#2022 my tom cruise era for sure

[below-average-fangirl]

I posted 2,786 times in 2022

That's 2,079 more posts than 2021!

625 posts created (22%)

2,161 posts reblogged (78%)

Blogs I reblogged the most:

@below-average-fangirl

@cheesybadgers

@hcrogasm

@indifferentvincent

@laikawriter

I tagged 2,340 of my posts in 2022

Only 16% of my posts had no tags

#tom cruise - 647 posts

#top gun maverick - 355 posts

#pete maverick mitchell - 160 posts

#ethan hunt - 135 posts

#mission impossible - 130 posts

#mike wozniak - 93 posts

#taskmaster - 85 posts

#top gun - 85 posts

#the mummy 2017 - 83 posts

#stacee jaxx - 76 posts

Longest Tag: 139 characters

#so whenever he did even the slightest thing that was considered bad he was made to feel worthless which is why he questions himself so much

My Top Posts in 2022:

#5

Ask game based on the questions from the podcast Films to be Buried With [x]. 

1. What is the first film you remember seeing?

2. What was the film that scared you the most?

3. What was the film that made you cry the most?

4. What film is TERRIBLE but you love it?

5. What is the film you once loved but watching it now you realize it’s terrible?

6. What is the film that means the most to you? Not because of the film it’s self, but because of the memories, you have of it.

7. What is the sexiest film?

8. Which film do you most relate to?

9. Which film is objectively the greatest ever?

10. Which film is the one you’ve watched the most?

11. What’s the worst film you’ve ever seen?

12. What is the film that’s literally made you laugh out loud the most?

221 notes - Posted August 23, 2022

#4

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277 notes - Posted September 8, 2022

#3

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337 notes - Posted September 15, 2022

#2

I'm halfway through Tom Cruise's filmography, and one aspect of his acting which stood out to me is that he's unafraid to show vulnerability on screen, be it fear, silliness, or embarrassment, i.e.

- Jerry Maguire face-planting onto the floor when he rushes back into the office after being fired. 

 - Ethan Hunt in Fallout after the bathroom fight when Ilsa tells him he doesn't know what he's involved with. "I don't know what I'm involved in. I don't know what I'm involved in... What am I involved in?"

- Ethan Hunt in Rogue Nation when he attempted to jump over the hood of the car, slipped and face-planted onto the floor. 

- Bill Cage when he is wiped out by a car while running to Rita in Edge of Tomorrow. 

- Jack Reacher looking at the knife when he has to face off with the bad guys who have assault rifles.

I couldn't help but think of Harrison Ford. It’s been said somewhere by someone that one of the great traits Ford has as a screen actor is the ability to show fear without undermining his hero status, and I think Tom Cruise shares this trait, as well as humor. Their characters are funny and they will often lean into the humor without undercutting it, and that makes them more relatable. However, despite those similarities, the way I respond to them as an audience member is very, very different.

Harrison Ford is an actor I grew up watching, and Star Wars and Indiana Jones were the main staples. While I did enjoy those films, even as a kid, there was an energy Ford brought to the screen which felt dangerous. Thankfully, this is all brilliantly examined by Pop Culture Detective in this video, and jumping off the back of that, I want to talk about the power dynamics between Tom's characters and the female leads in his action films.

Let’s start with Nick Morton in The Mummy, who is an adventurous type in a similar vein to Indiana Jones. Both characters go around stealing artifacts. Although Indiana Jones would claim he’s preserving them by putting them in a museum, he's still stealing them from the indigenous culture. Nick is more honest with himself about being a thief. Another distinction between Nick Morton and Indiana Jones is how they interact with their respective heroines. Our first introduction to Jenny Halsey in The Mummy is when she, without hesitation, slaps Nick across the face and calls him out for stealing some papers from her. Nick plays dumb because he thinks she won’t want to admit that they slept together. However, Jenny is not at all embarrassed by this and instead uses it to get in a dig about Nick’s prowess in bed. In response to this, Nick makes a quip that she didn't complain the night before about his performance. The key difference between what you would see from a character like Indiana Jones in this scene is that at no point during this exchange does Nick get in Jenny’s face or manhandle her to try and intimidate her physically to reassert his masculinity. 

