book the Enchantress gave him as a “joke.” It is able to take them anywhere you think of; and Belle chooses the room she was born in, where her mother dies of the plague. While I DO love a few things about this: the fact that it connects Belle and the Beast more, and it explains what happened to her…it’s never used again. The book is just a one-time only plot device. The scene it was used in was SO out of place! I would have rather Belle had known why her mother died and just talked it out with the Beast than having used this forced book that logically doesn’t fit in with the story.

3. The Beast’s Song, “Evermore:”

I don’t dislike “Evermore,” I don’t…but…in the animated movie, when Belle leaves Beast, he is so heartbroken. He lets out a howl of despair, knowing his only chance of happiness has left him, potentially forever. Here, he immediately bursts into a Phantom of the Opera style musical number. Maybe upon reviewing, I’ll appreciate it. But I loved how the original was so organic and raw…this seemed almost too Broadway and too theatrical.

Originally posted by joleenalice

2. Emma Watson’s facial expressions vs. animated Belle:

I love the original because of the animation, mainly. The expressions and line work showed SO much emotion. Now, I like Emma Watson a lot as an actress. BUT, aside from the wolf scene on….her facial expressions are so subdued. This is most apparent in “Be Our Guest.” Belle in that musical number is in AWE! She is so excited, bewildered, and amazed…but here? She just smiles and watches the show. Granted, Emma Watson would have been watching a Green Screen throughout this; but STILL. She doesn’t even seem in shock or awe…and that I sorely missed in this film. Now, after the wolves attack Belle, Watson’s acting becomes more pronounced. I just wish she could have acted a little more in-character through some of the CGI numbers.

Originally posted by a-dreamers-universe

1. The cut out comedy:

When I asked my brother if he was thinking of seeing the movie, he asked about the fight scene at the end:

Brother: “Do they have the part where Lumiere burns Lefou’s butt? Or Cogsworth with the scissors?”

Me: “No.”

Brother: “What?! How could they?”

There is so much physical comedy in the original that works; here, and yes, I understand that it is “physically” impossible some of the things they do, I still was hoping there would be more of the original comedy. For example, Cogsworth taking Belle on a tour of the castle isn’t even in the FILM! “If it’s not baroque, don’t fix it.” SERIOUSLY.


Originally posted by cloudbender

THE VERDICT?

The original is near-perfect for me. Still today, it is the better film. If you love the original and are expecting a closely faithful adaptation; they try, but it’s a miss there, because some of the best parts are either condensed or left out.

If you love Beauty and the Beast, but you’re comfortable with them altering parts and want to see new additions to the story? You’ll probably like this!

The original is still better though. If you don’t want to spend the $10 at the theatre, just wait until the DVD or Blu-Ray comes out and watch the original in the meantime.

If you’ve never seen the original Beauty and the Beast? PLEASE watch that one first; it’s better. If you’ve already seen the live action one? STILL go view the animated version; you’ll appreciate it more.

Originally posted by partofyourtaleasoldastime

ok now that my meltdown is somewhat over i’m gonna analyze shots in the last jedi teaser, as well as stills and info they released

probably rey coming out of a vision

if you look in the background she still has the lightsaber. i’m trying to figure out what else is going on in the background though, what is the patterned thing on the right? the sole of her boot? if so what position in she in lmao

i really like this shot, the map is similar to holograms in the prequels and it’s good to see the resistance in a location that isn’t inexplicably overrun with vines

i really hope this is the result of a tantrum and not an undeserved redemption arc. there’s broken glass around it so idk… also it’s smoking

ok lmao did i not CALL the tree of time force tree having ancient secrets that rey would unlock. has there ever even been a physical book in star wars before

the jedi symbol presumably in one of the books although it could easily be from somewhere else and they’re just tricking us into thinking it’s from one of the books

whoever is perusing it is wearing gloves for some reason. i really wanna know what lore is going on here

this is PRESUMABLY rey with anakin’s lightsaber and luke watching… but some people have commented that the rock next to her looks like yoda is sitting on it

which would make no sense lmao like if it is him i feel like he should be translucent and glowing… that does call into question the person watching though

because that’s definitely not the outfit we’ve seen luke in. like obviously he can change clothes but we haven’t really seen anyone with that length of coat yet

;___________; i’m guessing this is from the VERY beginning of the movie. all i’m saying is they better have something really cool they’re hiding

ok at first i was gonna ignore this generic falcon flying/fighting shot completely but i realized… the fact that it’s in action at all tells us something. because it came to ahch-to with rey and chewie and now it looks like it’s… not there… i mean i guess that could be ahch-to on a nice day but idk. wherever it is it seems to confirm they’ll be leaving ahch-to which is great imo

i love this shot. aggressive and athletic. and is it just me or is she also not on ahch-to here? it seems like flat landscape… again assuming it’s anakin’s lightsaber. speaking of which his lightsaber has only featured in two movies in each trilogy so i’m assuming it’ll be removed from the picture in this one

another shot i like. definitely another flashback to the destruction of luke’s academy or whatever it was supposed to be

let’s lighten this one up first

in the tree, rey’s staff propped up against the wall. this also brings me to the AUDIO of the teaser

kyle: i only know one truth

luke: it’s time for

from a different scene, luke OR maybe someone else: the jedi

from another different scene, luke: to end

as dramatic and mysterious they’re trying to make this i’m not that interested because you know disney won’t end them so

ONTO the stuff we learned OUTSIDE the crappy trailer

first of all i just wanna remind you of this interview from a year ago

And besides, Ridley already knows who Rey’s parents are – and she doesn’t think it’s that big of a deal. “I think the amazing thing about [Episode VII] is that Finn and Rey don’t come from anywhere, and they find a place,” Ridley, who’s currently filming Rian Johnson’s Star Wars: Episode VIII, said. “So to me, it’s funny that people think it’s so important because I don’t really think it is.”

then during the panel yesterday they asked her “are you and luke related by blood” and she shook her head and the interviewer’s straight up like “ok no to that one”

THEN during this interview she says

and rey, i thi– obviously he doesn’t even know who she is when she turns up, like, with this frickin’ lightsaber that he’s not seen in however long

and during THIS interview she first of all said she thought it was already answered in tfa (which she has also said multiple times before), AND there was this from rian

interviewer: are we going to find out who her parents are?

rian: uhhh [high pitch] mmmmmm it’s

interviewer: you don’t have to tell me

rian: it’s, it’s something that is absolutely going to be addressed in the movie

interviewer: it will be addressed but there won’t be clarification?

rian [talking at the same time as the interviewer]: um there won’t be

rian: it depends on… i’m, i can’t say, i was about to say something, you almost got me!

like LITERALLY idk what else proof you need that she’s not related to anyone. the question was already answered in tfa. “[your family] are never coming back”. like rian is specifically saying it’s ADDRESSED, not that we’ll find out who her parents are, because we’ll never find out who her parents are. this is honestly becoming so annoying

moving on

THE BIG ONE

<3333 rose! ok so she’s a resistance mechanic… interesting… but there were rumors she did screen tests with mark hamill and when he came on stage the two of them seemed really close so i think those rumors are true! which is great because i’m so glad they’re leaving that damn island lmao. (if you don’t know my prediction is rey runs off on her own at the end of the first act so luke joins up with the resistance). another thing is how close mark and john seem so it would honestly make sense to me if he’s with rey for act one and then with finn, rose, and the resistance for act 2 and 3. i can dream…

anyway the same source that said she did tests with mark also said her role was “juicy” and it’s “subversive” for her to be not white so that’s interesting… obviously she wasn’t in the teaser and finn pretty much wasn’t either so idk their part could be really cool, hopefully i mean.

my prediction is that she’s a first order spy meant to bring finn back, but then she turns good while on the missions with him. because i’m not quite sure how her character could be so big and important if there isn’t something more to her

john filming with gwendoline adds more credence to the rumors finn will infiltrate the first order (with rose?)

daisy filming on a green screen set PROBABLY just means they did action stuff indoors for safety and secrecy but i also hope it means they go to cool cgi locations lol

i’m not even gonna do the poster cuz it sucks.

