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mercyisms · 1 year

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wld love for u to expand on your thoughts about asian jewish mercymorn?? my beloved hater girl

(:<<<< i was delighted to receive this ask and rolled it around in my brain for days and days, even though the real answer is "i'm silly and i like to have fun." to preamble: very, very generally, i think it can useful to have fun with white characters in works written by white novelists. i think it can be a lot of fun, too, to see a fancreator re-interpret a work into a culture they know a lot about and bring out different textures or tensions. but i also think it’s fun to reconsider specific characters (sometimes especially the ambiguously raced ones) and tease out tensions that might feel interesting or ones that somebody without cultural context may have overlooked. i like resisting the idea that whiteness is the default or a neutral default.

though! on the flip side and despite routinely joking that augustine being canonically blonde is a hate crime against me somehow, i also recognize that, for example, augustine’s whiteness (or presentation towards whiteness) seems intentional and is doing work in the text. (when i joke about john always having one six foot plus blonde around, it’s funny! but it’s also reflecting something the text is engaging with with regards to race.) so, anyway, that man can stay white. but to speak, at last, to our beloved hater girl. i think the first thing that opened the door for me is one of the initial descriptions we get of mercymorn.

The face beneath the icy parti-coloured hood was a prim, virginal oval; much in shape and feature like the shape of a saint’s face in a portrait, or a death mask. The nose and jaw and forehead were all carven and serene, and therefore had the same indifferent dullness of a well-formed statue.

i am fairly certain tamsyn is consciously trying to evoke one of the infinitely funny and also very beautiful medieval paintings or sculptures of the virgin mary (etc.) (divine conception: difficult mode, am I right, lads?). but for me, the refrain of mercy’s oval face is a great example of a descriptor that isn’t exclusive to whiteness. very practically, when i started looking for references to make humble sketches of mercymorn, i first turned to michelle dockery (expressive eyebrows! a face that can be cold and severe but then melts into heartbreaking, childish expression!) and then more and more to (an aged down!) kim seo hyung. (for the record, when i make stabs at augustine, i am usually drawing on a richard ii era fiona shaw, with dashes of young peter capaldi and perennially ancient jeremy irons. recently, my go-to for cytherea has been ophelia-era—of course—helena bonham carter.) but it’s rooted in more than just me dicking around in procreate. the idea of an asian mercymorn became more compelling to me when i considered how that would change the texture of her character. to try and be as brief as possible, there, as you may well be v familiar with yourself, are longstanding stereotypes of (largely east and south, but it all gets homogenized) asian immigrants being depicted as cold and unfeeling robots, as excelling only at rote memorization and lacking critical thinking or social skills, as being dangerous or suspicious or obnoxious over-achievers, and as, depending on the day, being too sexy or utterly sexless. (i am not claiming any of these are unique to the very broad category of ‘asian,’ just setting the table.) and i think mercymorn becomes really compelling reinterpretation and rebuke to expectations if she is asian. because she is so many of those things: overachieving med school graduate; someone who (though she seems to have excelled at the magicky part) gift comes from stubborn, rote memorization; someone deeply repressed; someone who is told and believes herself to be unfeeling and inhuman (”Every time you’ve said that I did not understand the human heart, that I was unfeeling, that I only knew worship without adoration”)—but is also a disaster of emotions, despite it all, and is driven by incredibly messy emotions and whose skills (the memorization, the drive to overachieve, even the repression) come from this vast and terrifying well of emotions that even she can’t really look at head-on. before mercymorn, i don’t know that i had seen these tropes reworked in exactly this way or thought to rethink these stereotypes in this way, and so that’s some of what mercymorn-as-asian does for me. (obviously caveat that i’m very strongly drawing from a north american context and i totally confess to not knowing what stereotypes are present in new zealand! but anecdotally through friends in australia and england, these stereotypes certainly seem present throughout the globe, and i would not be surprised if they were also present in nz. but just recognizing that!) i also, personally, find this a lot more satisfying than just going off tamsyn’s canon sheet and being like, yeah, got it, isaac is the one canonical east asian. that’s nice! that’s lovely! but it doesn’t really do anything for me or the narrative. i’m not upset about it! but the lyctors, those who lived pre-ressurection and lived closest to john and carry some of their biases with them, are people who have been shaped by a society where race is very present. vs. the younger 10,000 years out gen who ostensibly (though of course they are in a text written here and now) live in a “post-racial” society, at least from what we see within the house system. (i mean, i say this, but then i also feel like... have u met east asian christian converts. there is some eighth house energy there is all i will say. so, again, i just like to have fun.) re: the jewish thing, i am a hater girl myself and cannot like catholics have anything not ever (hashtag joking, tbc) and a) would love for a foot in and b) as myself and others have pointed out, mercymorn would love to kvetch, she’d be so good at it, she understands it implicitly and she deserves to have a community to kvetch with and c) as i think the inciting post for this ask pointed out she’d be so good at saying ‘oy vey’ and d) idk i just think it’s even funnier if a lapsed jewish woman and a nun walk into a bar and then kiss. in general, i also feel a vested interest in opening the door for mixed race readings of characters and one’s that, again, reinterpret or add to the texture of that character’s presence in text and are done in a thoughtful, fun, interesting way. i could possibly say more but i think this is enough for right now!! maybe!!! sorry this took me so long!! uhh but that’s a taste into my thought process, anyway, for how i like to interpret and reinterpret les lyctores and specifically best beloved hater mercymorn m. nolastname i love u. it is (obviously!) not the definitive or only interpretation, but is the one that currently speaks deepest to my soul. but i do love to see all kinds of interpretations and reinterpretations of our beloved necro-cast.

#i kept trying to make tags and tumblr kept eating them so tags tk pray that this posts #2 #3 #4 #5 #asks #anonymous #mercymorn the first

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laufire · 2 years

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last night I went to a showing of En los márgenes (the English title is "On The Fringe"). it's a film mainly focused on the eviction problem in Spain, although it also touches other issues -immigration, social services, job insecurity, etc. I liked it a lot; it was very real and gutting (especially when you know other than the main characters the people in the Stop Desahucios organisation shown are actually part of it irl and those are their stories), but that's beside the point. mainly it's one of those films I leave wanting to have a long talk with the director lol.

(spoilers ahead, obviously. I do recommend watching the film and I'm of the opinion spoilers don't ruin good things, but YMMV)

said director, btw, is Juan Diego Botto. some of you in Tumblr might know him from Good Behavior? it wasn't too popular around here, I don't think, but I have seen people talk about it at least. he played a killer for hire next to Michelle Dockery's con artist thief xD

anyway. as I said. I wanna talk to him about it. after we spent probably a good hour or two expanding on the most important parts of the film, like the housing problem and social welfare and community outreach, and then a brief detour where I tell him I like him in Good Behavior but I like Dockery better xD, I REALLY want to pick his brain about what are his thoughts on husbands and fathers (and men in families in general) because I gotta say, I felt VERY in-sync with this film on that regard LMAO.

first of all, I'm very amused by the role he gave himself. I get why he wouldn't play the salt of the earth activist lawyer since that might've been too big a part to do while directing (plus like, if you have Luis Tosar as an actor that was clearly HIS part. now, why isn't he one of the ugly old balding celebrity man I find on the streets. he's a TALENTED ugly old balding celebrity man at least). but he could've just as easily played that poor woman's son, whose story was more tragic and a tad more sympathetic, and who at least ended the movie desperately trying to right his wrongs.

but nope! he played the part of a husband whose wounded pride was completely screwing his wife and son, instead of actually supporting them. he didn't even get to kiss Penelope Cruz about it xD. I kinda expected the character to get a redeeming moment at the end, like joining his wife and Stop Desahucios when they're fighting the cops to stop his family's eviction, but we just have a moment with him looking at them from afar with an :O expression. we don't know if he's still ashamed they need their help and that he still thinks what his wife is doing is "an embarrassment", or if he's finally touched by the show of support, or what.

now I want to discuss the lawyer because his character really hammered home one of the principles I firmly believe in, which is that even arguably good men make for shitty husband's and disappointing father figures in our society xDD. like I said he was played by Luis Tosar, which automatically makes me a little more lenient, I can't deny that (OTOH boy, did the character remind me of my own father aldjskk. that balanced it a little!). and yes, he tries to help people in need, and helps that immigrant mother whose daughter the cops took away. and looking at the bigger picture, which IS my default position, that's more important than the stepson's trip and MAYBE even than the wife having company in that medical procedure, although that part was really shitty... but maybe in that case you shouldn't try to be a Family Man if you aren't wired that way, or make promises you can't fucking keep as the stepson accuses him of (when the wife told him at the beginning that he should've warned her she was going to have to deal with the pregnancy alone... fuck him etc.).

I also feel more lenient about him than about Botto's character because the story ends with the wife kicking him out lmao. she doesn't even discuss it with him or gives him a chance to talk it out, she just leaves a suitcase on the street next to the apartment. it was glorious xD. he and the stepson have a nice progression and end on a good note, with the son telling him to be around (and hey, maybe he'll actually keep that promise...), but the wife said "enough" and it took, which I love. and I appreciate how the film made the point a couple of times to say SHE was the one bringing home more money, and that's why she COULD kick him out and be fine. something that subtly contrasts with the marriage between Cruz and Botto's characters, which ends on a bad note but doesn't definitely end, because that's not an option for her.

there's also the other story, with the old woman whose son is too ashamed to have screwed up once to be there for his widowed mother until it's probably too late. that one was absolutely gutting too, and gendered in a different, less usual way.