Then there's Bill Cage in Edge of Tomorrow, who, like Nick Morton, is a morally ambiguous character. Cage is a coward who finds himself a safe job far away from the fighting, but is suddenly stripped of his rank and thrust onto the frontline after the attempted blackmail of an army general backfires. When he first comes across Rita Vrataski on the beach, he is lying on his belly, out of his depth in battle and looking up at her with bewilderment and awe, the Angel of Verdun. Rita is then immediately killed by a rocket blast right in front of him. The second time Cage meets Rita on the beach, he saves her life by pushing her out of the way of the rocket and getting hit instead. This is where we see Rita’s determination and single-minded focus to win the war; she does not stop to mourn or thank the man who saved her life; instead, she steals Cage’s power back and leaves him for dead on the beach. This ruthlessness does not deter Cage from seeking her out again on the battlefield. He knows Rita is his way off this beach. Once Rita understands that he has the power to reset the day, this is where Cage’s purpose changes from trying to save himself to serving Rita. We witness this with the scene at the farmhouse where he is kneeling at her feet serving her coffee.

By this point in the film, Cage is as well trained as Rita, but his authority never supersedes hers; he is only ever subservient. He does try to deter her from the mission by not admitting that they have been at the farmhouse before. He already knows that no matter what he does, he can’t save her, he can’t get her past this point, and what gives him away is three sachets of sugar. That one caring act of being prepared to make her coffee as she likes it is enough for Rita to realize that he’s lying, that they have been at this farmhouse multiple times. Here is where something shifts in Cage, because after witnessing Rita’s death this time, instead of telling her in the next loop that he can reset the day, he decides to find the omega on his own, knowing that if he succeeds, Rita will be dead.

"I’m a soldier. Why does it matter what happens to me?"

Cage is learning that in war you can’t save everyone, something Rita knew when in one loop she unceremoniously took his power pack after saving her. This is when he begins to be on an equal footing with Rita, demonstrated in the scene where they both realize, and agree without words, that they have to break into Whitehall to steal the transponder. While they had been a team before, Cage is now fully onboard with the job of finding and killing the omega. They then only have one shot left at succeeding, because Cage has lost the ability to reset the day anymore, but Rita trusts Cage to do it. This finally shows that they are equals.

In contrast to Nick Morton and Bill Cage, there’s Ethan Hunt, a morally good character who is intelligent, highly capable, and most importantly, empathetic. I won't go through all six Mission Impossible films, but instead, solely focus on the dynamic between Ethan and Ilsa. Ilsa saves Ethan on multiple occasions in Rogue Nation.

The first time the audience and Ethan meet Ilsa is at a moment when Ethan is incredibly vulnerable. He just witnessed the murder of a fellow IMF agent before being gassed and kidnapped, where he wakes up tied to a pole in a basement under threat of torture. It is only because of Ilsa that Ethan makes it out alive. The second time they cross paths is after the opera in Vienna, where we learn that Ilsa is an MI6 agent who is deep undercover.

Slowly, the film is building a connection between Ilsa and Ethan, but one that doesn’t override either one's main objective. As much as Ilsa has a sense of loyalty to an agent from an allied country, and saves Ethan again from the water tank, to escape from Ethan in the bike chase, she steps into his path suddenly, causing him to fall off and skid into the dirt. In any other film, this would be a humiliating moment for the main character, and there would almost certainly be a scene to balance it out and give the upper hand back to the male hero, but not in Rogue Nation.

There is not one scene where Ethan tries to reassert control or dominance over Ilsa, like the kind you would see in a Harrison Ford film where he gets into the personal space of a woman to sexually intimidate her. Instead, it is established that Ilsa, throughout the film, is Ethan's equal, and his masculinity is not threatened by this; nor is he humiliated in being rescued by her; and he feels no need to try and assert his dominance.

This is something which continues into Fallout, where once again Ilsa saves Ethan, and once again they are starting from opposite objectives. Ethan has to break Lane out, Ilsa has to kill him, and the essence of their relationship is distilled beautifully by Christopher McQuarrie.