ANYWAY overall none of this contradicts my predictions but obviously finn was very absent from this all vs in my predictions he has a big role. so hopefully they’re just hiding it for now idk, i just need them to respect his position as the MALE LEAD who is equally main characters with rey. and for him to be a jedi k bye

Epic Movie (Re)Watch #127 - Chicago

Originally posted by the-color-of-rain

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) This film holds a lot of personal significance to me. I first saw it when I was 13 in one of the hardest months of my life. I was sick with pneumonia (diagnosed that day) and my great grandmother had just died, so the whole family was over because the funeral was that week. It was late and someone wanted to put in a movie so my dad pulls out Chicago. My mother was a little bit strangely strict about what PG-13 movies I could and could not see, usually forbidding more sexual stuff than anything else. So this was the most sexual film I had seen at the time and I had felt because of that, and the fact I was watching it with all the adults of my family, that I had been promoted to the adult table in some senses. I was really captivated by the music, the story, the moral ambiguity, it was just so different from anything else I’ve seen. I would not be Just Another Cinemaniac without Chicago. In some ways its as important to my film fan identity as Back to the Future.

2) The film opens with an extreme close up on Roxie’s (Renée Zellweger’s) eye, giving us our first inkling on how this is a musical in Roxie’s mind. But more on that later.

3) Note that we never see Velma Kelly’s (Catherine Zeta Jones’) face until she’s on stage giving a performance. This creates the feeling that Velma is ALWAYS putting on a performance.

4) Catherine Zeta Jones as Velma Kelly.

Originally posted by musemm

This film is pretty much perfectly cast, I think. 4 of its actors were nominated for Oscars, with another being nominated for a Golden Globe. Zeta Jones actually won her first (and to date only) Oscar for her role in this film, and for good reason to. She IS Velma Kelly. Zeta Jones is totally lost in the role, being able present all of Velma’s different qualities. Her showmanship, her rare vulnerability, her killer instinct, and it all just WORKS. You never EVER feel like you’re watching an actress. Zeta Jones IS Velma Kelly and as the first character we get a nice long look at, it is a great performance to start the film off with.

5) Hey, it’s Dominic West!

6) Renée Zellweger as Roxie Hart.

Originally posted by segel-sudeikis

Roxie is really the lead of this film, the character who we follow along and see the world through. The writing is really interesting. It would have been easy to start Roxie off as some innocent girl who made a mistake and goes on this big journey, but Roxie - despite whatever facade she puts up - is hardly some innocent girl. She readily and passionately has an affair even though her husband is a pretty nice guy (and not a “nice guy” where the guy acts nice but is really a jerk, but is actually pretty kind), murderers her lover just for being a jerk (there are better reasons to murderer someone), all while putting up this act like she did nothing wrong and is the victim. And I honestly think she believes it.

Renée Zellweger captures all these conflicting parts of Roxie’s character with true mastery. She also is able to handle Roxie’s transformation into a more cutthroat and determined creature with the same expertise. Like with Zeta Jones, you never feel like you’re watching Zellweger just giving a performance. She is - for all intents and purposes - Roxie. Originally Charlize Theron was cast in the part but after a change in directors there was a change in casting, and Zellweger had to learn signing and dancing for the film. It paid off wonderfully, as she was nominated for an Oscar for what is possibly her best role ever.

7) John C. Reilly as Amos.

Originally posted by mikewazowskis

John C. Reilly was also nominated for an Oscar for his performance in this film, and it is clear why. Amos is the only honestly good character in the film, and even then he is not without his flaws. He is not above losing his temper or being able to say when enough is enough when it comes to Roxie (you know, the woman who cheats on him, tries to have him take the fall for murder, and manipulates him in court just to get off). But - because this is Chicago - he’s the only main(ish) character to come out the other side being totally and utterly screwed over. There are some nice layers to Amos (mainly the loss of temper as mentioned above) and Reilly is just totally sincere in the part. It’s no wonder he was nominated for an Oscar.

8) This film sets itself apart from other movie musicals through the idea that the musical is all in Roxie’s head.

Originally posted by inlovewithaudreyhepburn

This creates a plausible explanation for why character’s burst into song and dance, allows the film to utilize some unique editing and art direction, and finally gives us a nice peek into Roxie’s head. This element allows us to see just how passionate Roxie is not only for the desire to perform but also the desire for fame. It also lets us know how she sees OTHER characters in the film (namely Billy Flynn, but more on that later). I think it is this key element that set the film up for such critical and artistic success, leading to its best picture win at the Oscars.

9) Danny Elfman provides a few nice instrumental pieces of score for the film which feel totally period Chicago. When you are adapting a popular musical such as Chicago adding extra music could be a challenge, but Elfman’s occasional score blends perfectly with the rest of the film.

10) Queen Latifah as Mama.

Originally posted by isabellenightwoods

Latifah rounds out the quartet of Academy Award nominated performances with her portrayal as Matron Mama Morton. I think it’s Latifah’s best performance. She is able to portray Mama as cooperative and a bit soft spoken, but still someone who deals with no bullshit from her inmates. She is as manipulative as any other character in this film, if not as in big a way. You often hear her tell Roxie and Velma EXACTLY what they want to hear knowing that it will lead to a big pay day for her. It is a crafty role which Latifah plays well, and her introductory song “When You’re Good to Mama” shows off not only this characterization but Roxie’s perception of her quite well. It also allows for Latifah to show off her impressive singing chops.

11) The Cell Block Tango.

Originally posted by queen-cii

Where do I even begin with this number? It is by far the most iconic and best part of the entire film. The filmmakers are able to use the idea of “the musical in Roxie’s mind” to create a visually unique and compelling number which is edited together seamlessly with the “real world” of the Cook County jail Roxie finds herself in. Each of the “murderess mistresses” is given enough time to create a unique character and create a sense of the world Roxie (and the audience) finds herself in at this time. I particularly find the use of ribbons to illustrate blood/murder wildly effective, noting that Hunyak’s ribbon (the girl who constantly claims she is not guilty) is white whereas the others are red. This suggest that she is - in fact - innocent.