I'm just rambling at this point but TL;DR: even married women are single mothers. motherhood is a thankless tragedy. men's pride has a body count. very in-sync, as I said lol. Juan Diego Botto let's discuss this. I want to know how much of this is conscious thought or whether you'd feel defensive about it xD

#talking to the void #my thoughts #en los márgenes #on the fringe #current issues #feminism #movies

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viscountessevie · 2 years

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Is Hannah Dodd really considered a big name? I feel like people only say that because she was recently in Anatomy of a Scandal which is new but I don’t think it was critically acclaimed or anything (and tbh I didn’t think she was outstanding in that either but maybe it was just a role she couldn’t pull off)

Related to this ask

Okay now that we've settled the looks/Hannah’s pretty privilege debate and I took the last few days to decompress from asks and also being pissed about S3's couple ya nb pal cannot catch a break I'm back to clear my Frannie asks!

Thanks for this ask anon! I feel validated in not knowing Hannah prior to the recasting news.

Okay so Anatomy of a Scandal was pretty big when it first aired but that's definitely because of the main trio: Michelle Dockery, Rupert Friend, and Sienna Miller. Also Naomi Scott's iconic first two episodes. I gotta disagree about Hannah not pulling off Young Sophie. I thought she disappeared into the role - physically and mentally! She emulated a young version of Sienna's character very well. I enjoyed her portrayal of the cliche popular girl character especially at the end of her arc

MINOR SPOILERS FOR ANATOMY OF A SCANDAL when we realise she's pretty complicit in her husband's shit cos she willing ignored the signs

MINOR SPOILERS FOR ANATOMY OF A SCANDAL DONE

Other than that, I looked into her credits and they are as follows:

After laughing at an incest movie (Flowers in the Attic) being her last role before she booked Bridgerton I realised these are pretty notable credits. Sure, I don't remember her in Eternals (Jesus how does she keep slipping my mind in these roles) but girlie booked a MCU movie as an extra. [Edit: Franzi @anthonykatebridgerton is a darling and has informed that Hannah played the older version of Sprite in the bar scene - screenshot below. Why credit her as Sandra lmao?? Probably a spoiler thing, ugh typical Marvel]

I've heard she was pretty prominent in that season of Harlots and Find Me in Paris is on my list of shows to watch! Maybe I would have liked her better taking over from Ruby if I had watched that earlier oop. Fighting with Family was pretty popular when it was released and is star studded.

I would say Hannah has a good resume and I think amongst her peers on Bridgerton, she's a "well known" name. Jonny Bailey is right there but sure.

#Bridgerton #francesca recasting news #francesca bridgerton #Hannah Dodd #Got Franzi's Stamp of Approval #Kanthypants & Eldest Daughters GC #Kanthypants & Eldest Daughters GC Approved Post #Sanji Answers

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recentanimenews · 3 years

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ESSAY: Sakura Is Not That Bad

This article written by Daniel Dockery was originally published on August 20, 2020

Sakura is not a bad character.

If you measure her by the amount of plot-shattering, triumphant fight scenes she gets, yeah, I certainly understand finding her underwhelming. Compared to the exploits of Naruto, she definitely lacks in that regard. And if you measure her by the amount of time the plot is focused on her decisions and her decisions alone, then yeah, I don't think she'd do very well there either. Sasuke has that corner of the market pretty much covered.

So, if she isn't delivering knockout punches or controlling the arc of the show, what is Sakura doing? Well, Sakura is doing ... Sakura.

Okay, I know how that sounds, so let me back up a bit. Sakura is the product of two very healthy, very normal, and very alive parents. On the other hand, Naruto doesn't know what happened to his parents and Sasuke is trying to avenge what happened to his. Already, she's the odd one out in Team 7, the only one without an intense past to grapple with. Thus, all of her relationships and struggles are mostly based in the here and now — her crush on Sasuke, her rivalry with Ino, her frustration with Naruto, etc.

This lack of a grand mystery to solve or injustice to right manifests itself in the fact that Sakura has an "inner Sakura character," a reflection of the way her emotions conflict with how she presents herself at the time. That is her biggest struggle. Often in Naruto, a character's actual biggest enemy is themselves, and when we talk about this, we usually talk about Sasuke and how he needs to chill out for a second and maybe stop trying to get revenge on stuff 24/7. But this is something that takes Sasuke a loooong time to come to terms with, while Sakura deals with it from the beginning. From her first appearance, her arc is based around dealing with her own limitations and confronting the things she doesn't like about herself. It's character-based more than it's story-based.

Under that lens, Sakura's achievements become exponentially greater because she's saving herself rather than saving the day. There's a reason most people remember her cutting her hair and then, looking awesome, pinning her enemy in the Forest of Death segment of the Chunin Exams. It's so personal, as she's previously used her hair to shield herself from criticism, and it inspires other ninja to action. Her ability to control her chakra from early on is also indicative of this inner growth, as Naruto and Sasuke — both more powerful warriors — actively struggle with it.

While the other characters deal with the repercussions of their pride and reckless ambition, Sakura is able to come to terms with her strengths and weaknesses early, training with Tsunade to maximize her potential in an area that she excels in. It doesn't stop her from partaking in combat and doing awesome ninja stuff, and it doesn't stop her from joining with Naruto and Sasuke in their massive battle against Shippuden's Final Boss, Kaguya. But it does show her dedication to herself, eventually losing her "inner Sakura" because the person she wants to be is the person she is.

By the end of Shippuden, Sakura has such a good grasp on what she loves and what hurts her that when Sasuke says he's sorry for everything she tells him, "You should be." She weeps for him, yet the moment is free of coddling or crushing. Instead, it's someone who has long known how to deal with their mistakes telling someone else they need to learn how.

Sakura is not a perfect character. Even with her focus on a non-battle skill set, it still feels like she gets shafted a little too much while the dudes wrangle together their Epic Naruto Moments 1080p compilations. And her constant forgiveness of Sasuke, while a testament to how much she believes in the goodness of him and others, does push your patience a little bit. Logically, she should've, like, thrown him into a ditch on the side of the road 400 episodes ago.

But I don't think she's a failure. Rather, I think her measure for personal success is different from the others — especially the other members of Team 7. She doesn't want to be Hokage, nor does she desire to be the strongest warrior or to eliminate all those that have done her wrong. Instead, Sakura wants to become someone that Sakura can be proud of — a feeling that all of us have at one point. And I think that counts for something.

Do you have any favorite Sakura moments? Let me know in the comments!

Daniel Dockery is a Senior Staff Writer for Crunchyroll. Follow him on Twitter!

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features.

By: Guest Author

#Anime #News #Latest in Anime News by Crunchyroll!

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in-flagrante · 4 years

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'I feel sexier as I get older': Back on TV in a compelling new drama, Michelle Dockery tells how her own confidence has soared after playing a succession of strong, sassy women

By GABRIELLE DONNELLY FOR WEEKEND MAGAZINE

22 May 2020

Since she burst onto our screens ten years ago as Downton Abbey’s Lady Mary, all cut-glass vowels and nerves of steel, Michelle Dockery’s kept us in a permanent state of emotional whiplash with the sheer variety of roles she’s taken on.

She was a drug-addicted con artist in the 2016 TV series Good Behavior, a gun-totin’ cowgirl in the acclaimed 2017 drama Godless, and a Cockney gangster’s moll in Guy Ritchie’s crime caper The Gentlemen.

One thing you will not see, she insists, is Michelle Dockery playing a piece of arm candy.

‘I like to play strong women,’ she says when we meet for coffee pre-lockdown in New England, where she’s been shooting her new TV mini-series Defending Jacob.

‘And even if they’re not strong, they have to be interesting. Multi-faceted, complex, complicated, three-dimensional... and flawed too, because people are. Anything but boring!’

That doesn’t mean they can’t be sexy though, and she says the added bonus to playing these characters is that, at 38, she’s finding herself feeling sexier than ever.

‘Sexy is not about having anyone else make you feel sexy, it’s about how you feel inside, and I have certainly felt sexier as I’ve got older.

But I think that’s a confidence thing too. I’ve been lucky enough to play such strong, confident women, and when you do that you definitely take something from them with you into your real life – you sort of get inspiration from them.’

Her latest character in the thriller Defending Jacob is a straightforwardly good woman – although one thrust into bewildering circumstances.

Laurie Barber is happily married to handsome local Assistant District Attorney Andy Barber (Captain America film star Chris Evans), and mother to her wise-cracking 14-year-old son Jacob (Jaeden Martell).

She’s the sort of woman who goes for a run before breakfast, then quizzes her son on vocabulary over coffee before heading to her high-profile job managing a home for abused children.

She’s just so together... until her son is accused of one of the most hideous crimes imaginable – the cold-blooded murder of a classmate – and her entire life and social circle begin to unravel as the police investigate.

‘It’s a really gripping story, because it’s so difficult for this couple to comprehend that their child might commit any sort of crime, let alone a murder,’ says Michelle of the story, based on the 2012 novel by William Landay.

‘They’re both defending their son, and like any parent would, Laurie’s asking at the same time, “Where did I go wrong?”

'There’s conflict between Laurie and Andy because at the start of the story she’s the emotional one and he’s the calm one, but then as the story goes on there’s a need for Andy to be emotional too.

'So they’re always seeing things from a slightly different perspective.

