#Rooney Mara deserves more love you guys

[hellomynameisbisexual]

Since the very conception of the motion picture, the LGBT community have been represented on-screen in some form. An early example is Algie the Miner (1912), a short silent film which follows the effeminate Algie (Billy Quirk), who enjoys kissing cowboys. In order to marry someone’s daughter, he heads west to prove that he’s a man. While this is quite an outdated stereotype of being gay, the portrayals have varied greatly over time. Only recently is LGBT representation becoming more positive and common. However, when it comes to portraying bisexuality on-screen, it still seems to be a difficult task.

Many narrative tropes have been birthed through filmmakers trying to show sexuality on-screen and most of them contribute directly to the overall erasure of bisexuality in cinema – usually with ambiguous portrayals, negative stereotyping and characters needing to pick a side. Not all instances are problematic, but their prevalence isn’t helping to combat the stigma that bisexual people face. There are three main tropes when it comes to depicting bisexuality, which is infidelity, picking a side, and the horrible husband. They’re usually found together in a common narrative that erases bisexuality, whether intentional or not.

Infidelity

There’s a long-standing stereotype that bisexual people are more likely to cheat on their partners and are incapable of commitment. This is a trope that is heavily carried in some of the most well-known depictions of bisexuality. Typically, a female protagonist is engaged or married to a man, but she meets a lesbian woman and they become involved sexually and romantically, leaving the protagonist torn between two lovers. This happens in Imagine Me & You (2005) when Rachel (Piper Perabo) falls in love with lesbian flower shop owner Luce (Lena Headey), who provided the flowers for her wedding to Hector (Matthew Goode). It’s a fairly average film that could’ve been amazing had it acknowledged Rachel’s bisexuality, but it’s still one of the better ones considering Perabo and Headey have amazing chemistry.

For some reason, bisexual characters are often in serious relationships when they’re suddenly sexually awakened. This happened to Rachel right after her wedding because she happened to meet the right woman. While this type of experience does happen in real life, it’s always the go-to narrative for films about women realizing they’re not one-hundred-percent straight. In these instances, the same-sex love affair acts as the conflict within the narrative – this can create good drama when done right, but it gets boring and bisexual characters deserve better than constantly being portrayed as cheaters. People are not more promiscuous or likely to cheat on their partners because of their sexuality, but these tropes are constantly telling people otherwise.

We deserve to see bisexual characters whose sexuality isn’t the main narrative focus or who at least explore their sexuality outside of a relationship. Appropriate Behaviour (2014) is a good example of this as Shirin (Desiree Akhavan, who is also the film’s writer and director) is a bisexual Persian American woman who is keeping her sexuality a secret from her judgemental family, while also attempting to rebuild her life after breaking up with her girlfriend. Seeing bisexuality portrayed on-screen is another place where people pick up more stigma or acceptance, and with bisexuality it, unfortunately, seems to be the former. This is why bisexual filmmakers like Akhavan are better suited to portraying the experiences of bisexual men and women than others.

Picking A Side

When the protagonist is in conflict with her sexuality, the people around her usually wonder if she’s a lesbian now – despite them being engaged or married to a man. This can be seen in Below Her Mouth (2010) where Jasmine (Natalie Krill) begins having an affair with Dallas (Erika Linder). When her husband finds out, he tells her “You’re a lesbian” but she tells him that she loves him and nothing has changed between them. It seems impossible to grasp that a person could be attracted to both men and women. Bisexuality is erased.

Some films insinuate that the protagonist isn’t necessarily bisexual or even a lesbian, it’s just that they’re attracted to this one woman only and no others – they’re an exception! This is the kind of impression you get from Below Her Mouth, but also from other films such as Imagine Me & You and Elena Undone (2010), which isn’t particularly helpful for lesbian representation either. In Imagine Me & You, Rachel tells Hector “You are my best friend. That was enough before, and it will be enough again.” This implies that Rachel was never truly attracted to him in a romantic sense, thus implying that she’s a lesbian. While this could be a case of compulsory heteronormativity, it seems problematic as it’s never discussed or explained. Avoiding discussions about sexuality – as most of these films do – are what contribute to this trope massively and result in misinterpretation and erasure.