It is also worth noting that while the first story starts off very much “I’m guilty, here’s what happened”, that by the time we get to the inmate who claims her husband “ran into her knife” ten times the stories have become more and more claiming of legal innocence. This is a trend which continues through Velma’s story, where she claims she blacked out after seeing her husband & sister having sex and came to with blood on her hands. We as the audience have actually seen NOTHING which contradicts this story, further creating a nice sense of showmanship within the film.

Originally posted by mymovieblogx

12) Okay, I am all for good female friendships on film and television, but I would be lying if I said the catty relationship between Velma & Roxie was not entertaining. I think this is a byproduct from good writing (with what we know about these characters, how ELSE could their relationship go?) and the wildly captivating chemistry between Zeta Jones and Zellweger. Their relationship is one of the key sources of conflict throughout the film and with those two actresses it just WORKS.

13) Richard Gere as Billy Flynn.

The number in Roxie’s head which introduces us to Flynn - “All I Care About” - is a pitch perfect example of expectations vs. reality. After what she’s heard about Billy (which isn’t much mind you), Roxie expects him to be this honest to goodness lawyer who only wants to save women from dying in by the noose in Chicago. What we get however is the craftiest, most manipulative skeeze ball in the film. So why is he so damn likable? Who is he comparable to the roguish Han Solo? Why do we root for him? I think that is all in Gere’s performance. It would be easily to play him as a disgusting slime ball but there is a charisma that Gere brings which I think elevates the character and the film. Originally offered to Hugh Jackman & John Travolta at different parts, Gere’s chemistry with the rest of the cast is great and although the film didn’t land him an Oscar nomination he did receive a Golden Globe for his work.

14) I think it’s worth noting that Roxie does not take too long to adapt to prison. Again evidence that she’s not as innocent as she wants people to think.

15) “We Both Reached For The Gun”

Originally posted by darker-than-light

I can never tell if this or “Razzle Dazzle” is my favorite number in the film, but I think for a visual standpoint it HAS to be this. This is once again where the conceit of “the musical in Roxie’s head” benefits the film GREATLY. The imagery of Roxie being a dummy operated by Billy to sell her story not reflects on their relationship in an incredibly clear way (as well as how Billy is literally using people) but also is just visually fascinating. Zellweger is a lot of fun during the number, and if you ever want to know why this film won the Oscar for best editing the year it was nominated just watch this scene.

16) The song “Roxie” when Roxie is at the top of her game is a great character study. It goes even deeper into Roxie’s desire for fame and admiration, a key quality in her character that drives pretty much all her actions throughout the film. It features gorgeous cinematography with its use of mirrors and presents us with Roxie’s ideal self. This ideal self is not a good person (not necessarily), but someone who is adored by her audience. If that doesn’t speak to who Roxie is as a character I don’t know what does.

Originally posted by barbara-stanwyck

17) A film is told in cuts, as in cutting from one moment to the next in as clean and clear a way as possible.

Velma [after Mama suggests she kisses Roxie’s ass to maintain some position]: “Over my dead body.”

[We cut to the mess hall, where Velma is seen smiling at Roxie]

Velma: “Mind if I join you?”

18) “I Can’t Do It Alone”

Originally posted by avengerassemble

Up until this point we have not seen Velma truly vulnerable. We have peeked more into who Roxie is as a character than who Velma is. That all changes with this number, which shows us that Velma is just as desperate for the spotlight as Roxie is. She NEEDS to stay relevant, she NEEDS the fame and the admiration, and only when it was too late did she realize that the murder of her sister took away one of the key things that made her so desirable to the world in the first place. This song is a fun number that adds nice depth to Zeta Jones’ character and shows off just how talented she can be with Velma’s vulnerability.

19) My heart broke a little when I saw Velma’s face after Roxie’s rejection of her.

And in that moment and that moment alone, I think I shipped the two of them together.

20) Lucy Liu’s glorified cameo as Kitty, the newest jazz killer in Chicago and the one who threatens to take away Roxie’s fame, is a perfect example of how easily Roxie can fall. But here’s the thing, Roxie is smarter than she appears. And more manipulative. It is her greatest strength that people underestimate her, so when she “faints” and mentions “the baby” everyone - from Velma to Billy - are all surprised by her.

21) I was a naive 13 year old. I didn’t understand that the doctor who said he’d testify that Roxie was pregnant had very clearly slept with her (hence Billy’s remark about his fly being open).

Originally posted by mulder-scully-gifs

22) “Mister Cellophane”

Originally posted by 80plays

Somehow this song not only shows us how ROXIE perceives her estranged husband as being someone who’s not worth caring about, but also makes Amos into a sympathetic character. He is not particularly whiny about the fact that he’s oft forgotten, he’s just a little sad about it. Reilly’s performance in the song is filled with soft sorrow and vulnerability we don’t always get to see from the actor, an honesty which carries the entire song on its back. It is a truly worthy number to be included with the rest of the film, with its Chaplin like art style and Reilly’s vocals, and I’m glad it made the cut.

23) In a lot of ways Chicago is a noir comedy musical. I say this for two reasons: Amos being kinda screwed over at the end, and the fact that Hunyak - the only innocent girl in the jail - is the only who is hanged. This also reminds Roxie of the fact that she IS on trial for murder and of the fatal consequences she could face.

24) “Razzle Dazzle”

Originally posted by barbara-stanwyck

If “We Both Reached for the Gun” is my favorite number in the film from a stylistic standpoint, then “Razzle Dazzle” is probably my favorite from a thematic one. Gere expresses Flynn’s belief that the courts are just a circus, simply entertainment to be manipulated, in a way which is just that: entertaining. I am always totally taken in by the song through its themes of craftiness, playful melody, and fun visuals. It is just a wonderful number which I love watching again and again.

25) If “Razzle Dazzle” doesn’t tell you how Billy sees the court system than this line will:

Originally posted by stilinska-archive

Hell, the non-musical court room scenes are in a lot of ways more dramatic than the musical ones.

26) This film had a song which was shot but not included in the final cut, one sung between Mama and Velma called “Class”. Still found on the movie’s soundtrack, “Class” had the pair discuss how the world seems to have gone to shit and how no one has any class. It was cut both for pacing issues and - largely - because it did not fit the theme of “the musical in Roxie’s head”. Roxie was at the court house and these two started singing after hearing about what was going on over the radio. It is a wonderful song but I think the film works better without it featured.

27) It took absolutely no time at all for Roxie not to matter. The press didn’t even want her picture after the verdict was read. Another killer, another star.

28) The final number of the film is a dual thing. The first of which is Roxie singing the song “Nowadays” on her own at an audition. The song is sad, somber, and lacks umph. This causes the directors to pass on Roxie. But when Velma and Kelly work together? When they’re able to work with their heat and chemistry and put on a duet of “Nowadays”? The umph is back and it is a wonderful number to end the film on!

Originally posted by damnafricawhathappened


I’m obviously biased through my own personal experience with the film, but I think Chicago is quite possibly the best movie musical of the 21st century (yes, even better than Les Miserables). The acting is incredible across the board, with Catherine Zeta Jones and Renée Zellweger being the obvious standouts. The concept of “the musical in Roxie’s head” allows for a musical which is unique and supports a wonderful art style. The songs are fun, the pacing and editing are great, and it’s a technical spectacle in its subtletly. Just a wonderfully entertaining film I think everyone should watch.