‘It’s a very human, raw story about what something like this can do to a family, and what’s so interesting about Laurie is that as her life is turned completely upside down, she also begins to question things about her family – “How well do you really know your partner? How well do you really know your child?”’

Michelle’s own family background is modest but as stable as anyone could wish for. The youngest of three girls born to Irish-born lorry driver turned surveyor Michael Dockery and his redoubtable wife Lorraine, a former shorthand typist turned social worker, she was brought up in Romford, Essex, working class and proud of it.

‘My mum is loving but she’s also strict,’ says Michelle. ‘When I was about seven I stole some penny sweets from a shop. Mum caught me and made me go back and apologise to the shopkeeper, and I’ve never stolen anything since!’

She was also raised – as were her sisters Louise and Joanne – to speak up for what was right.

‘I was brought up to stand up for myself. To speak up when I felt passionate about something, when I felt the need to make my voice heard about something that mattered.

'I think a lot of that comes from having sisters, because we’ve always supported each other all along.

'If I’ve ever felt bullied or pushed into a corner, I’ve always been able to stand up for myself. And if I see it happening to someone else, especially younger actresses, I’ll stand up for them too.

‘I hate bullying. I have huge admiration for women in Hollywood and elsewhere who have come forward to tell their stories about that, and have stood up against people like Harvey Weinstein.

'It’s horrendous what they experienced and I’m glad something has been done about it.’

It’s safe to say no one has succeeded in taking advantage of Michelle, and she says now that when she first broached the idea of going into acting to her parents they were not in the least bit concerned.

‘They weren’t alarmed by it at all!’ she laughs. ‘They made sure I had a good education so I had something to fall back on.

'Both my parents are wonderful. My mum is the most incredible woman, she inspires me.

'And my dad’s amazing too – even though he spent our growing-up years with a bathroom that was never free! They let me be who I want to be.

'So between them and my two elder sisters, who are still my best friends, I’m very lucky. We call ourselves the Essex Mafia!’

Her career choice can hardly have come as a surprise to the family, as she says she wanted to be an actor ever since she can remember.

When she and her sisters were small they attended a stage school in the evening, and they would put on plays at home to entertain the family.

Michelle apprenticed at the National Youth Theatre when she was a teenager, and as soon as she’d taken her A-levels she enrolled at the Guildhall School of Music and Drama.

‘I feel I learned more at drama school than I did anywhere else,’ she says. ‘Even when I was at regular school I was never out of the drama department, so I didn’t do very well in other subjects.

'I just didn’t want to be taught anything else. But there’s a huge amount you learn in drama school besides acting, like history and literature, and that was where I came into my own.’

It was, of course, Lady Mary who made Michelle famous. ‘It happened overnight,’ she says.

‘Well, I’d been working in the theatre for seven years, so it wasn’t really overnight, but I remember after the first episode of Downton Abbey aired, walking into my newsagent’s where I was living and seeing a picture of myself, Laura Carmichael and Jessica Brown-Findlay, the three Crawley sisters, on the cover of three papers and that was huge.

'Then the first time I was recognised on the street was in New York, and that was even bigger because that’s when it hit me how big the show had become if I was being recognised in America.’

With talk of another feature film in the works after last year’s hit Downton movie, she says playing Mary is as comfortable as slipping into a second skin.

‘I have huge fondness for her, she’s been a big part of my life. That was a very special show, and I hope it’s one that stays with people forever.’

It was through Downton that she met the man she thought she’d be married to now.

In 2013, her co-star Allen Leech, who played chauffeur Branson, introduced her to Irish-born public relations executive John Dineen.

She and John fell in love, became engaged and were in the process of planning their wedding when John was diagnosed with a rare form of cancer. He died in December 2015 with Michelle by his side.

At his funeral, the day after her 34th birthday and a day before what would have been his 35th, she told mourners, ‘He was my friend, my hero, my king, my everything.

'We celebrate him, we honour him, and we will miss him.’ She has not spoken out about her grief, but has admitted that it was her friends and family who helped her pull through, saying, ‘They are the ones who see you through the most difficult times.’

She has been dating Jasper Waller-Bridge, brother of Fleabag’s Phoebe, for a year now.

They met through friends and Jasper, who is six years Michelle’s junior and the creative director at a talent agency, accompanied her to red-carpet events before lockdown.

It was also reported that she bought a £1.7 million house in north-east London before Christmas.

Michelle hasn’t commented on the relationship but she does say that a sense of humour – surely a given with any member of the Waller-Bridge family – is vital in a relationship.

‘My parents always taught me to see the funny side of life and never to take myself too seriously.

'I find that more and more as I get older – I’m finding ways to laugh things off much more than I used to be able to.’

Right now, Michelle Dockery would seem to have plenty to smile about.

https://www.dailymail.co.uk/femail/article-8336165/I-feel-sexier-older-Downton-Abbeys-Michelle-Dockerty.html

#michelle dockery #her interviews

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evans-heaven · 4 years

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Notes on Defending Jacob ep.4 (for fun lol, also not spoiler free)

This post is gonna be shorter (maybe lol) than the first one cause it's just one episode this time around! Definitely not crying about that 😅

Just a reminder, I'm not a pro and this isn't really a review, but I am shoved rather far up Chris Evans' bum, soooooo that should tell you everything you need to know before you read these notes (or any I make in the future) 🤣😋

Another reminder that I'm not asking anyone to take me seriously. I make these notes because I enjoy doing them.

K I'm done let's get into it!!

I knew the swimming scene was coming in this episode but damn, right off the bat huh? I'm okay with the heart attack tho so no sweat 🤣

Laurie sitting in her car in the parking lot outside the store, immediately I knew why, and I think a lot of us did too. It was so sad to see. Really places us inside the depth of the situation, even if its such a small action, it speaks volumes. Poor thing must have been tired physically and mentally. My heart got torn in two every time I saw her on screen throughout the episode. I just wanna give her a damn hug 😩😭

The juxtaposition of Andy and Laurie's faces during the meeting with Joanna, while subtle, says a helluva lot about how they feel. It was such amazing facial acting. Its clear from their expressions alone, who knows the story is bs and probably will admit it, and who also knows the story is bs, but definitely won't admit it.

The way Jacob and Joanna bounced off of each other as he continued his (bs) story, was intense, and the score added to it. Jacob's rising nerves led to mine doing the same, and I even found myself trying to figure out how he could have told the story better. Joanna's expression, the 'this lie ain't shit' one, was also quite influential. Like, you wanna help this 14 year old kid, but he can't even help himself and shit just keeps piling up.

Andy babe I know thats your kid, you wanna protect and coddle him but the police was the appropriate choice of contact. And clearly theres some deeper shit going down. He didn't call you or anyone else because it's not as it seems.

"Our memories are often less reliable than we think, particularly in moments of stress" PLEASE tell me I'm not the only one who immediately thought of Laurie's memory of Jacob at the bowling alley. Like obviously it was a 3 second scene, and it seemed pretty telling, but what if that's only part of it? Or what if shes not remembering it the way it went down? Like, her kid was accused of murder, and what she thinks would make it make sense might be plaguing her and being twisted by her, because of stress and fear.

My immediate reaction to Laurie's rant at Jacob was to yell "I'M SORRY" 😭 legit felt like sis was reading ME the riot act. Stress is just piling up on her and she will not have her kid acting like everything has no reason to be the way it is. Waiting in parking lots for groceries to open is not normal, having all your friends alienate you is not normal, being the talk of the town for negative reasons is not normal. So sit tf down, eat your unseasoned food and stop complaining.

In that one moment, for Andy, everything was okay as he and Jacob sat watching the movie. Until, he realized everything wasn't okay. He just had to remember that his kid, who sat there, care free, laughing at the film, was gonna be on trial for murder. It's as easy to forget as it is to remember. Seeing Andy's face change so subtly, from a smile to worried gaze, broke my heart.

Andy saying 'of course not' when Laurie asked if there was a part of him that thinks he might have done it. Who was he trying to convince?

👏🏽LET👏🏽ME👏🏽TELL👏🏽Y'ALL👏🏽SOME👏🏽THING👏🏽

That acting in the scene where Andy met Matthew? That perfect mix of chill and resolve (for lack of better word) in the way Andy spoke? The 'don't fuck with me' energy that radiated off of him? Where is the Emmy?? WHERE IS IT???

Andy's just getting increasingly desperate and its lowkey unsettling. Idc if hes a snacc, dude is being a little ridiculous and needs to do himself a favor and see things from his wife's perspective. I know it may be hard but I don't even wanna imagine where his denial is gonna take him. Also the protectiveness leading him to burst into his kid's room in a very embarrassing way was...cringe 😅

As much as I wanted Laurie to have felt normal for once since everything went down, even for a fucking hour or two, I lowkey was waiting for some shit to happen in the diner. It just seemed too good to be true. The heartbreak/shock on Laurie's face when she found out was too real.

I'm interested to see Andy's meeting with his dad. I know its gonna be difficult/uncomfortable and the amazing acting I know we're gonna see will convey that really well. Also lowkey some shade from Laurie in that scene, I love 🤣

A few more short notes:

Andy ffs your kid's story sucks for a reason 🤦🏾‍♀️

Needa know the conversation Derek and his mom had with Pam 👀

That food looked hella unseasoned, put some butter on the bread at least lmao

Andy/Chris' laugh 😭🥰

Fuck Neal

Like seriously fuck him

The little guy playing young Andy omg 😭🥺

Fucking white kids oh my gawd y'all think I could ever tell my mother to shut up 😂🙄

That DO YOU HEAR ME with the lack of the "r" in hear...🥴

Some of those images Jacob saw in the therapist's office 😣 I know that was the point but sheesh lol

Who gets a salad with fries lmao is that normal

Did Jacob fold his pizza? Is that also normal?