Films as new as Netflix’s Alex Strangelove (2018) also feed into the idea that bisexuality is a stepping stone to picking a side. Alex (Daniel Doheny) prepares to lose his virginity to his girlfriend but finds his plans derailed when he’s attracted to another boy. He spends most of the film questioning his sexuality and at one point thinks he’s bisexual. The film does highlight biphobia which brings attention to this problem, so it’s disheartening at the end when Alex realizes he is gay and not bisexual after all. The set up for Alex Strangelove was perfect for a bisexual love story and, while it’s still positive LGBT representation, it’s a shame it didn’t stick with that. It’s even rarer to see bisexual men portrayed on-screen, so it would’ve been really rewarding.

It’s important to acknowledge that bisexuality is a comfortable place for some people to be while they’re trying to accept that they are gay – and there’s nothing wrong with that. However, there still seems to be some widespread discomfort when it comes to sexuality being fluid. For bisexual people, there isn’t any side to pick – they’re not torn between polar opposites, nor are they confused. They aren’t on the fence, they’re on both sides of the fence. Nevertheless, films continue to portray bisexuality as a personal conflict that needs resolving, and it does this by putting bisexual characters in a situation where they’re having affairs. This makes their sexuality the narrative conflict, which is wholly problematic in itself.

The Horrible Husband

The protagonist’s fiancé or husband is usually abusive or passive in the relationship, and thus portrayed as the antagonist. She is then drawn to a lesbian woman who treats her so much better and gives her the attention she deserves. Sometimes it’s as though these films are saying that lesbianism is the cure for a dissatisfying heterosexual relationship. This contributes to bisexual erasure by suggesting that bisexual women can only be happy with women and never with a man because they’re horrible or not good enough. It also perpetuates the idea of picking a side – almost telling bisexuals that they should just be lesbians instead.

This trope is found in films like Elena Undone, where Elena (Necar Zadegan) meets Peyton (Traci Dinwiddie) who is a famous lesbian writer. Elena’s husband Barry (Gary Weeks), however, is a homophobic pastor. Elena Undone is actually loosely based on director Nicole Conn’s real-life romance with Marina Rice Bader, but the film itself isn’t great. It’s also shown in The World Unseen (2007) as Miriam (Lisa Ray) quietly follows the customs of 1950s South Africa, alongside dealing with her abusive husband Omar (Parvin Dabas). Miriam becomes empowered to change her circumstances when she meets and falls in love with free-spirited cafe owner Amina (Sheetal Sheth).

A much better film that deals with this trope is Bound (1996). Lesbian ex-con Corky (Gina Gershon) arrives at an apartment building to start work as a painter and plumber. She soon finds herself being seduced by Violet (Jennifer Tilly) who lives next door with her boyfriend Caesar (Joe Pantoliano). Violet explains that they’ve been together for five years and he’s a money launderer for the mafia. She wants to escape and make a new life for herself, so she and Corky plan to steal $2 million of Mafia money and blame it on Caesar. The horrible husband trope actually works well in this film because the women plan to screw Caesar over and it doesn’t use Violet’s infidelity as the main narrative conflict – it’s a lot more original, which isn’t surprising as the first directorial feature film from the Wachowski Sisters. Bound would’ve been much less effective if Caesar was just a regular guy who Violet hated, but she has a better motive with the drama surrounding his violent mafia connections.

These three tropes are collectively the entire plot of Imagine Me & You, Elena Undone, The World Unseen, I Can’t Think Straight (2008), Kiss Me (2011) and more. It’s a shame that there isn’t always a huge focus on the actual relationship between the two women in these films. It’s more about them hiding their relationship and because they officially get together at the end, we never get to see much of what their life is like as a couple. They all feature very similar themes, meaning that when it comes to telling the stories of bisexual characters, the narrative is rarely diverse. Romantic comedies in general always follow the same beats which is fine, but these tropes for bisexual characters either erase their sexuality and/or display it as a problem.

These tropes can still work well (like with Bound) depending on certain aspects of the narrative. Infidelity works well in Carol (2015) due to the 1950s setting. Carol (Cate Blanchett), who is in the process of divorcing her horrible husband, and Therese (Rooney Mara) have to hide their relationship due to homosexuality not being accepted during this time. This adds an extra layer to the narrative, giving actual depth to why things are happening the way that they are. There’s also Disobedience (2017) where it works well due to the Orthodox Jewish culture. Ronit (Rachel Weisz), who is considered bisexual, returns to the community for her father’s funeral to find her childhood friend Esti (Rachel McAdams) married to a man. Esti describes herself as a lesbian woman in a relationship with a man, which is disheartening but works in the film’s world. Disobedience also plays through the infidelity trope very differently to other films, allowing it to be more effective.