Kubo and the Two Strings

I watched it finally, after months of pining. I have so much respect for Laika because puppetry is witchcraft and my mind still can’t fathom that what she’s seeing isn’t computer animated. Also, the creepy moon warrior aunts are serious life goals. 

That being said, I understand why this movie didn’t win best animated film. Laika had a great idea. A beautiful idea. An original idea. Shamisen-wielding paper master takes on the moon kingdom? Like, yo, I am freaking here for this.

*clenches fist* But the writing.

Keep reading

Epic Movie (Re)Watch #94 - The Book of Life

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: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. #325.

Format: Blu-ray.

1) I watched this about a week ago - on the actual Day of the Dead - but didn’t have time to write it because I live in Chicago and the Cubs won their first World Series in 108 years. So my priorities were a little different than usual.

2) Anyone here a fan of “El Tigre”?

Originally posted by fire-miracle

Well the creator of that show - Jorge R. Gutierrez - was the writer/director of this film! Some El Tigre characters even cameo in the film’s opening, but you have to REALLY look for them.

Originally posted by oescafandronasociedade

3) The framing device of this film (a bunch of kids at a museum being told a story) is a classic fairytale/magical realism device that can be found in films such as Big Fish. It also gives the film a plot driven reason for it’s unique animation style (the characters looking like wooden figures).

Originally posted by -bawsten

4) This film has some really great humor.

Vendor Boy: “Churros! Churros! (A bird poops on the churros.) Frosted churros!”

5) I will talk about La Muerte and Xibalba as individual characters in just a second, but for now I want to focus on their relationship.

Originally posted by gifsbyrosie

I’m not overly familiar with Day of the Dead lore outside of this film, but I think the idea of having the ruler of The Land of the Remembered (La Muerte, everything good and wonderful in the world) and the ruler of the Land of the Forgotten (Xibalba, everything that is negative in the world) be lovers is a great idea. Their relationship is tense, volatile, and can be filled with conflict, but never is it abusive. Never is it hateful. You always get a great sense of love between these two and that’s what makes it work.

6) Ron Perlman as Xibalba.

Originally posted by clusterstruck

These two wouldn’t work so well together if they couldn’t stand on their own as characters. And the work so well in that field because of equal parts writing, character design, and voice over work. Ron Perlman is a regular collaborator of Guillermo Del Toro’s, the executive producer on this film, and has worked in a number of animated project before (including VP Lancer in “Danny Phantom” and Clayface in “Batman: The Animated Series”). Perlman brings a roguish charm to all his characters, even when it’s just his voice. He’s interesting, rough, and just likable! And he makes Xibalba all those things. You’re never particularly rooting against him, even though he’s technically the villain. You’re just entranced whenever he’s on screen.

7) Kate del Castillo as La Muerte.

Originally posted by beanarie

American audiences are not as familiar with Kate del Castillo as they are with Ron Perlman, although she is one of Mexico’s most acclaimed popular actresses. As Perlman does with Xibalba, Castillo brings genuine charm, likability, and charisma to La Muerte. As well as an added fierceness that lets you know this undead ruler can keep her own when head-to-head with her darker lover. You definitely get the vibe that La Muerte is the more dangerous of these two but also the kinder, and so much of that relies on Castillo’s performance.

8) Manolo, Maria, and Joaquin.

Originally posted by br0ken-5tring5

We first meet these characters and get a sense of their relationship as children, and it’s great. Yes Manolo and Joaquin both love Maria, but they’re friends first. ALL of them are friends! Later in the film Joaquin and Manolo remain friends even when vying for Maria’s affections, and they are friends with Maria before they are lovers. And I think it’s driven home by this statement from Maria as a child:

Maria [after Manolo and Joaquin fight over who’s she is]: “I belong to no one!”

They don’t belong to each other, they chose to be friends. They chose to be with together because they genuinely like each other. I love that.

9) A huge theme of this film is also seen in Maria’s, “I belong to no one!” line and that is the theme of being true to yourself.

Both Joaquin and Manolo have huge shadows they live in (a line which is actually uttered by Joaquin later): Joaquin’s dead father was a great war hero and Manolo’s father pushes him to be a bullfighter like all the men in their family have been. It makes for a unique conflict and a great message to kids of all ages: be yourself.

10) Maria as a character.

Originally posted by maria-magnolia2

You get a real sense of Maria as a character when we first meet her. Not only does she have the wonderful line, “I belong to no one!” but she also shows her placement of morality over societal values by freeing animals slated for slaughter. Her father sends her off to a convent to become, “a proper lady,” but…it doesn’t really work. At least, she doesn’t become his definition of proper. She is loving, kind, sweet, but fiercely independent and someone who follows her heart above all else. Zoe Saldana voices Maria, and breathes such wonderful life into the character you forget she’s acting. Everything about Maria just feel so real it’s amazing.

Originally posted by zoeesaldanaa

11) The decision to compose the film’s soundtrack from popular music recorded specifically for the movie (the mariachi version of “I Will Wait For You” being the earliest example) as well as original songs composed by Paul Williams is a great one. The copyrighted songs never feel out of place and don’t distract from the plot, instead playing perfectly into the emotion of the scene. And the original songs are made for the moments which are purely story and pure character, so they could not possibly be represented by something which was already written because this story hasn’t existed before.

12) Manolo!

Originally posted by annika-renina

All the characters in this film are written with such life and depth that lead character Manolo couldn’t POSSIBLY be an exception. He has skills as a bullfighter, but is deeply conflicted by his duty to his family and his duty to his heart. But it’s all guided by love, something with is illustrated by the inscription on his guitar (a gift from Maria, nonetheless): “Always play from the heart.” It is Manolo’s defining characteristic and defining struggle: that he wants to be himself, not his father or anyone else.

Diego Luna just…ugh! So I’ve seen Luna in small roles before (The Terminal, Elysium) but this film makes me a HUGE fan of his! I’m really looking forward to his role in Rogue One BECAUSE I loved his performance in this film so much. Manolo sings more than any other character in the film, and Luna infuses each song with such sincerity and warmth it is nearly impossible not to fall in love with his performance as Manolo. And he treats each line of dialogue the same. Like Saldana as Maria, you don’t feel like you’re listening to an actor. You’re listening to Manolo.

Originally posted by luna-diego

13) Grandma is hysterical.

Grandma Sanchez [after Manolo refuses to kill a bull]: “Kids today, with their long hair and no killing stuff.”

Grandma Sanchez [after Manolo’s father says everyone in their family was a great bullfighter]:

Originally posted by grumblepie

“A BEAST!”

She doesn’t have many lines but very nicely embodies the film’s wonderful characters and humor.

14) Manolo’s Father, Carlos.

I have seriously MIXED feelings about Carlos, and I think you’re supposed to. He shows a genuine desire to do the best for his son, he just doesn’t actually KNOW what’s best for his son. He pressures him into being a bull fighter because it’s the Sanchez way, and when Manolo expresses dissatisfaction with this his father shames him into doing it.

Carlos [to convince Manolo to be a bullfighter]: “Don’t you LOVE your family?”

(GIF source unknown [if this is your GIF please let me know].)