Reporter lady didn’t deserve those fries smh 🙄

There was a lot of food in this episode 🤣

Jay Kobbs? Really? 🤦🏾‍♀️🤣

Whatever it takes 😭 okay Steve Rogers 😭

Amazing acting from Michelle Dockery in this episode, especially the diner scene.

Amazing acting from Jaeden in the meeting with Joanna.

Amazing acting from Chris Evans no matter the scene (are we surprised? No lol), but especially when he met Matthew.

Thats all for now, see y’all for the next episode <3

#chris evans #andy barber #michelle dockery #laurie barber #jaeden martell #jacob barber #defending jacob #defending jacob spoilers #djspoilers #apple tv

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fangirlforlife97 · 4 years

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CONTAINS SPOILERS!!!!

Since the finale to Defending Jacob is on tomorrow night I thought I should go ahead and state some of my theories and speculations that I've had throughout the show before then and then see if any of them were by any chance right!!?? Keep in mind I have not read the book so this is total speculation. Before I get started I just want to say that the cast is doing an amazing job, the writing is incredible, and the show has been quite a thrilling ride. It's been very suspenseful and my family and I really enjoy it, probably one of our more favorite TV shows at the time. I've seen Michelle Dockery get quite a bit of hate on Tumblr and I'm rather surprised, everyone has their own opinion and I respect that but I just don't get it.

I think she's doing a great job and I maybe one of the few to think her and Chris Evans has good chemistry together, they just seem like a couple that's shy In a way. Anyways let's get to some theories!

Theory/Speculation #1: This is probably going to sound a little bit crazy and is most likely inaccurate but it's just what popped in my head after last week's episode. I don't know for certain if Leonard Patz killed Ben, I think it's a red hearing to make us think he is the killer to throw us off!!?? Yes he's definitely creepy, has alot of red flags and I do think he could of or did do it but here's the thing, he's too obvious! With everything we've been given about Leonard idk man I feel like he's just way too obvious??

This is where my crazy theory comes in, okay so I feel like Father O' Leary the mobster/gangster has a big role to play! A part of me thinks that somehow Billy was able to get in touch with this guy and told him to go spook or threaten Leonard, to scare him into confessing to killing Ben to take the attention off of his grandson????? Leonard writing that confession on the back of his court summons and being super nervous just idk he got me thinking that maybe he was being forced to do this in a way so that he wouldn't die if Father O' Leary did threaten him???? I do think though too that he did do it and him being nervous to confessing is something that would be normal for someone to be nervous about.

A part of me thinks too though that if he did do it and the fact that he confessed the way he did, makes it seem like he's gonna kill himself!!??? Just seemed that writing that confession on the back and how everything was acted and directed, was gonna lead to him killing himself rather than face a jury or the boys parents?? Did Leonard really kill Ben???? No one tell me I'm just curious and stating it.

Moving on! Theory/Speculation #2&3: I think Jacob is another super obvious suspect. Like Leonard alot of things point towards him, not to mention some there's some major red flags and he's definitely different. He could or could not be the killer!? Idk a huge part of me hopes Jacob is innocent just a dark individual that could use some help so his thoughts or whatever doesn't become a reality if they haven't already!?

For me it's very suspenseful but frustrating because both Leonard and Jacob are both incredibly sketchy, and have major red flags, etc but the thing that gets me is that they are both the most obvious suspects! Either one of them could of or did do it and I wouldn't be surprised especially cause considering they are the most obvious suspects but then there's moments of doubt because of that very fact too and that's what's frustrating. Is everything pointing towards either one of them because one of them did it or is it a red herring for it being someone else? Someone more unexpected???? Laurel ran through the park the morning before Ben was found didn't she!?

Did she kill Ben and not remember?? Very very unlikely but idk there's moments where she seems off, not off like Jacob or Leonard off just different. Could seem off at times cause of all the stress with everything that's going on and new revelations, etc, I honestly get it if it was cause of that. That would be a very difficult situation to be put in!

Theory/Speculation #4: Is Jacob gay?? Was Ben a closeted gay with alot of inner homophobia?? Did Jacob and Ben have something and in fear of being outed Ben started being mean and calling Jacob a fag and that made Jacob upset?? Either just upset or upset enough to kill him?? Idk. Just seems maybe that Jacob could be gay and it could have something to do with the story or of what's not being said!?

Theory/Speculation #5: It's interesting that Andy has the murder Gene but Jacob doesn't! Should Andy be a suspect?? I'm extremely doubtful about that, he's the one person I find least likely to be the killer, besides wasn't he out getting a hot dog in front of the court house or whatever!??? I'm pretty sure he was busy. I don't even know why I thought that. My sister surprisingly thinks Andy could of done it though, like maybe it's it's one of those scenarios where the least likely person committed the crime but doesn't remember it!? What does Andy take medication for? Or is it his wife's medication???? Andy is the only one I'm certain didn't do this plus I'm pretty sure he was busy but the murder Gene definitely makes things interesting and well him being the killer would be one hell of a twist but no I don't think it's him. Just stating a theory or speculation that someone I knew thought of!

Theory/Speculation #6: Did something happen to Laurie???? When it shows Andy being interrogated or put on trial I noticed his wife is nowhere around and I thought she would be!? Andy looks awful so I'm worried some really terrible stuff did go down and maybe she died!??

Anyways so these are some of my thoughts, theories, speculations, etc about Defending Jacob. Just thought I'd post about it before finding out for myself tomorrow night! I'm aware some of them seem far fetched but like I said there just speculations and theories. Sorry if this post is rushed, written rather badly and is a mess haha, when watching a show I never really post thoughts or speculations, most times cause I forget to so I just wanted to post this before the finale. Not to mention when I'm enthusiastic or excited about something I have a tendency to ramble and rush through things so sometimes my words, writing, grammer and spelling isn't the greatest.

#SPOILERS #Defending Jacob spoilers #spoilers #defending jacob #andy barber #laurie barber #jacob owen barber #apple tv #rant #thoughts #speculations #theories #never read Defending Jacob

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rosalyn51 · 5 years

Link

Much has changed for Thomas Barrow since audiences first saw him smoking behind the Downton Abbey servants’ quarters with his co-conspirator Miss O’Brien circa the 1910s. Once dubbed the “evil gay footman,” a moniker that was at once a trope and also unapologetically delicious considering the character's machinations, Rob James-Collier’s Thomas rose to the prominent title of head butler to the Crawley family toward the end of the series. When the Downton Abbey film opens in theaters this Friday, not only does he appear suited to his position, but it’s clear he’s become an all-around gentler sort. Still, he's armed with a caustic zinger or two at the ready. It is Downton, after all.

“[Thomas] is now at that point that you can go in service — the butler,” James-Collier tells The Advocate about his character’s professional journey from footman to valet to underbutler and so on. “He doesn't need to scheme or plot anymore because he got where he wants to be. So he's a lot happier as a person, and he's likely to be a little bit more gentle.”

(There are mild spoilers about the Downton Abbey movie in this interview)

*Spoilers Alert*

The film picks up in the mid to late 1920s, not too long after the series — which ran from 2011 to 2016 in the United States in a collaboration between the BBC and PBS — ends.

“Homosexual acts” weren’t decriminalized in England until 1967, but the Downton Abbey feature film, which revolves around the family — but mainly the servants — fastidiously prepping for a last-minute visit from King George and Queen Mary, offers Thomas a glimmer of happiness in a world where he’s less alone. The Yorkshire of the film isn’t quite the queer enclave that Brighton, England, has been for decades, but Thomas does encounter a like-minded fellow who introduces him to a hidden part of his village.

“We've explored — in quite some depth throughout the series — [Thomas's] sexuality and its impact upon him,” James-Collier says. “We've seen that struggle and what it was like to be gay in a time when it was illegal and against his religion. He's been on that journey. He's become more comfortable with who he is.”

Thomas’s proclivities were always one of the worst-kept secrets at Downton Abbey, with the likes of Lady Mary (Michelle Dockery) dropping withering bons mots from time to time and servants occasionally quipping about him once he’d left the room. Early in the series, when the kitchen hand Daisy reveals she’d developed a crush on Thomas, Downton’s cook Mrs. Patmore warns, “He’s not a ladies’ man.”

Throughout the years Thomas has had lovers (mostly off-screen), he’s been blackmailed because of his sexuality, and he’s blackmailed a few people in return. He’s been called an abomination, been beaten, gone toe-to-toe with the old-guard Mr. Carson (Jim Carter), engaged in wonderfully queer bitchery with Miss Baxter (Lady Grantham’s first ladies’ maid), and found an understanding friend in the gone-too-soon Lady Sybil. Thomas even subjected himself to conversion therapy at one point to rid himself of his “affliction.” Through it all, he polished the silver, turned the clocks, and presented Lord Grantham (Hugh Bonneville) with only the most pristinely delinted jackets and buffed shoes.

“He wasn't aware of this entire world, this entire culture behind closed doors where there were like-minded gay men who were free and dancing together, kissing each other, and literally just allowed to be themselves and create this unique world hidden, but in direct view,” James-Collier says of a scene in which a wide-eyed Thomas enters his first clandestine club for queer men.