The Erasure

In films with bisexual characters, it’s rare that the word “bisexual” actually comes up. It’s mostly ambiguous, implied or erased completely by the protagonist seemingly picking a side. It’s constantly reinforced by narrative tropes that are set up for dramatic entertainment, with no real intention of representing sexuality with genuine care. Erasure also happens due to words like “gay” being used as an umbrella term when referring back to certain films. Brokeback Mountain (2005) and Call Me By Your Name (2017), for example, are often referred to as gay films on social media due to the gay relationships portrayed, However, the characters are portrayed to be sexually fluid/bisexual due to the nature of their relationships with women. It also happens with films like Blue Is the Warmest Colour (2014) which is always painted as a lesbian love story when Adèle (Adèle Exarchopoulos) is clearly bisexual. It’s not necessarily bad to use gay and lesbian as umbrella terms, but it, unfortunately, does contribute to bisexual erasure. We should be bringing more attention to bisexuality on-screen and pointing it out specifically when we see it.

One of the biggest erasures is the portrayal of bisexual men. They appear much less frequently than bisexual women. The most recent example that comes to mind is Jake Gyllenhaal’s character in Velvet Buzzsaw (2019), but the word bisexual was never used and he was portrayed as being promiscuous, which fits into the negative stereotype (although the film is satire so perhaps it can be excused). Some better, or at least more interesting, depictions of bisexual men are still out there and can be found in films such as Velvet Goldmine (1998), Kaboom (2010), The Comedian (2012), The Lobster (2015) and Moonlight (2016).

If anything, bisexual characters are usually left out of the bury your gays/dead lesbian syndrome trope. It’s very common both in film and television for gay men and lesbian women to be killed off in some dramatic way, such as in Brokeback Mountain, The Fox (1967), Les Biches (1968), Lost and Delirious (2001) and A Single Man (2009). Bisexual women have been killed off quite a bit in television – like Marissa Cooper (Mischa Barton) in The O.C. – but they’re relatively safe in film and hopefully, it’ll stay that way.

Acknowledging Bisexuality

It is disheartening that bisexual representation on-screen isn’t as good or as frequent as gay and lesbian representation. We’re also at a time where it could be massively improved, but now we face the barrier of “queer” as another umbrella term. It’s wholly unhelpful when not everyone identifies with it and when we want bisexual characters to say the word bisexual on-screen. We want to be acknowledged. Bisexual actress Stephanie Beatriz made sure her bisexual character in Brooklyn Nine-Nine got to say it earlier this year, because that word means something to certain people and the impact is great. Hopefully this will start to happen more in film going forward.

There are definitely films out there where the word bisexual is actually said, like in Appropriate Behaviour, Kiss Me, Velvet Goldmine and Margarita with a Straw (2014). It’s rare that we hear it so when we do it’s pretty exciting. In addition to these, other films that feature positive and/or complex portrayals of bisexual characters in general (and not the previously discussed tropes) are: Cabaret (1972), Chasing Amy (1997), Black Swan (2010), Atomic Blonde (2017) and Tully (2018).

There have been many positive and negative depictions of bisexuality, but the majority of them aren’t great or feed into the biphobia and the erasure of the identity. Filmmakers need to do better when it comes to portraying bisexual characters and their stories. It’s always helpful when bisexual people themselves get a voice, whether as writers, directors or actors. For some reason, although there are exceptions, most straight male and lesbian filmmakers have trouble portraying bisexuality both positively and accurately. They essentially give the message that bisexuality doesn’t exist or is an inner conflict that needs to be resolved. We must do better because one day someone will be watching a film where a character says “bisexual” and their life will suddenly fall into place.

#bisexuality #lgbtq community #bi #lgbtq #support bisexuality #bisexuality is valid #lgbtq pride #bi tumblr #pride #bi pride #bisexual education #films #bisexual #bisexual community #bi erasure #bisexual erasure #biphobic gay people #internalized biphobia #biphopia #biphobic #bisexual nation #queer nation #queer #bisexual men #bisexual women #bisexual youth #movies #bisexual movies #bisexual films #respect bisexual people

[hottubpoolparty]

Film Review: Song To Song by Terrence Malick

Hello to the four people who read these blogs :) Just kidding, my mom said I'm gonna make it big as a critic, so, hello to all my fans as well. I believe my mother because she said I would grow up to be so handsome, and she nailed that prediction. Today I am going to do the review of a film by Terrence Malick. You may have heard of him or maybe even seen one of his films. He's got such a way with filling each scene with raw emotions. Anyway, here we go!