(PS, I find this line to be the sign of an abusive relationship but maybe that’s just me.)

BUT Carlos has genuine moments of love with his son. He encourages him to tell Maria how he feels, he comforts him when he’s missing his dead mother, he actually LOVES Manolo. Hector Elizondo’s performance and the writing gets this across in a great way, and I think the film is better for it.

15) Channing Tatum as Joaquin.

Originally posted by fwankcastles

I do have to say of the trio of friends, Channing Tatum’s Joaquin is probably the weakest link. BUT that’s like calling one of The Lord of the Rings movies the worst in the trilogy: it was still nominated for best picture! I think it’s definitely because you know Joaquin is the third wheel, you know that Maria loves Manolo, and so it’s hard to get behind it. And you just can see that although they’re great as friends they wouldn’t make a good couple (despite Joaquin’s hopes to the contrary).

It would’ve been easy to write Joaquin as a jerk. And although he can be a bit pig headed here and there, you understand that he’s a genuinely good friend who truly cares for Maria (even though they’re not a great fit). Tatum brings a lot of this to the role, and even though I believe he’s the only non-Hispanic actor playing a decidedly Hispanic character (Ron Perlman gets a pass because Xibalba is an otherworldly creature) he has the same warmth and sincerity as Luna and Saldana have. It’s a nice way to round out the trio of friends.

Originally posted by jumpstmovies

16) I can’t tell if this joke is stupid or hysterical.

Pepe [when he and his brothers are in danger]: “I’m allergic to dying!”

Pancho: “Especially in the face!”

Originally posted by idiot-eden

17) Joaquin’s biggest failing is probably that he buys too much into societal values, and his society’s values are…sexist. He is surprised that Maria reads, expects her to be a doting housewife (as all the high up men do), and that’s not what his heart wants it’s what he thinks should be.

18) “I Love You Too Much”.

Originally posted by odazais

This is the song Manolo sings to express his feelings for Maria, and it’s beautiful. Paul Williams has crafted a quiet, loving melody which pulls at your heartstrings and is sung beautifully by Diego Luna. I think it’s my favorite song in the film and one of the best love songs I’ve ever heard.

19) Maria is awesome, if that hasn’t been made clear already.

Maria [stopping a kiss after Manolo’s song]: “Did you think it was going to be that easy?”

She’s not the girl who falls head over heels for someone just because they sang to hear. It’s appreciated, but there needs to be more than that. I love it!

20) This film never subscribes to storied cliches. It’s not like Manolo can’t be an idiot too, as noted when he and Joaquin start to fight over Maria (which she has shown to never truly appreciate).

Originally posted by lolitajohnadams

Maria: “You two are acting like fools.”

Manolo: “Wait, me too?”

You mean me, the nice guy romantic lead, is actually making a mistake? What kind of movie is this? (Hint: a great one.)

21) How long must it have taken to put out all those candles?

Originally posted by mariaymanolo

It shows devotion on Manolo’s part. As will the rest of the film, honestly.

22) One of the conflicts in this movie that gets me going the most is how unfair everyone is to Manolo. When they were children he stopped a wild boar from hurting people, but Joaquin got credit because he saved the mayor. As adults he’s ready to fight off bandits without a magic medal, but Joaquin gets credit because he does fight them off WITH a magic medal which protects him from harm. And when Maria dies from a snake bite everyone blames him. He’s not the snake! He didn’t bite her! So bug off!

23) My brother and I laughed so hard after we heard this line:

Student [after Manolo dies]: “What is it with Mexicans and death!?”

The only reason that line isn’t racist is because it was written by a Mexican in a film directed by a Mexican which is produced by a Mexican. So it’s okay to laugh.

24) The Land of the Remembered!

Originally posted by lolitajohnadams

Originally posted by lolitajohnadams

The Land of the Remembered is when this film’s visual style really takes off. Gutierrez’s imagination and the animation department’s skill bleeds through every scene in this wonderful place and it really pulls you into it’s world magnificently.

25) I mentioned in my Nightmare Before Christmas recap that Burton and company did a good job of establishing minor character with small introductions, and The Book of Life (although not Burton) follows in that tradition when we meet Manolo’s family.

Each family member - from the brutish Carmelo (voiced by the film’s director) to grandpa Luis (voiced by Danny Trejo) - is given a unique character with just a few seconds of screen time and dialogue which carries through until the end of the film. It works wonderfully.

Originally posted by lamuertes

26) This freaking line, after Jorge is established as wanting to have been a singer.

Originally posted by dukespook

Manolo [after the two laugh about it]: “They crushed our dreams. Hilarious!”

Originally posted by yourreactiongifs

27) Manolo’s Mother.

(GIF originally posted by @lamuertes)

Immediately there is a difference in what is expected from Carmen Sanchez (his mom) and what there is.

Manolo: “And I became a bullfighter, just like you wanted.”

Carmen: “Me? Are you crazy?”

It turns out Manolo’s father saying his mother wanted that was…uh…wrong, to put it mildly. It’s a nice juxtaposition which establishes her as a character and not just a plot device.

28) Dude, I love this dialogue.

Xibalba [after Luis says La Muerte would never hand over her kingdom]: “She lost a bet.”

Luis: “Oh. She would do that.”

29) You get a lot of Manolo’s tender side and playing from the heart, but it’s easy to forget that he’s still a headstrong Sanchez boy. He still has the fierceness of a bull fighter, even if that’s not what he wants to do. And we see this particularly when Manolo threatens to expose Xibalba. That may not be the smartest move, but it is fierce.

30) Did I mention this dialogue and humor is awesome?

Luis [after his body is knocked away from his head]: “Hey, my arthritis is gone!”

31) The Candlemaker

Originally posted by thenugu

The Candlemaker rounds out the trio of immortals here, and falls in the middle. He is not about the Land of the Remembered or the Land of the Forgotten, he creates the candles (each candle representing a life). He is this big ball of happy childlike energy which is just fun to watch. And who’d they get to place this super upbeat and positive guy with hope and optimism dripping from him?

Originally posted by hiphop-community

It’s a nice change of pace from Ice Cube’s more hardboiled characters to see him play such a wonder filled creature, and to do it so well too! His voice work stands up there with the rest of the cast in that you never think you’re listening to Ice Cube, you’re just watching the Candlemaker. It’s great.

32) ALL THE LADIES IN THIS FILM ARE FIERCE AS HELL!

  • Maria’s fierceness has been established above.
  • La Muerte getting pissed when she finds out Xibalba cheated on the beat is fierce!
  • MANOLO’S MOTHER SLAPS XIBALBA AFTER SHE REALIZES HE KILLED HER SON!!!

Originally posted by jeunetrentenaire

It’s a lot of fun to watch.

33) The final fight before Manolo can return to the land of the living is born from a wager he makes with Xibalba (he’ll face whatever challenge is thrown his way and win).

Xibalba: “What, do tell, is your worst fear?”

And then we get this:

Originally posted by littlechinesedoll

But it turns out his greatest fear isn’t killing the bull, it’s being true to himself. This ties into what I mentioned earlier: Manolo’s defining characteristic and his struggle are the same in that he wants to be himself. And we get a wonderful song to tie it up, of the same quality as “I Love You Too Much” and it is simply called “The Apology Song”. (Manolo’s father, who’s dead at this point, said that a Sanchez never apologies but after the fight is incredibly proud of his son.) It’s a nice character climax for Manolo before we get the final fight of the film.