“I really find a sense of childlike awe in that scene with Thomas. If you can imagine a child on Christmas Day, he's like, Wow, I can't believe this world exists,” James-Collier continues.

“The sense of relief it must have given someone like Thomas to go, Wow, there are others like me. There is a world where I can escape to, and explore, and be free,” he says. "It's very heartwarming.”

Creator and writer Julian Fellowes and James-Collier have ushered Thomas through from the guilty pleasure of the conniving “evil gay footman” of the early seasons to becoming a beloved character who has, at turns, expressed great compassion for others. He once offered himself up to be beaten by thugs to save another servant, James. Throughout, Thomas struggled internally and externally with coming to terms with being gay at a time when any exposure could have caused him to lose it all.

“If he's found out as a practicing homosexual, he would definitely be sacked. He would be imprisoned,” James-Collier says.

“Julian chose to explore his sexuality and the impact that had upon him psychologically. It's resonated with the audience,” James-Collier adds of how Fellowes was able to deploy Thomas as a fulcrum to help change hearts and minds.

“As Thomas has begun to understand himself, so has the audience. The move shifted from a pattern of not liking/hating him to empathizing with him. That grew into sympathy,” he adds.

“They [fans] love Thomas now, and they root for him. They just want him to be happy because they're like, I get it. It must have been horrendous to not be able to love and be free in a time to be yourself. Who should deny that most basic of human rights?”

“It would be good to see Thomas out on the town with the Dowager, though, wouldn't it?” James-Collier says. "Two quite acerbic, witty characters as well. You know what I mean?” James-Collier was happy to return to Downton with the cast and the audiences that have supported the series and his character. And he's proud of the story of resilience through strife that he's helped to tell through Thomas's journey — especially with the feature film depicting a more hopeful place for the Crawleys' gay butler. "We're moving forward, and look where we've come from," James-Collier says of the fight for LGBTQ equality. "It's good and important to get that message and remind people, so we don't go back to those times. That's the key, I think, the message is hopefully Thomas's journey in the movie will tell everyone, 'Let's not go back there.'”

#rob james collier #thomas barrow #downton abbey movie #downton abbey #lgbtq

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amelierose13 · 5 years

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Downton Digressions - Season 2 Christmas Special!

What?! No view of Isis' backside in the opening shot?! Scandal and shock!

The real outrage, though, comes during whatever that was which passed as a trial for Bates. I do not profess to be well-versed with any real sort of legal proceedings, but at least on Broadchurch, the defense goes after the prosecution to try and poke holes in the prosecution's case. It's all backwards, with the defense opening (even though the prosecution called the witnesses) and prosecution having the last word. What was Murray doing, besides believing that Bates was guilty and not trying to do a thing to prove otherwise? And why on earth would Bates have told the police exactly what he said to Robert that day in the dressing room, the same Bates who was too afraid to go to the police about the rat poison? How did they know to call O'Brien and Mrs. Hughes? While it's delightful to see O'Brien showing some emotion other than disdain, bitterness, or wrath, I'd really like to know how they knew to call them and ask for those exact stories. Did the prosecution have a copy of this episode's script, perhaps?

And someone (Murray! Matthew! Literally anyone!) could have warned Anna that it's just a matter of routine to sentence someone like that! Because the words, "You will be taken from here to a place of execution where you will be hanged by the neck until you are dead," sound pretty much like they're just going to cart him off to the gallows in the next shot. If they knew there was a good chance of this happening, why didn't anyone warn Anna?! Because Drama, Julian?!? Look, I appreciate these heart-wrenching scenes (gosh fer the beauty of "One kiss to take with me"), but this is all a bit much! It was already enough to see him alone in his cell on Christmas, crying over Anna's picture. My heart!

To cool down a bit, let's talk about Thomas. He had his stupidest scheme yet in locking up Isis, and his facial expressions when Mrs. Patmore commandeers the Ouiji board are hysterical (TIL what a planchette is - thanks for expanding my vocabulary, Downton). And it was absolutely wonderful to see him coming for the Dowager at the servant's ball - I wish there were more opportunity for the two of them to meet toe-to-toe like that, as they're more than a match for each other. Which that ball seems like a very strange tradition - wouldn't it be completely awkward to try and get over the Great Divide for just a few hours, once a year, and then pretend it never happened? It seems like it benefits the consciences of the nobility rather than do any good for the servants.

And finally, we arrive at the Ultimate Showdown of Ultimate Destiny. Isobel's "I wish you'd take my advice and fight for her" was hilarious knowing that the punch was coming - technically, it was Carlisle dragging up Lavinia that led to the first throw, but they still fought. It was a long time in coming, with even Isobel confronting Matthew with Mary's continued love. What a ridiculous line from Matthew, "I deserve to be unhappy, and so does Mary." It's almost laughable. What isn't laughable is Mary's explanation of the Pamuk incident. I was baffled to see an old interview from The View in which Michelle Dockery was asked to pick a person to resurrect, either Matthew, Sybil, or Pamuk, and she chose Pamuk! What's with everyone thinking he's so hot? He's a horrible person! Anyway, at least Robert knows - his scene with Mary was just right, and now he's finally hugged all of his daughters on screen.

Of course, the Dowager wins the day with her, "Do you promise?"

Other Items

Those ladies in sleeveless gowns in the middle of winter in a (presumably) drafty old Abbey must be freezing. Just like the men in their suits must be roasting in summer.

Miss Shore, you fool no one, especially not Anna.

I *love* the Downton tradition of giving the servants time off on Christmas and New Year's!

Sir Richard's departing line of, "I loved you, you know." Whatever, dude.

Daisy - so glad she's got Mr. Mason in her life, as it sounds like she's known very little of what it's like to truly be loved, not just romantic notions. LOVED her scene with the Dowager!

I'm realizing just how many great lines Carson has - maybe it's his delivery, but he's right after the Dowager for favorites.

#downton abbey #downton digressions #john bates #anna bates #thomas barrow #isobel crawley #matthew crawley #mary crawley #sir richard carlisle #freaking pamuk who won't stay dead #daisy mason #charles carson

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lapsa-lapsa · 5 years

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Downton Abbey's Thomas at a Gay Bar With the Dowager? It Could Happen

Rob James-Collier, who plays the gay butler Thomas, chats with The Advocate about the Downton movie and just which character he would take to a gay bar.

TRACY E. GILCHRIST

SEPTEMBER 17 2019 7:00 AM EDT

(There are mild spoilers about the Downton Abbey movie in this interview)

The film picks up in the mid to late 1920s, not too long after the series — which ran from 2011 to 2016 in the United States in a collaboration between the BBC and PBS — ends.

The film sees Thomas unseated from his exalted perch as butler for the king and queen’s arrival since Mary (who runs the business of Downton) insists Carson come out of retirement to see the job is handled to her standards. On the upside, Thomas’s temporary demotion opens up some free time, during which he finds a friend in one of the king’s men. It’s then that the somewhat provincial Thomas is introduced to the hottest underground scene in Yorkshire. “He wasn't aware of this entire world, this entire culture behind closed doors where there were like-minded gay men who were free and dancing together, kissing each other, and literally just allowed to be themselves and create this unique world hidden, but in direct view,” James-Collier says of a scene in which a wide-eyed Thomas enters his first clandestine club for queer men. “I really find a sense of childlike awe in that scene with Thomas. If you can imagine a child on Christmas Day, he's like, Wow, I can't believe this world exists,” James-Collier continues. “The sense of relief it must have given someone like Thomas to go, Wow, there are others like me. There is a world where I can escape to, and explore, and be free,” he says. "It's very heartwarming.” Creator and writer Julian Fellowes and James-Collier have ushered Thomas through from the guilty pleasure of the conniving “evil gay footman” of the early seasons to becoming a beloved character who has, at turns, expressed great compassion for others. He once offered himself up to be beaten by thugs to save another servant, James. Throughout, Thomas struggled internally and externally with coming to terms with being gay at a time when any exposure could have caused him to lose it all. “If he's found out as a practicing homosexual, he would definitely be sacked. He would be imprisoned,” James-Collier says. “Julian chose to explore his sexuality and the impact that had upon him psychologically. It's resonated with the audience,” James-Collier adds of how Fellowes was able to deploy Thomas as a fulcrum to help change hearts and minds. “As Thomas has begun to understand himself, so has the audience. The move shifted from a pattern of not liking/hating him to empathizing with him. That grew into sympathy,” he adds. “They [fans] love Thomas now, and they root for him. They just want him to be happy because they're like, I get it. It must have been horrendous to not be able to love and be free in a time to be yourself. Who should deny that most basic of human rights?”

Fans of Downton Abbey are sure to revel in the grand escape back to 1920s — to Lady Grantham's (Elizabeth McGovern) continuous gentle sway over her husband, to the sisterly snipes between Mary and Lady Edith (Laura Carmichael), and to the repartee between Maggie Smith's Dowager Countess Violet and Penelope Wilton's Isobel. Considering Thomas’s sojourn to a gay establishment in the film, when asked who James-Collier thought would be the most likely of the servants or the family to hang out a gay bar with his character, he considers carefully. “When she was in it, it would be Miss O'Brien [Siobhan Finneran], wouldn't it? She knew his sexuality and it didn't bother her, although ultimately she used it against him,” James-Collier muses. “I think it would be Miss O'Brien, and it would be good to see her let her hair down. It certainly wouldn't be Mr. Carson, anyway. Let's put it that way.” But James-Collier, who’s also known for his role in the long-running British series Coronation Street, has an epiphany that it’s safe to say Downton audiences would have loved to see unfold. “It would be good to see Thomas out on the town with the Dowager, though, wouldn't it?” James-Collier says. "Two quite acerbic, witty characters as well. You know what I mean?” James-Collier was happy to return to Downton with the cast and the audiences that have supported the series and his character. And he's proud of the story of resilience through strife that he's helped to tell through Thomas's journey — especially with the feature film depicting a more hopeful place for the Crawleys' gay butler. "We're moving forward, and look where we've come from," James-Collier says of the fight for LGBTQ equality. "It's good and important to get that message and remind people, so we don't go back to those times. That's the key, I think, the message is hopefully Thomas's journey in the movie will tell everyone, 'Let's not go back there.'”