Quick summary (from Wikipedia): Set against the Austin, Texas, music scene, two entangled couples -- struggling songwriters Faye (Rooney Mara) and BV (Ryan Gosling), and music mogul Cook (Michael Fassbender) and the waitress (Natalie Portman) whom he ensnares -- chase success through a rock 'n' roll landscape of seduction and betrayal.

What did I feel about the film?

For the first time, I actually felt something different watching this film. I felt myself connect to the emotions in each shot. The movie may not have aced every "check-box" in a commercial-film sense, but you got to give it to the musical score. I was in love with it. I felt myself grow a little naïve towards the ending of the film. Perhaps a part of me wishes to have what Ryan Gosling and Rooney Mara did, but for the sake of this review I shall try to remain professional. *sniff*

What were my after thoughts?

I felt happy, emotional and conflicted. yeah, I had all those emotions in THAT specific order. No, I am still somewhat qualified to keep this review going. I feel like Cook got what he deserved. I felt a tad bit upset, because Rhonda's mom sacrificed so much for her, yet Rhonda (Natalie Portman) just gave in and took her own life. I suppose I can't judge her decision because I've never been in such a situation. Though eventually, I did like the ending, as Kaye and BV ended up together. They did seem like they were meant for each other.

On a mental level, how do I process this film?

There were moments where I was lost. I didn't know where the story was going, luckily the narrations kept me in the loop. I felt a connect to the characters in the film. Most of all to BV. I haven't completely finished a Terrence Malick film, but after this, I was glad I did. I think I mentioned it before, but I'm glad my professor makes us watch these films, because there is so much for all of us to explore. And today I got to explore the world of Terrence Malick. The presence of nature in our increasingly urban lives, the poetic approach to the story lines, and the thought-provoking questions being laid out, I enjoyed it all.

What film grammar did I notice?

Just like any other Terrence Malick film, this film flowed like water for me. Crystal clear, cool blue water. The narrations of each character helps us understand their true wants and needs. I noticed how certain shots focused on a particular sound in the shot more than any other sound that may have had been occuring. I felt like this was a way of communicating the message in the particular scene. Like how you can here the interstate highway, while BV(Ryan Gosling) was in the country side. Or how you could only hear the water splashes when Kaye and BV were hiking on the small hill, towards the end.

What film theory can you put down here?

Very often we can see the close up of our main character mostly when they cry. I also saw a lot of close ups of flowers and other nature related references. This film felt more like a realism based one to me. LOTS and LOTS of non-diegetic sound, which I really liked.

What similarities can I draw from other films, if any?

*inhale*......... None. No, I seriously cannot relate this film to any other kind of film. Films not made by Terrence Malick, that is. Its a unique method and I am glad to say that I like it.

Alright lads. This brings us to the end of our third review. I hope you guys found this to be a useful review. If you are a film enthusiast, please do like and share. I feel like with each review, I grow to understand what not to do. So stick with me fellas, I'm going to get better at this. For the sake of my grades. Have a good day, and goodbye.

#song to song #shart #poopmemes #film review

[jj-lynn21]

Take a seat ch 4

Warnings: flirtation, smut: oral on female, hand job, hair pulling.

ch 1 ch 2 ch 3

Tom hanks comes out to announce Best female performance in a supporting actor roll. The nominees are Rooney Mara for Nightmare Alley ,  Zazie Beetz for Nine days , Amanda Seyfried for Mank  and Van Veronica Ngo for Da 5 Bloods .

Tom announces, “And the winner is Zazie Beetz for Nine days .”

You applaud with vigor as she rushes up to stage all smiles and tears of joy. A  message comes in your earpiece to go back over to The Northman  table. They have request that when you move you should move there next. So, you do as you are told happily. Bill pulls your seat out when you get to the table at the same time. He also thanks your handler.

As Tom continues on to the best actress category, you lean over to Bill whispering, “Congratulations, Bill. You deserved it.”

There are other seat fillers at the table that look at you like you broke some sort of law that would get you imprisoned for life. They are further shocked when he leans his forehead to your, his face reddened with embarrassment as he smiles. His high from his first win has his hand playing with yours under the table which no one sees.

“Slip away with me.” Bill coos. “I want to see your…”

Alex hoists him out of his seat to stand as Tom announces, “the winner for Best actor female performance is Nicole Kidman for The Northman.  