34) When you have no idea this is coming, it’s the funniest line in the film.

Originally posted by museelo

(GIFs originally posted by @museelo)

35) I give massive credit to the filmmakers for the way they handled Joaquin. He and Maria are set to be married now that Manolo is dead, and he knows Maria doesn’t want it so he’s about to talk to her about it before the town is attacked by bandits. Joaquin could have easily been some Gaston type but instead we got a sincere, honest character who deepens the conflict of the film.

36) This freaking movie…

Originally posted by stevenscrivello

(GIF originally posted by @stevenscrivello)

37) The entire final fight of the film is wildly fun to watch.

Originally posted by kathon

It’s well paced, well choreographed, brings in all the characters we’ve met so far (living and dead), gives us a nice “dance” with Manolo and Maria, is filled with nice character moments, good humor, and has Joaquin decide he’s going to be his own man and try to sacrifice himself for his friends (it doesn’t work, he survives). It’s a great climax to the film.

38) “No Matter Where You Are”, the final song in the film, is a great ball of energy and love. But more than that, it let me know something I didn’t before…

Zoe Saldana can REALLY sing!

Originally posted by lghtmgnt

Just thought I’d share.

39) The final reveal, that Christina Applegate’s tour guide and the security guard are really La Muerte and Xibalba, is in classic tradition of magical realism and fairytale stories. It’s a nice ending to the film.

Originally posted by good-goodbye


The Book of Life is great, and truly under appreciated. It’s representation of Mexican culture is unique in the animated film landscape, and gives the film a unique visual and musical style. The acting is topnotch, and you can feel through the writing/directing/character animation that it is truly a labor of love for all those involved. A great film which everyone should see.

Up next: Alice in Wonderland (1951)

Runaway (1/1)

Summary: After Trini runs away, it caused a rupture in the Rangers’ friendship. Now 6 years later, Kimberly and Trini unexpectedly meet.

AN: Slight Jason and Kimberly but ya know… Trimberly

Read at FF Ao3


The night the Rangers graduated high school, they had set up camp and drank alcohol near the fire and under the moon.

“Happy Birthday to you!” The group ended the song. Kimberly held the cake in her hands in front of Trini. Trini looked behind the candles into Kim’s smiling face.

Trini blew the candle of her yellow cake that Kimberly herself made.

“What did you wish for?” Kimberly placed the cake on top of the folding table that Jason had brought. “Cut that for me, babe” Kimberly told Jason.

Trini shrugged her shoulders, “I guess for our friendship to last… no matter what happens” Trini gave her traditional smirk to the group. Kimberly smiled and she hugged the youngest Power Ranger.

“Always” Kimberly whispered. Oh, how Trini wished this hug wasn’t platonic. Kimberly broke the hug, “Alright guys, I actually got gifts for everyone.” Kimberly grabbed her bag and took out 5 white boxes. The group huddled around the fire.

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rollingstone.com
How 'Legion,' 'The Ticket' Star Dan Stevens Became the Man of the Moment
'Legion,' 'Beauty & the Beast' star Dan Stevens takes over the art-house with indie drama 'The Ticket' – how the ex-'Downton Abbey' star has won 2017.

Dan Stevens is having a bit of a moment. In February, you could see him Legion, FX’s stellar, must-see Marvel TV series in which the 34-year-old English actor plays a troubled young man who, despite having lived in a mental institution since his teens, discovers that he’s not really schizophrenic. (The bad news: He’s actually an all-powerful mutant, wanted by the government and controlled by a vicious parasite living inside his mind.) A month later, you might waltz down to your local multiplex and detect Stevens under lots of fur, playing the menacing, melancholy monster in Disney’s live-action version of Beauty and the Beast. And this week, you can head down to your friendly neighborhood art-house theater and see him in The Ticket, an indie character drama about a blind man who inexplicably regains his sight. Factor in small supporting parts in both skewed rom-com/giant-monster movie Colossal and the Richard Gere vehicle Norman, both hitting theaters in the next few weeks, and though it’s only April, the former Downton Abbey heartthrob seems well on his way to winning 2017.

From how to make a psychedelic superhero show to confirming that Aubrey Plaza is a rock star, our takeaways from a kick-ass first season

But during a phone interview, he says he has a hard time looking at this year as some sort of grand, preplanned breakthrough. Really, Stevens insists, it’s just how circumstances worked out. “A lot of things I’ve been working on over the last few years happen to be coming out at the same time,” he demurs. “I did The Ticket four years ago; Beast was created two years ago; and we shot the Legion pilot almost a year ago to the day. It’s amazing how these [releases] sometimes coincide.”

Working in British theater and television for years, Stevens kept building up his resumé. He was then cast in a period drama that writer-director Julian Fellowes was developing in 2010, a multi-narrative about the masters-and-servants relationships in an English estate. Quicker than you could say “upstairs, downstairs,” Downton Abbey became an unexpected pop cultural phenomenon and his caddish-to-compassionate character Matthew Crawley became a fan favorite. In 2012, Stevens left the popular PBS show  — his character died in a car crash — and he and his family made the trek to New York. Soon, he was appearing on Broadway alongside Jessica Chastain in a Tony-nominated revival of The Heiress. “Jessica was having a similar moment back then,” he recalls. “I think she had seven films that she’d been working on the previous five years come out in one year. So it’s been great to know her and have seen her go through this. It helps.”

Some noticeably non–drawing-room-drama roles followed that garnered Stevens attention – a psychotic soldier in The Guest, a cross-dressing writer in the cult Web series High Maintenance. 

But it was the play that put him in touch with director Ido Fluk, who had been developing a script, inspired by the 2008 economic meltdown, about a blind man whose regained sight activates a materialistic side that leads him to become a predatory success at his real-estate company. After seeing Stevens in The Heiress, the filmmaker knew he had found his star. “When you meet Dan, you realize he’s an incredibly smart person,” Fluk says, adding, “Do you know he was a judge on the Man Booker Prize [in 2012]? What actor do you meet that also has done that?”

“Ido was one of the first directors I met when I got to New York who seemed genuinely excited to collaborate on something,” Stevens says. “It’s a wonderful thing to find that. … I just immediately thought [the script] was one of the most beautiful things I’d ever read. It was almost like a dark fairy tale — it had a real fable quality to it.”

Gloom-flecked fairy tales have been his specialty of late. Even though they were made far apart, it’s hard not to see connections between his work in Legion, Beast and The Ticket. In all three, he plays characters who dance between the shadow and the light — there’s a dark side within these people that cripples them. Sometimes that monstrousness is of their own making, as with his cursed Beast; in Legion, it’s an external evil that his reluctant superhero must battle to the death. When it’s suggested that his Ticket character is also someone who goes through a transformation — from a good soul to a morally bankrupt one — Stevens objects passionately.