Downton Abbey opens in theaters Sept. 20.

https://www.advocate.com/film/2019/9/17/downton-abbeys-thomas-gay-bar-dowager-it-could-happen

#downton abbey #thomas barrow

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doomonfilm · 5 years

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Thoughts : Hanna (2011)

My family and friends who know me know that I have a love for redeeming Vudu codes and adding films to my extensive online library. Recently, I came across a copy of Night School, and that redemption code included a free film. I was unsure of what to get, but I settled on Hanna after watching the trailers for the films available. Cut to a couple of weeks later, Super Bowl Sunday, and I see a commercial for a Hanna tv series. Weird, right? Now I feel that I have to watch this film before the property becomes relevant again.. synchronicity at work.

Hanna (Saoirse Ronan) and her father Erik (Eric Bana) survive off of the land in the forests of northern Finland. Erik pushes Hanna constantly, making sure that her survival instincts, hunting instincts and intelligence are always sharp and running at full capacity. As Hanna grows older, however, she yearns for a true challenge, not just the ‘imaginary’ training that Erik prepares her for. One day, Erik presents Hanna with an intriguing option in the form of a remote button, which he promises will trigger a challenge unlike any that Hanna has seen before, if she chooses. Curiosity gets the best of her, and Hanna triggers the challenge, putting C.I.A. operative Marissa Wiegler (Cate Blanchett) and her team in motion. Erik and Hanna set their plan in motion, as Erik disappears while Hanna stays back and is captured. She finds herself in a Moroccan compound run by the C.I.A., which she escapes, and sets a dangerous game of cat and mouse into motion as all three parties race towards one another.

The way that the concept of a feral human is toyed with plays quite intriguing in regards to Hanna and her transition from forest to eventual hiding in the streets of Morocco. The beauty of her transition into society soon takes a turn into the absurd via an over-immersion into electricity, television and teenage gossip, all of which dull her killer instinct and make her susceptible to capture. The intensity of the pursuit from Wiegler, Isaacs (Tom Hollander) and his crew serve to both help snap Hanna’s tangents back to the mainline narrative, plus it causes tension as they run through Rachel (Olivia Williams) and Sebastian’s (Jason Flemyng) family, as well as Knepfler (Martin Wutke) in the wake.

The balance between a hard-nosed C.I.A. manhunt picture and a coming-of-age tale is a good one, as it allows just enough focus on both stories to propel each narrative without having to rely too heavily on the tropes of each genre. The attention especially played to Hanna and her interaction with Sophie is key, as it allows a split channel of discovery (and further distraction) in regards to Hanna and her journey to find out who she is. Having mostly British and American characters occupy Spanish and Moroccan locations is an interesting touch, as it may bode to a slightly larger commentary on the powerful using the disenfranchised as their playgrounds. Add to this the mystery of Hanna, her origin, and where she is truly from, and you’ve got a film that holds your attention from opening to closing credits.

The mixture of intense framing with grand camera moves is utilized to create a disjointed feeling, putting the viewer squarely in the same shoes as Hanna. Great location choices are abound, including the shipping yard and amusement park sequences, as well as the streets of countries mentioned previously. Economical action is applied rather than opting for grand action sequences, with a lot of the action being centered around foot chases and hand to hand combat rather than elaborate car chases and gunfights. Tonally, things are well-balanced between the spy story and the coming of age story, with each aspect getting enough attention to feel fulfilled. The ending feels a bit abrupt, but the fact that there is now a TV series on the way sort of helps aide with that acceptance.

Saoirse Ronan uses a brilliant approach to the fish out of water approach, managing to wrap most of her performance in a sense of wonder while always making sure that the sharp edge she possesses simmers just below the surface. Eric Bana plays the protector quite well, serving as guide and guardian until he is forced to reveal the truth to Hanna, while also being competent in the role of a rogue agent. Cate Blanchett brings an air of dignity to her role as antagonist, allowing her class and stature to direct her as she leads the dual manhunt and points thugs in the direction of her dirty work. Jessica Barden embraces her bratty role, while Aldo Maland manages to bring some subtlety to his mostly silent performance. Olivia Williams and Jason Flemyng both help provide a bit of levity, while Tom Hollander and his cronies serve a purely dangerous function of being truly formidable foes and threats to Hanna and Erik. Appearances by Michelle Dockery, Vicy Krieps and the memorable Martin Wuttke round things out.

I probably won’t watch the show, but I definitely will recommend the movie Hanna to friends, as I enjoyed it. I’ve definitely become a fan of Saoirse Ronan over the past couple of years, and stumbling across this gem was a nice way to start the year, even if the film is a bit older.

#ChiefDoomsday #DOOMonFILM #JoeWright #Hanna #SaoirseRonan #EricBana #CateBlanchett #JessicaBarden #AldoMaland #TomHollander #OliviaWilliams #JasonFlemyng #MichelleDockery #VickyKrieps #MartinWuttke

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shortcreativeperson · 4 years

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MOVIE RECOMMENDATION

MOVIE TITLE: THE GENTLEMEN MOVIE YEAR: 2020 CASTS: MATTHEW McCONAUGHEY, CHARLIE HUNNAM, MICHELLE DOCKERY, HUGH GRANT DIRECTOR: GUY RITCHIE GENRE: THRILLER/COMEDY/ACTION

I love a good movie, especially one filled with handsome men and this movie is no exemption. The movie begins with a brilliant cliffhanger, you know the sort that has you like, “oh my God” with a sharp intake of breath. A movie as this will have you glued to your screen.

From the awesome dialogue and brilliant casts, this movie is a must watch. It shows true loyalty, love, betrayal, trust and murder. It also touches fierce respect and the length a man is willing to go for his wife. I love the rich blend of good dialogue, thriller, action and insane dark humor.

At the beginning of the movie Mickey Pearson (McConaughey), owner of a profitable marijuana business is in a bar and on a phone call when from nowhere he’s been shot from behind. I have no idea why anyone would want him dead but the story begins.

Not left to ponder for long over the reason for the gunshot, the movies takes you back to how it all started through the dialogue between Fletcher (Grant) and Raymond (Hunnam). Fletcher, a journalist and greedy person tries to blackmail Raymond, Mickey’s right hand man into telling him about the dirty secrets of Mickey.

Will Raymond choose himself over his boss? Or is his loyalty rock solid? That my darlings is for you to find out. I hope you’ll enjoy it as much as I did. Remember to STAY SAFE.

#movie #movies #dialogue #movie recommendation #storytelling #writer #writers on tumblr #netflix #movieedit #poets on tumblr #poetry #gentlemen

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madamspeaker · 6 years

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Network at the National Theatre

Let me first preface by say that I was rather cynical, more accurately I was doubtful when it came to Network. I never doubted the choice of Bryan Cranston for the role of Howard Beale - once you say his name and the part, you can just picture it, but I was decidedly worried about the overall production right up until the rehearsal photographs were released just under two weeks ago. My main concern was director Ivo van Hove, who has had a rather patchy run of late. A View from The Bridge was amazing, but I detested his take on Hedda Gabler, and his summer run of work at the Barbican was met with somewhat lukewarm praise. Also there was the fact that all most of us knew at the NT about the production for months was that the public would be eating on stage - which frankly seemed to baffle everybody (more on that later). So yeah, I was pretty cagey on Network - I honest to god feared it would be some bare stage arty crap with random people munching through dinner like some pretentious Turner Prize installation. The good news is that it is not. Network is very good, bordering on the genuine great. Yes, it’s a tad over gimmicky, and I would argue that some things should be cut, but overall it’s a rollicking good night of entertainment. Cranston is, to the shock of no one, amazing. It’s no easy feat following Peter Finch into what is such an iconic role, but Cranston makes it his own, brilliantly going through the mood swings of what is ultimately a tormented guy, rudderless and desperately trying to find some meaning to his life, whilst at the same finding this torment exploited - is at times complicit in. There are moments of such devastating pathos that you feel uncomfortable about what’s happening to him, and yet just as quickly you become swept up in his anger - revelling in the entertainment of it. Network is, if nothing else, a bloody timely choice for the world we live in now.