You stand with the rest of the table smiling and clapping for her win and she kisses Alex and then her husband and makes her way to the stage. Bill takes your arm threading it through his and nods for you to follow him away from the table. One of the other seat fillers shoots daggers at you with her eyes. You giggle.

“Such a cute little laugh,” Bill puts his hand on the small of your back.

You look up at him as you walk, “Where are we going?”

“Privacy,” is all he murmurs.

He takes you to the unisex restroom where a bouncer stands incase a celeb wants more privacy. “Anyone in there, buddy?”

“No Sir,” the big burly guy replied.

“Keep it that way until we come out,” Bill orderd.

“Yes, Sir.” He opens the door for you both to go in. Stands right up against it so no one can go in while you and Bill are inside.

Its only seconds after the door shuts that Bill has you pinned against the wall. His hand pulling your wrists up above you. His lips attacking yours powerfully until you open letting his tongue and your tango passionately.

“How long do we have?” You gasp as he moves his warm soft lips to suck on your neck.

“Enough,” he mumbles. “You going to be your Lord’s good Princess.”

“Yes,” you breath heavily aroused. “Just don’t mark me on my neck My Lord.”

He looks at you with a wicked grin. “I mark you, your mine.” He glances around the room. “Your so damn perfectly petite.”

Bill lets your hand go and pulls you into a stall shutting the toilet lid. He picks you up to stand on it. Now you are a little taller than him. His hands envelop your face when he pulls you down to kiss him. You hold his shoulders.

“hold on,” Bill disappeared under your dress.

His hand ran up your legs. He hooked his thumbs in your panties to slide them to your ankles. Then you feel his lips on your inner right thigh slowly sucking to cause a mark. You gasp holding the walls of the stall. Bill nuzzles his face between your legs. His tongue darts out to taste your sweetness. He had already made you slick with anticipation. Now he circles your clit with his tongue as you start to moan. Your legs start to shake as he sucks at your nub.

Your eyes shoot open feeling that intense sensation that will only lead to satisfaction. You bite your bottom lip to prevent yourself from crying out. But that becomes impossible as he works you toward your orgasm with precision. Your moans become louder when you finally let go. Your hip roll pushing right on his face when he pushes you over the edge. You have no control over the obscenities that come from your mouth and calling his name out.

Your eyes close as the high takes you. When you start to come down you open your eyes to see Bill standing there with a big smirk on his face. He had already pulled your panties back in place. Some of you still dripping from his mouth.

“We need to get back,” he lifts you back to the floor.

You feel a bit unsteady, “What about you?”

He washes his hands and face. Gargles some water. “You’ll think of something later I’m sure. Can you walk alright?” He grins with satisfaction as you hold the countertop.

“Yeah, maybe, I’ll be fine.” You hold on to him as he leads you out.

The guard doesn’t look at either of you when you exit. You walk back to the table with a smile. Bill is expressionless as he pulls the chair out for you to sit. The winner for best song currently onstage thanking fans and the industry people for loving what they love to do. Alex and Bill exchange a few looks like they are having a conversation without words.

Alex looks around Bill, “You doing good, Princess?”

Again, you get vicious stares from some of the other seat fillers as he not only acknowledges you but calls you by a nickname, they might only dream he calls them. You can practically feel their glares.

“I’m perfect,” you smile. “thanks for asking Alex.”

Alex and Bill exchange another look. Alex shakes his head and returns his attention to the stage as the next presenter begin walking up to the stage.

Renée Zellweger takes her place in front of the microphone holding the envelopes for the awards she will present.

“Good evening friends and colleagues,” She smile looking around the room. I know it been a long night and we’ve all imbibed some vises. Some of us more than others.”

Everyone laughs.

“First Best male performance actor in a supporting rule. The nominees are  Chadwick Boseman for Da 5 Bloods , Gary Oldman for Mank , Winston Duke for Nine Days , Alexander Skarsgard for The Northman, and Bradley Cooper for Nightmare Alley . And the award goes to.” She pauses to get the envelope opened. “Alexander Skarsgard for The Northman.

The whole theater rises in celebration as Alex hugs everyone he can get his hands on including you and the other seat fillers around the table male and female alike. Its just part of his big personality.

As Alex gives his speech you reach over under the table rubbing your hand up Bill’s thigh. He glances at you. As he turns back to watch his brother’s speech, he takes your hand to move it over his bulge. You feel him getting more excited, so you gently make your way down his pants to stroke him. He blink a bit but maintains his posture as you step up the pace.