“Ido and I really enjoyed this almost taboo idea of ‘What if he actually wasn’t all that great a person before the movie?’” he responds. “It’s interesting that you see this person as going from a nice guy to an awful man. You know, there’s not a huge amount of evidence that his relationships were necessarily that happy beforehand. It’s interesting that people immediately leap to the conclusion that the blind man must be the nice guy. Playing with that taboo felt very alive, very dangerous.

"It’s almost like we shouldn’t make assumptions about anybody,” he adds  with a sarcastic laugh. “It’s a good thing to look around and question a few things – it’s a healthy instinct.” (Asked if that extended to the notion of recasting Josh Gad’s LeFou in Beauty and the Beast as gay, a concept that has caused more controversy than its creators probably intended, Stevens replies, “You know, like a lot of things that people get whipped up about online, [it’s] neither one thing or the other. It certainly made Josh’s character a little more interesting than he might otherwise have been.”)

If Stevens himself has a dark side, he’s done a superb job concealing it from his costars. “There’s a certain level of absurdity to our show, and Dan can really tap into that,” Rachel Keller, his Legion costar, says; she cites the scene in which the two halves of his character’s brain, one of which speaks with a British accent, argue with each other. “He can be very focused, very intense – and then he’ll spot a neighborhood bookstore, get wide-eyed and jump around a little bit: ‘Can we go in there?!’” She laughs. “That actually happened.”

His hot streak has left him very much in-demand. He’ll be part of The Raid filmmaker Gareth Evans’ new Netflix thriller Apostle with Michael Sheen and Lucy Boynton, and another season of Legion beckons. You’ll forgive him if it’s all a bit of a blur. “Somebody made me aware that it’s been five years since I was cast in The Heiress,” he says, almost surprised. “So that’s an interesting five-year sort of chapter-marker right there with the release of The Ticket, Beauty and the Beast and Legion – it’s been five years since I came to the States.”

He takes a minute to reflect on how his life has changed in that time span, remembering where he was when he started the smaller of the three projects. “I walked onto that set straight from the set of Night at the Museum 3,” he recalls, “which was my first big studio [film].” Stevens laughs. “I was Sir Lancelot – this sort of mad, bluff idiot, this giant character.” So from Lancelot to Legion – is this his moment? “It has been an interesting few years,” he admits, before cackling loudly one last time.

diesintheshower asked:

Can you do one where (y/n) is a new character on the show but the fans don’t really like her and that makes her sad.

This isn’t the greatest, but im proud of it. I hope you like it @diesintheshower i did my best.

If anyone wants to be tagged in future posts, or wants to send in requests my inbox is always open. <3

Originally posted by stayclassysupernatural


It was every Supernatural fans dream to be on Supernatural, even if it was just a small role. Everyone wanted to be on Supernatural, but for you that dream was a reality. But reality was no where as good as you had dreamed. 

When you were a kid you had acted in a few things, a commercial here a Disney show there. But they were always minor roles. So it came as a huge surprise when you auditioned for a small role on Supernatural, but instead they gave you a huge role instead. Instead of a one time role, you managed to get cast as a recurring character. They cast you as Sam’s daughter, that he had had fourteen years ago with someone, before he met Jess. 

The writers thought it would be a great idea, they wanted to bring a side of Sam out that they had never shown before. But the viewers didn’t like it as much as the writers thought they would. Just because the fans hated your character, apparently they also hated you.


Getting to film with Jared and Jensen and Misha was a whole new experience for you. These guys had been acting for longer than you had been alive, it was scary acting next to them because they were so good, and had so much experience. You learned after the first day they were anything but scary, they were big giant goof balls that loved to mess with each other. Your first episode would be airing tonight. Never in your mind would you have thought that the response you would get from the episode would be so negative.


After your last scene of the day Misha came up after and told you, 

“Since this is going to be your first episode tonight, we’re going to be having a party in Jensen’s trailer.” 

“Does Jensen know were having a party in his trailer? Last time you invited us to watch something in Jensen’s trailer he was asleep, and didn’t know we were coming over. My innocent eyes saw to much that night.” 

Misha snorted “Innocent eyes, you are the least innocent person here. You just try and act cute and harmless but I’m not stupid. I know the truth.” You batted your eyes at him, giving him puppy eyes. “Stop giving me that look, also yes Jensen does know that we are having a party in his trailer. He just doesn’t know that I’m ordering five pizzas off his credit cart.” Laughing you told him you would see him later tonight, and to make sure to order sausage pizza or you weren’t coming.


Because of the small roles you had been in the past you had a small following on social media. Before you headed off to Jensen’s trailer you tweeted a picture of you hugging Jared with the caption, “Pranking Jensen, laughing at Misha, the family business.” You posted it, plugged your phone in, because it was almost dead. Than left for Jensen’s trailer, excited to see your first episode. 

Opening the trailer door, you smelled pizza. You rushed inside to make sure you got some, knowing how fast these guys could eat. Scarfing down pizza you heard Jared laugh than say,

“Kid slow down, there is more than enough pizza here for all of us. And i don’t think Jensen would appreciate you puking all over his trailer, he has enough of that at home right now.”

You swallowed, looked up at Jared and than took as big of a bite as you could, mumbling, “fight me Jared,” around the food in your mouth.

Jared sighed, “kids these days.”

You took your shoe off than threw it at him, 

“Alright children please calm down the show is about to start, and i would like to watch it in peace.” 

You mouthed to Jared that it wasn’t over, before going back to your pizza when Jensen gave you a stern look. Hearing the show start you felt your nerves go away, you couldn’t wait to watch it.”

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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.

‘The Walking Dead’ Postmortem: Norman Reedus Breaks Down that Carol and Daryl Reunion
Photo: AMC

Warning: This interview for the “New Best Friends” episode of The Walking Dead contains spoilers.

Save those “Caryl” shippers who are still waiting for The Walking Dead to make that fantasy a reality, Sunday’s reunion between friends Carol and Daryl was pretty much everything a TWD fan could want, from the emotional greeting to the shared meal, the teasing, and Daryl making an incredibly unselfish decision to protect the humanity of this woman he cares so deeply about.

Norman Reedus is currently filming the second season of his AMC motorcycle road trip series Ride with Norman Reedus,but he took time out to talk to Yahoo TV about the big reunion, about why Daryl is so angry and focused on making a war with the Saviors happen, about his fondness for a certain wild animal, and what makes the upcoming Season 7 finale unlike any season ender the show has ever done.

Related: ‘The Walking Dead’ Postmortem: Scott Gimple on the Junkyard Group, Daryl’s Deception, and More

Daryl is so angry. Rick and Michonne have gotten to a hopeful place, but Daryl is not. He wants to still kill every single Savior as soon as he can. How much of that is motivated by what they’ve done to the group, what they’ve done to him after they kidnapped him, and his own guilt about Glenn?
I think he’s very focused right now. He wants revenge, and he can’t do it alone, and now that he’s back with his group, and everybody’s on the same page, and Rick’s ready to fight, he’s motivated. I mean, eye of the tiger, no pun intended right now. He’s very headstrong, and he wants to do what he thinks needs to be done. Rick leaves him in charge to talk to Ezekiel and try to convince him, but he quickly realizes Morgan has Ezekiel’s ear, and he has to convince Morgan to man up and get him to fight with us. Morgan and Daryl haven’t had very many scenes together, me and Lennie [James], so I liked doing those scenes. As well as being back together with Carol. But yeah, Daryl’s, he’s pissed. He went through a lot of suffering. He’s never going to get over Glenn. That’s never going to happen. Glenn wouldn’t want him to give up, either. Glenn would want him to get revenge and fight for his people, and that’s exactly what Daryl’s going to do now.