Anyone familiar with the original movie will know that it garnered three acting Oscar wins, and a fourth Oscar for it’s screenplay. Lee Hall who has adapted it pretty much sticks with most of the original script - some of it actually just lifted from the film, but I would be inclined to argue that he’s kept some stuff that perhaps should be ditched, or at least abridged, and jettisoned some of the film that needed to be in the play. For the most part we’re talking minor quibbles here, but there are two scenes, two very famous scenes in the movie that earned Ned Beatty an Oscar nomination and Beatrice Straight an Oscar win, and with the greatest respect to the two actors on stage, neither can carry those two monologues in the way their film counter parts do to justify the time they get. The Beatty monologue from the film is actually one of the most important parts of the movie, it needs to be there in some form as it’s the defining moment in what eventually befalls Howard, but on stage I found myself becoming bored with it. Part of me thinks it needed shortened, made more punchy, because on stage, and whether this is the fault of writing, acting, or direction, it drags, and drags badly. The Straight monologue, actually the Louise Schumacher monologue to be accurate, is just surpurflous to requirements on stage - in fact it’s a bit cringe inducing at one point, to the degree that I heard an odd titter of laughter, which is not what that speech is about at all. There’s a reason Beatrice Straight won an Oscar for it, for what was in fact less than 6 minutes of screen time, but that moment just feels like another drag on stage.

Oscar talk brings me to Michelle Dockery in the role Faye Dunaway won hers for. Dockery is good in the role of Diana Christensen, but as written on stage it’s not really a lead part. I’d be inclined to call her performance and indeed the actual role, Dunaway-lite. Dockery’s mannerisms, especially the hands and the walk, seem at times to be taken from the movie, but the intensity isn’t quite there yet. This was preview four, so there’s room for things to evolve, but whilst we get the character’s ambition and her intelligence, be it morally very questionable, I didn’t quite buy into her emotional need to succeed in the way that on film Dunaway always seemed like she was plugged into the mains - full of energy, bristling with it, her life and what was left of her soul completely wrapped up in ratings and success. I also didn’t quite buy the romance plot either, which I think is either something that should have been ditched, or something that needed to have a few more scenes to develop on stage. As it is, it’s there, but it doesn’t do anything. On film, it provided the William Holden character of Max Schumacher with a further emotional dilemma - falling for the woman who was essentially exploiting his best friend’s breakdown, but as it is at the moment on stage, it seems to come from nowhere, sex is had (a genuinely hilarious scene), wife is pissed, but you never quite get how all this effects Schumacher and his pal, Howard. All this sounds negative, but I’m actually just really nitpicky, because overall the play is damn good. The Lyttelton stage hasn’t looked this amazing in a while. It’s a massive bugger - deep and wide, and often plays and performances can get a bit lost on that expanse, but van Hove and his team have used the entire space so brilliantly. Yes, there is a working restaurant on stage, and yes it is pretty much a gimmick - those audience members serve no real function other than to provide free ambience for the scenes set in a bar - but the rest of the space is used so well. Even the quite heavy use of video projection and screens works terrifically, the countdown clock especially - suiting the TV setting, and giving the whole auditorium a buzz that I’ve not experienced in the Lyttelton before, even during Angels in America. So yeah, Network is genuinely very good. It might well even become great by Monday’s press night. The ingredients are all there, and certainly I think Cranston and the production design team have pretty much secured themselves awards and nominations already. Network is presently sold out for it’s entire run, but some tickets might be available via American Express invites, and there will be a regular allocation of tickets released via the National’s online Friday Rush scheme, and every morning that the show is playing via the Day Seat queue.

#network #bryan cranston #michelle dockery #National Theatre

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recentanimenews · 3 years

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FEATURE SERIES: My Favorite One Piece Arc with Maffew

I love One Piece and I love talking to people who love One Piece. And with the series going on 23 years now, there is a whole lot to talk about. As the series is about to publish its 1000th chapter, a true feat in and of itself, we thought we should reflect upon the high-seas adventure and sit down with some notable names in the One Piece fan community and chat about the arcs they found to be especially important, or just ones they really, really liked.

Welcome to the next article in the series "My Favorite One Piece Arc!"

My next guest in this series is Maffew, creator of the popular pro wrestling web series Botchamania. For my chat with him, he chose the Alabasta Arc, in which Luffy and his crew not only have to save a desert kingdom but also topple Baroque Works and its powerful leader Crocodile.

A note on spoilers: If you haven't seen the Alabasta arc yet, this interview does contain major plot points. Watch the Alabasta arc starting RIGHT HERE if you'd like to catch up or rewatch!

Dan Dockery: So I guess my first basic question is, let’s say for some reason, I got to the end of Drum Island and I said “Well, One Piece ends here for me. This seems like a good finale.” What would you tell me to keep me going into the Alabasta Arc in one sentence?

Maffew: Well, after Chopper has made all the kids cry, you’ll need pickin’ up.

That’s pretty good! What was the impetus for you getting into One Piece? What made you want to jump into an anime that’s nearly one thousand episodes long at this point?

I think I tried watching it on YouTube back in 2009, and I just couldn’t get into it. At that point in my life, I wasn’t ready for a character like Luffy and his adventures, and I couldn’t wait for the villains he fought to kill him. So I dropped it. A year later, I’m in Germany and this wrestler ACH was doing a Q&A panel for this German wrestling organization called WXW. And ACH is a REALLY big One Piece fan, and even dresses up as Luffy in New Japan and Ring of Honor. And I was like “Hey, you watching JoJo?” because that was my thing at the time, and he was like “No, no. Just One Piece.” I said, “What else are you watching?” “Just One Piece.” And I’m like “Wait, what? Just the one?” But he was sellin’ it to me like he was a One Piece ad on QVC. And guys like Steve Yurko are so passionate about it, and if one person tells ya to watch something, you’re like “Eh, whatever,” but if five people tell you, you start to pay attention. So I’m gonna blame ACH and my good friend Steve Yurko for this.

What do you like about this arc in particular?

You get so much wonderful worldbuilding. They go to Alabasta, meet up with Mr. 2, and it’s one of those cool interactions where they’re meeting, but they don’t know who they are meeting exactly, like when they meet Blackbeard in Jaya. So later on, they’re like “Oh, it’s THEM!” There’s a real sense of everything not being really pre-determined at this point. It’s building everything through a bunch of pirates just doing stuff. Ace shows up, knocks out some assassins so he can get his royalty checks.

That’s such a funny way to put it.

Then we get Kung-Fu Dugongs, and they’re a pretty pure expression of One Piece. They’re all synchronized, they’re adorable, they play their part amid all the serious stuff, and they’re completely ridiculous, but they work anyway. And it’s with Alabasta that Eiichiro Oda starts to perfect the tropes that he puts into place throughout, with the new islands, the new leader who everyone loves but is actually a bad person, the crew having to deal with him and the Navy, them having to help put someone back in their position, etc. And even though, on paper, it reads like “Well, he’s gotta beat this dude and this dude and this dude,” it’s so much more chaotic and less formulaic than you’d expect. It keeps things interesting.

I agree. I like how he takes all of these pieces and he’s consistent with them, but Oda always plays around with how he sets them up.

But it’s all a foot massage before the real reason to watch Alabasta: Sir Croc.

Are you a big fan of him? That dude is so cool, conniving and powerful. He’s kinda the perfect villain.

Back when I was being miserable and first watching One Piece, I really liked him. I like the design, the sand powers that could actually pose a threat. I always appreciate it when a villain provides actual tension. It’s like why I think Goldeneye is still the best James Bond film. Because Alec Trevelyan is constantly reminding Bond “Remember, I could kill you. I’m from the same place as you. I can take your exploding watch and just, eh, I’ll stop that then. Thank you.” And Luffy loses twice to him in the three-match structure that really works here as it did for wrestling in the 70s.

How so?

So you’d have somebody like champion Bruno Sammartino and someone like Ivan Koloff or one of the Wild Samoans or Stan Stasiak. They’d have one match where the hero would beat Bruno by disqualification. Bruno’s still around to fight, but he’s lost. Luffy survives being thrown in the sand, but he’s been beaten. Then they have the second match, where Bruno would win because the villain would just give up and leave and get counted out. Luffy attacks Crocodile with water, but it’s not enough, and Crocodile just kinda leaves Luffy thinking it’s all done. And then Bruno would be like “Oh no ya don’t. Next time, you won’t be able to escape, because we’re gonna be in a cage match.” And then Bruno wins, just like Luffy wins by punching Crocodile up through that giant enclosed space. He escapes the cage.

It’s just so satisfying and that’s a great way to describe it. So, villains in the series have had extensive crew members before, but they haven’t been as recognizable and colorful as Croc’s crew, Baroque Works. Do you have a favorite member?

They’re all good in their own way, but at this point, I’m gonna go with Mr. 2. Eh, that’s probably too obvious an answer…

Mr. 2 is a lot of people’s favorite member.

Oh, who cares. I’ll go with Mr. 2. I like how Mr. 2 interacts with everyone, having fun with the boys and fighting Sanji with kicks but respecting him.

So, in this arc, there’s a lot of government intrigue and a revolution is about to happen, and everyone’s dissatisfied with their perception of the monarchy. How did you react to all of this political drama in One Piece?

Well, it’s great because you have Vivi, and you get to learn her motivations and because she’s on the crew, it gives you a reason to care for the crew and how all of the political intrigue affects them. Without her, you’d just hear about a war and say “Oh, sorry about that. Hope it goes well.” And with all this lore being thrown at you because you have Vivi and that connection, it’s adding to the main conflict, rather than distracting.

Yeah, Vivi really grounds it all with a personal attachment. Because otherwise it’s just savin’ the kingdom, which is cool and they’re good for it, but it doesn’t have the same impact. So, they did this back in the Arlong Park arc, but what returns here is the kind of 1 vs 1 match structure, where a member or members of the enemy crew are matched up against a Straw Hat or Hats. Mr. 1 has knife body parts, so he’s obviously gonna fight Zoro. Mr. 2 kicks and Sanji kicks, etc. What do you think about that kind of matchmaking, because it’s also a little wrestling-esque.