There is emotional maturity and understanding between the two of them that elevates their relationship above what you would normally find in this genre of film between two spies of the opposite sex.

However, the character who is the most interesting to look at in terms of male/female power dynamics is Jack Reacher, as he is probably the most traditional action hero Tom Cruise has played. Reacher is a gruff, no-nonsense man of few words, and as the book outlines, his philosophy is: Hit early, hit hard. Kill with the first blow. Get your retaliation in first. This man is dangerous. Yet, at no point do I feel that the female characters are in danger around Reacher simply because they are women.

First off, the waitress who clears away Reacher’s table. It’s a small but, I think, important interaction. All Reacher does is give her a "fancy it" kind of look, but there's nothing aggressive or leary about it, and when she rejects him, he's disappointed but quickly moves on.

Secondly, the dynamic between him and Sandy in the first scene at the bar; he is being tough on her, but we know that he’s seen her argue with some guy before coming to sit at his table, so he’s probing. He’s trying to work out what her angle is. He’s mean, but he’s never intimidating. Then later, when he goes to Sandy's work, he’s pissed that she tried to set him up, but at no point do I ever feel Sandy is in danger, and at no point does Reacher try to exert information out of her by getting into her personal space. He never uses the threat of sexual violence to get that. His whole attitude is much more that of a disappointed dad. When he understands what is going on with her, and that she is a victim too, he softens toward her because she is just a kid.

Then there’s the main relationship between Jack and Helen. From the get-go, there’s an attraction but also competitiveness. Two very intelligent and competent people who are good at what they do spend the first half of the film trying to get a handle on one another and their motives. But in terms of sexual power dynamics between the two, I think there is one part where the film has Reacher lean into an action film trope, but then pulls away from it. 

It’s the scene with Helen in the hotel, where Reacher is shirtless and says they need some sleep. He reaches across her, and for a moment, Helen thinks he’s suggesting sex, but instead he puts her keys in her hand. I think that was Reacher playing with her a bit, teasing her about something possibly happening to see how she would react, but it never feels threatening. He doesn’t linger in her personal space because he knows that nothing can happen between them. He will leave town once the mystery is resolved. The one scene where they do get close, where they linger and lock eyes, is the moment in the lobby where Helen gives Reacher the address to the gun range. That scene feels very different to what you would normally see in this kind of film. They feel very much like equals, like they’ve come to understand one another at last, and while they both feel the attraction, Reacher is never dominating.

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383 notes - Posted August 7, 2022

My #1 post of 2022

Some thoughts on social media and the online experience. 

You don’t have to be on every platform. 

You don’t need to comment on every trending topic.

Before you comment on something, take a moment to think if you have the energy to deal with follow up questions or statements.

It’s okay to say, “alright I’ve had enough of this discussion now” and offer not further explanations. 

Sometimes you just need to write the post in drafts and then delete it. 

Muting or blocking words/people will bring you peace.

People disagreeing with your opinion, or not liking a piece of media you enjoy, is not a personal attack on you.  

Where you can have a conversation with people.

Humor doesn’t always travel well.  

997 notes - Posted September 25, 2022

Get your Tumblr 2022 Year in Review →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review #2022 my tom cruise era for sure #long post

[greensparty]

This Month in History - December

There are quite a few landmark anniversaries I'm celebrating this month:

Dec. 2, 1988: The Naked Gun opens

In Dec. 1988, the first of Zucker-Abraham-Zucker's cop spoof was released. Here is my piece I got in 2018. Happy 35 NG!

Dec. 5, 1973: Band on the Run released

In Dec. 1973, Paul McCartney and Wings best album (possibly the best Non-Beatle album he did) was released. Here is my piece I wrote in 2018. Happy 50th BOTR!

Dec. 6, 1968: Beggars Banquet released

In Dec. 1968, the 9th U.S. album from The Rolling Stones. Earlier this year I got to review the Record Store Day reissue of the album. I'd definitely put this up there with Let It Bleed and Exile on Main Street in the pantheon of Classic Stones albums. Happy 55th BB!