Related: ‘The Walking Dead’ Recap: ‘Someone Showed Me Enemies Can Become Friends’

He also had to deal with the immediate aftermath of the deaths alone; everybody else at least got to be together and try to get through it, but he was stuck at the Sanctuary. How much of that is fueling how he’s just kind of raw? 
Very raw. When they first took him, and they put him in that jail cell, he kind of just let it happen. He didn’t even fight it. He was like, “I deserve this… this is where I deserve to be.” And he let himself get pushed around. As much as he was suffering, he wasn’t fighting back at all, and after a while, especially looking at that Polaroid of Glenn, and having that time alone to think about it, he’s like, “Man, Glenn would not want you to end this like this. This is not how this is going to end.” He did everything to get out of there, and he got out of there. He went back to his people. Coincidentally, they’re ready to fight, too, and maybe that has something to do with it, you know, handing Rick back his Python. Now, the whole group is ready to go, so that’s where Daryl’s at, too. He’s like, “Smash, right now.” You know what I mean? “Hulk, smash!”

Photo: AMC

He gets a new crossbow, which is great, and it looks like he might have found a new partner for all of them in this quest to knock out the Saviors. Richard has a plan. It’s maybe a good plan, until Daryl starts to realize that this person in the cabin he’s talking about sacrificing is. Carol.
He wasn’t going to let that happen. He’s always wondered where the hell Carol was, you know, especially after all of this. I mean, I hit Richard like 50 times. I don’t know how many times made it to the final cut, but like, Daryl beat the s**t out of that guy for like 10 minutes. So, yeah, once he started realizing this might be her, there’s no way he’s going to let this guy do this.

Related: Meet Cooper Andrews, the Man Behind ‘Walking Dead’ Fan Favorite Jerry

You and Melissa [McBride] hadn’t filmed together for a while, because of how everyone was scattered in the first half of the season, so it must have been a fun and happy reunion as co-stars, not just as the characters.
The first half of [Season 7] was hard for all of us. We weren’t with our group. We didn’t see our friends every day. You know, you build this thing from day one, and you fight with these people, and there’s a very real thing. These characters fighting to stay alive, and then there’s also the very real equivalent of these actors from day one starting this show, and fighting to keep this show great. All those moments are very real. There are certain actors on this show that, when I work with them, I’m thrilled, because I know them so well, and they know me so well. The first rehearsal of Carol at the door, we were both bawling our eyes out. It was ridiculous. They’re like, “Too many tears.” Like we’re just, “Waaaaah!” It’s all very real for us, so it’s nice to be able put those things back together, and hopefully we’ll keep going in that direction.

Photo: AMC

They’re very emotional, very happy to see each other, but then Daryl breaks the hug first, and his voice is shaking when he asks her, “Why’d you go?” Is there a little anger in him at Carol for leaving and not telling him that she was leaving, or telling him why?
It’s more like a little kid whose mom left. More like that.

We assume Daryl is going to tell her about Glenn and Abraham, and what the group is trying to put together to go up against the Saviors. He doesn’t. What is the specific thing that makes him spare her the truth?
Well, he’s watched her go through this struggle for a long time, and although he hasn’t seen her for a minute because of where they’ve been, he knows her very well, and those characters know each other like the back of their hands, but he decides to do a very selfless act and tell her what she needs to hear to keep going, because if you lose yourself after everything that’s gone down, what’s the point? He realizes that’s what she needs to hear, and he cares about her so much that he lies to her.

This reunion shows their relationship at a new level. A lot of fans have been waiting for a Daryl/Carol romance, but the way they react to seeing each other, and the sacrifice he makes in not telling her the truth… their feelings for each other are kind of beyond just romance. It’s a deeper thing.
It’s deeper than that. And it’s the deep ones that stick, you know what I mean? It’s deeper than that, their relationship. It has been from the beginning, and it’s just gotten deeper, and deeper, and deeper. You can’t deny that connection, but you’re right. Especially in this world that we’re living in, this end of the world, there’s nothing else left.

It’s inevitable that she’s going to find out the truth. Do you think she’ll be angry with Daryl for lying to her?
I was thinking about that after we shot that. I was like, “I bet she’s thinking, ‘I f***in’ knew you were lying. I could tell you were lying. I know you so well.’” But I don’t think she’s going to hold it against him. I think she’s going to think it’s a sweet thing that he did. You know what, to tell you the truth, I don’t know how that’s going to play out, and that script, it hasn’t been written yet, and that story hasn’t been told to me yet, but knowing Carol, I think she’s going to be like, “Yeah, I could tell you were lying, you big liar.”

We see Daryl bond with Shiva. He’s kind of The Tiger Whisperer with Shiva.
I want that tiger. I really want it.

His fondness for Shiva, along with Carol telling him she thinks Ezekiel is an okay guy, seems to soften Daryl’s initial judgment that Ezekiel is an idiot for not agreeing to work with Rick’s group right away. Will that help him have some insight into how to try to change Ezekiel’s mind?
Well, I don’t think Ezekiel’s in Daryl’s good graces by any means, and I don’t know that Daryl trusts Ezekiel. I mean, he sees this guy doing this big clown outfit thing, and he’s over the top, and he’s doing this Shakespeare thing in this zombie apocalypse world, and Daryl’s kind of like, “Who is this dude?” But, you know, if Morgan trusts him and Carol trusts him, then Daryl will trust him. I still think he wants his tiger, but… I don’t know yet. I don’t know Ezekiel. Then Rick leaves me there to talk to Ezekiel, and we realize that Morgan has Ezekiel’s ear. Morgan, too, is kind of going through the same thing that Carol’s going through, like, “I don’t want to fight. There’s gotta be a better way,” and Daryl does not come from that point of view, but he’s gotta convince Morgan to fight, too. He gives him a real man to man talk like, “You gotta step up. We need you, and what you think you’re doing is not what you’re doing.” I think we all know that if we need Carol, Carol’s going to show up. She’s saved our ass multiple times, so it’s not that. But, as far as Ezekiel goes, Daryl doesn’t know who this dude is, with this outfit.

Everybody’s describing the season finale as this dramatically different, crazy episode. How would you describe it?
Very different. I mean, we’ve never done a finale like this. You know how this season started off, and it, you couldn’t get any more grim. Maybe the tide’s changing a little bit. Starting from [“New Best Friends”], the season starts to feel like us again. The whole first half of the season, all I did was like, “What the f***? Why is this guy walking around carrying my clothes?” I’m like, “This sucks, Scott [Gimple].” And he was like, “It’s supposed to.” And I’m like, “Damn it. Way to mindf**k me.” But it was supposed to be painful for the viewers as much as it was painful for us, because you have to knock these heroes down lower than they were before for them to rise up and like be heroes again. That’s essentially where we’re headed.

The Walking Dead airs Sundays at 9 p.m. on AMC.