Yeah, right, like if you have D-Generation X fighting the Nation of Domination, you can’t just have The Rock fighting Triple H. Ya gotta have D’Lo Brown vs X-Pac and The Godfather vs Billy Gunn. I like it because the characters feel like they have to prove themselves, like Zoro’s a swordsman, and he’s gotta test himself against another swordsman. And Usopp does it when he fights Mr. 4 and Miss Merry Christmas with Chopper, because they have a weird dynamic and they’re fighting two people and they have no clue what they’re up against.

So, at the end of the arc, they do the iconic “We can’t let Vivi become associated with pirates so we’ll hold up the X symbols on our arms in solidarity” pose. What did you think about that? Because it’s one of the most famous images in One Piece, and it’s hard to avoid it, even if you’ve never watched the series. Was that your first time seeing it?

It actually was. And I’m glad you brought this up because I was watching it and I thought “Wait, they’re just going? They’re not even keeping the duck?” And then they do that with the X and the original opening starts playing and I get goosebumps just remembering it. That really hit me. Because it finally got me really emotionally invested in the series. Made me feel a bit cheeky.

ONE PIECE LIGHTNING ROUND!

So, considering you’re such a huge pro wrestling fan, your lightning round is gonna be a bit different. I’m gonna say a Straw Hat that’s in the crew at this point and you tell me which wrestler they’re the most like. You can also tell me what time period they’d fit the most in, since wrestler personalities tend to change. So, Luffy?

Gotta be Cena. Specifically? With Luffy’s attitude? Probably 2015 defending-the-United States-Championship John Cena.

Zoro?

He’s all business, he likes to fight. So I gotta go with Cesaro.

Sanji?

Going with Eddie Guerrero.

Usopp?

That character is all over wrestling - the underdog who isn’t very good and uses every trick in the book to win. Gonna go with MJF. He had one of my favorite matches of this year against Cody Rhodes and he just had to use EVERYTHING to beat him - brass knuckles, distraction, chairs, everything he could to get that win. But he could be MJF, could be The Miz, could be Mikey Whipwreck from ECW, take your pick.

Nami?

Hmmm. Becky Lynch.

Chopper?

KeMonito

Robin?

Oh, she shows up after being booed for ages and you’re supposed to like her, so 2019 Charlotte Flair.

Stay tuned for the next installment of "My Favorite One Piece Arc" as we speak with One Piece's official English manga translator Stephen Paul on his favorite One Piece arc: Skypiea!!

Daniel Dockery is a Senior Staff Writer for Crunchyroll. Follow him on Twitter!

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Daniel Dockery

#Anime #News #Latest in Anime News by Crunchyroll!

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in-flagrante · 4 years

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ALL CHANGE With Michelle Dockery

Best known as Downton Abbey’s indelible Lady Mary, MICHELLE DOCKERY effortlessly transitions from haughty aristocrat to corrupt cockney in Guy Ritchie’s new gangster movie, The Gentlemen. LAURA CRAIK talks to the British star about her working-class roots, embracing a golden age of opportunities for female actors and why working with Ritchie, Matthew McConaughey, Hugh Grant and her idol Jeremy Strong was a dream come true

Michelle Dockery is about as different from Downton Abbey’s Lady Mary as is imaginable. Dressed in Totême boyfriend jeans, white Adidas trainers and a black cashmere turtleneck, she is warm, effusive and quick to laugh where Lady Mary is frosty and composed, and she has an accent not dissimilar to Victoria Beckham’s. “It may come as a bit of a shock to everyone when I open my mouth in the film,” she smiles.

“The film” is The Gentlemen, a classic gangster caper written and directed by Guy Ritchie in a return to the genre that first made him famous. “Charlie [Hunnan, one of Dockery’s co-stars] is calling The Gentlemen ‘vintage Ritchie’, and I think that’s right,” she says of the British director behind Lock, Stock and Two Smoking Barrels and Snatch. “I play Rosalind, who is the wife of Matthew McConaughey’s character, Mickey,” Dockery explains. “He has these marijuana farms that are growing underneath stately homes, hence the title The Gentlemen.”

Marijuana farms? What would Carson say? Dockery laughs. After six years playing Lady Mary Crawley in Downton Abbey– first in the well-loved TV series (which has won 15 Emmys and been watched by an estimated 270m people worldwide) and latterly in the movie – her role in The Gentlemen was a great departure for the 38-year-old British actress. “Rosalind runs a car dealership, which she’s inherited through her family. She’s a real, tough, east-London girl. I grew up in Essex, and my family has a sort of east-London background, so it was great to step into that world.”

To say the cast of The Gentlemen is “stellar” is an understatement: in addition to Dockery, McConaughey and Hunnam, the movie stars Hugh Grant (who plays equally against type and appears as a corrupt and predatory reporter), Colin Farrell, Henry Golding, and Jeremy Strong, most recently seen as the troubled Kendall Roy in HBO’s Succession – of which Dockery is a huge fan. “I mean, this whole interview could be about Succession,” she laughs. “It’s absolutely brilliant, the best thing on TV. Every single character is Shakespearean. I loved working with Jeremy. We only had one scene together, a dinner-party scene, and I would never have seen his character the way he played it. He was a joy to watch, and worlds away from Kendall.”

Working with Ritchie – and the laugh-a-minute, largely male cast – was, Dockery says, a dream. “There’s one scene where I arrive at my garage, and Guy wanted to add a bit of dialogue, just off the cuff. I had to be on my toes, and I really enjoyed that. So often, when I’m working, the process is very much word for word, and on this film it was malleable. It was liberating.” She also relished collaborating with Ritchie on Rosalind’s look. “Even though Rosalind works in a garage, I get to wear the most beautiful Balmain jumpsuit, and the first scene is me walking into the garage in a pair of Louboutins, which is hilarious. Rosalind has clearly worked her way up to where she is, really enjoys the lifestyle and having money, but still wants to work. I love that about her character, that she still gets her hands dirty.”

Dockery says she is happy with the quality of roles she has been offered in her career (she graduated from London’s Guildhall School of Music & Drama in 2004), while being aware that, in the past, female actors have lamented the paucity of fully rounded female characters. “I do feel I stepped into this industry at a time when things were really beginning to change, especially for women. It’s the golden age of television, where creators have the luxury of writing 10 hours as opposed to just two, so there’s room to explore a character in greater depth. It’s now becoming much more normal to start a job or to read a part and for me to have a dialogue with the creators – if there are moments where it’s felt the female character is not involved, for example – whereas I guess in the past, it would have felt like more of a fight.”

Does she have any aspirations to write or direct herself? She laughs. “I do think about, you know, doing other things. Right now, I’m not sure exactly what, but…” she tails off, laughing. The glint in her eye suggests she has something in the pipeline

After a six-month stint in Boston, where she was filming Defending Jacob, a harrowing miniseries about a family whose lives are torn apart after the death of a boy at their son’s school (“it’s not a comedy,” she notes wryly), she is very much enjoying being home in north London, where she lives close to her two sisters (Dockery is the youngest of three). “It’s a cozy time of year to be home,” she smiles, nursing a cup of tea. “It’s great catching up with friends and family – and, because I travel a lot for work, every time I come back to London, I appreciate it much more. Recently a friend came over from LA and we went to the Antony Gormley exhibition. It took my breath away.”

Can she walk around London fairly anonymously? “Yes, more so here than in America. But that’s the thing with our culture. Brits are too cool to approach you, but in America people have more confidence to come over and say something. It still takes me very much by surprise, but it goes in waves. When the Downton film came out, it peaked again.”

She laughs as she explains that she can never tell who’s going to be a Downton fan. “I got into a cab a little while ago, and the driver was this big, burly Guy Ritchie type. ‘Where you going, love?’ he said. And then it went a bit quiet. And then he was like, ‘You alright?’ And I was like, ‘Yeah, yeah,’ and told him about my day. And he suddenly went, ‘Shame about your sister in season 3.’ And I just laughed out loud. People really surprise me sometimes.”

Would she say she’s an introvert or an extrovert? “I’m an introvert.” Although not the stay-at-home type. “I do like to go out and dance. For me, it’s not a night out unless I’m on the dance floor. Every couple of months, I just need to dance; have one of those… dance-y nights.”

Her interest in fashion is modest rather than craven. “I love clothes but can be ignorant of certain designers. I like supporting young ones coming up.” She’s also what she calls “a coat girl”, with more coats than shoes. But her most cherished possession is a St Christopher necklace her mom gave her. “It comes everywhere with me. I’ve had it for 15 or 20 years.” She recently started donating her old clothes to Smart Works, a British charity of which the Duchess of Sussex is a patron, which helps unemployed women get back to work. “They’ve got all my skinny jeans.”

Our time being almost over, I finish with the question few subjects want to answer. Is she in love at the moment? She laughs and draws an imaginary zip across her mouth. The line of enquiry is especially sensitive as Dockery’s fiancé, Irishman John Dineen, passed away in 2015. She is now rumored to be dating Jasper Waller-Bridge, brother of the feted Phoebe, creator of Fleabag and Killing Eve. If this is true, perhaps we’ll see her in a comedy soon? “There are things on the back burner, but I can’t say,” she says. Then, in a quick flash of Lady Mary, she concludes with a polite, “Thank you so much. It’s been really lovely.”

The Gentlemen is released on January 1, 2020

#michelle dockery #porter magazine #the gentlemen #personal style #interviews

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