Dec. 6, 2013: Inside Llewyn Davis opens

In Dec. 2013, the Coen Brothers' criminally underrated folk musician epic was released. Here is my piece I wrote in 2018. Happy 10 ILD!

Dec. 10, 1993: Wayne's World 2 opens

In Dec. 1993, the sequel to Wayne's World was released! It might not be as loved as the original, but it is better than people think. I wrote about this in 2018 and director Stephen Surjik wrote me back with some thoughts. In 2022, I saw it on the big screen at Nice, a Fest. Happy 30th WW2!

Dec. 10, 2003: Big Fish opens

In Dec. 2003, one of Tim Burton's most underrated movies was released. Taking Burton's visual style and combining it with a family drama with fantasy elements was a gamble that paid off. It's something that feels new each time I've seen it since. Happy 20th Big Fish!

Dec. 11, 1998: Rushmore and A Simple Plan both open

In Dec. 1998, two of my favorite movies from that year opened on the same day. Here is my piece I wrote about Wes Anderson's film and Sam Raimi's film. Happy 25th Rushmore an ASP!

Dec. 12, 1973: The Last Detail opens

In Dec. 1973, Hal Ashby (who was on a roll at the time) had one of his best released. It was one of the great movies of the 70s. It was also one of my Top 5 Boston Movies of All Time! Jack Nicholson was in rare form as he and Otis Young played Navy men transporting younger sailor Randy Quaid to the NH Navy prison and showing him a good time along the way. Happy 50th TLD!

Dec. 14, 1988: I'm Gonna Git You Sucka opens

In Dec. 1988, Keenan Ivory Wayans' 70s LOL comedy opened. Here is my piece I wrote in 2018. Happy 35th IGGYS!

Dec. 14, 2018: Spider-Man: Into the Spider-Verse opens

In Dec. 2018 one of the best Spider-Man movies was released. I actually named it my #7 Movie of 2018! By diving into the Miles Morales storyline, they took the Spider-Man story we all know so well and made it seem new again. Just last Summer they released the awesome sequel: Spider-Man: Across the Spider-Verse was released. Happy 5 S-M:ITS-V!

Dec. 15, 1978: Superman opens

Speaking of super hero movies: In Dec. 1978 one of my favorite big screen Superman movies was released. Here is my piece I wrote in 2018. Happy 45th Superman!

Dec. 15, 1993: Schindler's List opens

In Dec. 1993, one of Steven Spielberg's finest works was released. Here is my piece I wrote in 2018. Happy 30th SL!

Dec. 16, 1988: Rain Man opens

In Dec. 1988, the Oscar-winning Best Picture and biggest grossing film of 1988 was released. With the exception of parodies (i.e. The Hangover's Vegas gambling scene), nobody talks about this as much. The road movie of long lost brothers one autistic (Dustin Hoffman) and the other selfish used-car guy (Tom Cruise) was actually quite touching. Sure it was the 80s feel-good movie era and whatnot, but the performances were among both actors' best. Happy 35 RM!

Dec. 17, 1973: Sleeper opens

In Dec. 1973, one of the funniest movies ever made about the future was released. Woody Allen was in his prime when he played a man who is cryogenically frozen in 1973 and is defrosted 200 years later. This is definitely one of his funniest ones. Happy 50th Sleeper!

Dec. 17, 1993: The State premieres

In Dec. 1993, the now-legendary sketch comedy series of NYC comedy group The State premiered on MTV. Here is my piece I wrote in 2018. Earlier this Fall, I actually got to see The State reunion tour when it was in Boston. Happy 30th TS!

Dec. 17, 2008: The Wrestler opens

In Dec. 2008 Darren Aaronofsky's greatest movie was released. Here is my piece I wrote in 2018. Happy 15 TW!

Dec. 18, 2013: Her opens

In Dec. 2013, Spike Jonze greatest movie was released! Here is my piece I wrote in 2018. Happy 10 Her!

#film geek #music nerd #this month in history #the naked gun #zucker abraham zucker #paul mccartney #wings #the rolling stones #inside llewyn davis #coen brothers #wayne's world 2 #stephen surjik #big fish #tim burton #rushmore #wes anderson #a simple plan #sam raimi #the last detail #hal ashby #i'm gonna git you sucka #keenan ivory wayans #superman #richard donner #schindler's list #steven spielberg #rain man #barry levinson #sleeper #woody allen

[lokiondisneyplus]

Prior to the pandemic, Frank Patterson would spend most days at the sprawling production facility, formerly known as Pinewood Atlanta Studios, that he runs outside of Atlanta. Then COVID-19 hit, and not even he was able to make his health and safety team's cut of essential on-site personnel.

"They were like, 'Frank, why are you here? You're setting a bad example,' " says the president and CEO of what is now Trilith Studios, the in-demand filming location known for hosting a suite of Marvel projects, including WandaVision and Avengers: Endgame.

Since Patterson took the reins in 2016, he's transformed the place from a set of soundstages to a full-fledged film community. After divesting from the Pinewood Group, Patterson led investments in new technologies and content companies, as well as expanded Trilith's footprint. The result is a 935-acre master development that includes the studio as well as a European-inspired town including homes, restaurants and schools that serve as a live-work community for the many creatives on the lot.

In a wide-ranging conversation, Patterson, 59, opened up about the most challenging aspect of COVID-era production, the studio's biggest concerns and whether he'll mandate vaccines.

You've had multiple projects in production during COVID-19. How has it been going?

We've been very fortunate. We had the first studio feature in the industry back to work in June. I can't say what it is, but they'll be finished soon. It was an intense amount of research and work to put together protocols, recognizing that the disaster version looks like an outbreak. None of that's happened. We've had enormously low numbers of positive tests. And we have a full lot: 3,200 people drove on today.

How much more expensive is it to make a film or show right now?

It's costing about 20 percent more money and 20 percent more time. Things are slower and clunkier and it's taking more space. But the good news is cast and crew are taking safety very seriously. I'm sure you heard the story of Tom Cruise getting upset at the crew for not following protocols [on Mission: Impossible 7]. I don't think that's common. What we have found is with the exception of the day player — they tend to test positive more than the average crewmember — people are taking care of themselves.

A year in, how do you feel you did with the COVID-19 protocols?

They're pretty routine now. We're not just making stuff up like we were in the very beginning.

Which of those do you expect to remain post-pandemic?

The washing hands and standing apart, that's how we keep from spreading these diseases and how we need to work. There's a heightened awareness for cleanliness. People used to drag themselves to work miserably sick because if you missed work, you were letting your team down. Well, that's changed. If you show up and you're sick, they're like, "Get out of here." That'll go forward.

Fellow Georgian Tyler Perry said when he was shooting his shows last summer, there was an elderly actress who didn’t feel comfortable coming on set given the risk, so they had to write her out of the scripts. Have you heard of anything like that happening on any of your productions?

Not leaving a show, but changing of schedules to accommodate people's tolerance for coming back to work. There's an, "OK, let's not shoot this right now because this actor is not quite ready to come back to work." They're pivoting and shooting other stuff first and coming back. That's happening across all the productions.

What are the biggest concerns that you hear from the studios now?

Everyone's overwhelmed with the need to get stuff made, but we aren't returning to the speed that we had and we're spending more dollars per frame captured in just the pure production. And it's not like people don't care because you always care when you're spending more money than you planned, but it’s a way a distant second to: Are we getting this stuff shot?

Are all the studios behind?

Nobody is meeting their goals. Just look at the Disney+ line-up, all the stuff that they want to put in place. Look at what Paramount is doing now with Paramount Plus. If you just look at these pipelines, this is the anxiety that everyone feels right now. And then, by the way, WandaVision's a hit, so you got to feed that beast, right? That’s the tension that you feel every day.

How much of that is not having enough physical space to film? Several production facilities, including yours, are fully booked.

It's not just about space. Yes, of course, we could use some more facilities, and we're putting in five more stages that will be ready by June. But that's only one small part. Even before COVID hit, there weren't enough people — I'm talking about crew, not to mention the storytellers — to meet the demand that Wall Street was pouring into the pipeline. There's a talent drain. With COVID, it's [only gotten worse].

Georgia opened sooner than other states. Did you field a lot of calls?

It was overwhelming. Guys were like, "Hey, we heard you guys figured it out." First of all, we didn't figure it out. We have a version and it's working. But there was a lot of attention on us. And we had the good fortune of not having to worry about what role our government leaders would play because they basically said, "We're going to let the industry figure it out." That's the good news. The bad news: It was on us to figure it out and take responsibility.

Are you getting involved in the vaccine rollout as you did testing?

No, we decided we would just keep our focus on the testing protocols. We have to make certain that we just take it all the way to the end — and we'll let [union, guild and association] leadership decide when that is and when those protocols can change. And then again, as an industry, we're going to have to decide what we want to carry forward and what we don't. That's the next phase, and the rate at which we're vaccinating may advance those conversations faster than I thought. I used to think [the protocols] were going to go into 2022. I don't know if that's the case anymore.

Have you had conversations about mandating the vaccine on sets?

We haven't. We know that when it comes to mandatory protocols, we'll have to work in collaboration with industry leadership. No one goes on our lot without a mask, for example. And that was a political thing. Fortunately, Governor Kemp said, "How can I help?" And we were like, "What would be helpful is if you wear a mask in public," and he said, "OK." So when a crewmember said, "It's my right [not to wear one]" or whatever, of course we can say, "This is private property, sorry," but what our security team said instead was, "Hey, listen, the governor's wearing a mask, and you should wear a mask to protect our industry." It was us taking a stand, but the stand was really only taken because the unions and guilds and associations agreed. We'll have to do the same thing with the vaccination.

You're building out a neighboring town for people to live. Is this the future of production facilities?

I don't think so. In some ways, what we're doing is what Mr. Disney did. The mill town is not a new concept. But if we didn't have a state with a reputation for being so business friendly, for having the tax incentives, for having the most traveled airport in the world, if those things didn't exist right there, believe me, we couldn't do this. I grew up in Hill Country outside of San Antonio, Texas. You cannot do this in San Antonio, Texas.

How many people are buying houses and apartments on the Trilith property?

We have 400 of the apartments built, 260 of them occupied. We’re at almost 300 homes now sold and 500 people in the town. We're working on our next set of 150 homes right now and starting our third micro village. The second micro village filled up like that (snaps fingers). We have 36 people on the waiting list. What’s happening — and this is a global trend — is that COVID has heightened our awareness of the benefits of this approach to working. The distributed workforce and the way for us to collaborate with these electronic tools is causing a lot of people to realize that they don't have to live in the town they thought they have to live in. So I think people thought it was going to be more like a second home, but they're actually staying here.

Every few years it seems there’s some controversial legislation in Georgia that pops up and Hollywood threatens a boycott, whether it’s an anti-LGBT or anti-abortion bill. Do you just assume it's going to pass?

These kinds of ebbs and flows of social discourse and its impact on the industry will never go away. Georgia is not immune to it. The film industry has been this wonderful beacon of possibility, and I do worry, given what's going on in our culture right now, that we as an industry could get caught sideways in this in some way that really dampens our ability to continue to have diverse views on the world.

Georgia's film incentives program has been criticized by some as an irresponsible use of taxpayer money. Do you see it being phased out or pared in the future?

This state is very proud of the fact that seven years in a row now it’s the number one state in the United States to do business. They saw the film industry as a way to really diversify its economy, to bring the creative class into the state. So they wrote this policy that was supported left and right, and that still is the case. I'm not a politician, but I'm on all of these committees, and what I noticed is they were so careful and specific about making it make business sense. It would be very difficult for anyone to turn it around now because it's just good, smart money — and you have both Democrats and Republicans looking at it. But in every session in every state always in the U.S., you will have people come up and write up some kind of legislation, "Let's get rid of tax incentives." It's just not going to happen. I would be really surprised.

But there were some changes to it recently, yes?

There were parts that we needed to improve on around auditing and how we manage the information and our relationship with all the productions. We needed to clean up some of the back of house stuff, so Representative Matt Dollar passed some amendments last session that are now going into effect that really helped clean up the whole process.

Interview edited for length and clarity.