You hear him suck in his breath. He leans his head back, eyes going every which way as he paws for the cloth napkin on the table. He fumbles to undo his pants quickly so he can cum on the napkin instead of his five hundred-dollar pants. You get exactly what he is doing and help so he cums on the napkin soon after your free hand has it in a good place.

He takes a breath sitting up straight as he takes the sopping napkin out tossing it under the table. You remove your hand. He buttons and zips his pant right before Renee’ announces, “The Best Picture of the year is Nine Day.” 

Bill stands, “WOO!” He throws himself around you. “meet me right at the entrance. I have to do some photo shit before leaving.”

He runs to catch up with the others to take the stage. The director makes a big impassioned speech thanking anyone he might have forgotten before and his cast again. You smile proudly.

In your earpiece you hear, “everyone back to holding to sign out. Thank you all for joining us tonight.”

You go to holding and sign out. Then hangout by the door as people start filtering out. You wait nervously for an hour or more when a tall blond woman in a dark blue skirted suit comes up you. “Mr. Skarsgard will be in the blue cobalt outside in two minutes.”

You walk out the doors. The red carpet has been rolled up, but some fans have stayed in hopes to get a glimpse of one of their movie favorites leaving. Instead for now they get you. A girl working for small parts and a chance at something fun. And you definitely found something fun tonight.

The door opens to his vehicle. You get inside quickly as cameras flash.

“Hey,” you buckled your seatbelt tightly.

“Hey,” Bill zoomed down the road on to the freeway where you were trapped in bumper to bumper LA traffic.

He pulls your face over to kiss you holding the back of your hair. “Sorry, it took so long. Fucking photogs didn’t want to let me and Alex leave. We were the last ones out of there. Fuck I enjoy a good hand job, but I really just want to get back to my place to fuck you. You good with that, Princess?”

“Yes, My Lord.” Is all you could think to answer.

#bill and princess #sit filler #being a seat filler #au #bill skarsgard #awards #actors life #fanasy #fiction #creative writing #writing

[thehornyfemme]

What's your top five movies with wlw?

Omg this is like my worlds combining thank you so much

I’m so sorry for how long this is

So to start of with being basic

1. Carol - Gorgeous it had Rooney Mara absolute beauty. And as well Cate blanchett another beauty. Beside it being wlw in a film sense it’s a gorgeous movie the editing and cinematography just works.

2. Controversial but The Favourite - a gay periodic film which is both confusing, sad (I found it sad for the main character) and (I guess) funny? (Also pretty sure it’s based on a royal somewhere in the world)

It’s an odd one but it is the first wlw film I saw in cinema. And like before this film is gorgeous and I love every aspect about the makings of this film...beside the odd relationship between the three characters.

3. I care a lot - finally a gay film where we aren’t discriminated and being weak. Yo Eiza González and Rosmand Pike aren’t playing. Low-key only know this cause trixie and Katy’s did an episode on it for netflix. Be gay do crime is basically what I’m gonna say.

4. Ammonite - okay I’ll admit I haven’t seen this cause I wanted to watch it in cinema but it came out in lockdown and I didn’t know. BUT that being said it looks interesting and beautiful. Plus Kate Winslet is gorgeous and I would let her be my sugar mummy any day.

5. The half of it- okay the only reason this is below ammonite is because I’m pissed at the name. I know it’s stereotypical to be ‘bi people are 50/50’ BUT THEY HAD THE PERFECT CHANCE WITH IT BEING CALLED THE HALF OF IT TO MAKE THE CHARACTER BI!!!

(Plus there’s not many positive bi characters in teen films outside of the bi villain/psychopath characters, but that essay is for another time)

Anyway it’s still good and although I don’t vibe with Netflix originals it’s still good.

This is so long I’m sooooo sorry

#ask finished #don’t ask me about movies I’ll talk for Britain #I refuse to call britain Great Britain #there’s nothing great about it #any how #wlw movies #my 5 recommendations #Rooney Mara #Rooney Mara deserves more love you guys #Kate winslet #I would let Kate winslet be my sugar mummy any day #lgbtq community #me #film student take

[my2021infilm]

19. The Girl with the Dragon Tattoo (2011)

I started this film this afternoon after I finished The Matrix, then I went for a run and then watched Point Break and then after Point Break I watched the last 40 minutes or so of this. 

I love this film a lot, I have seen it at least 10 times. It’s a great shitty day film, I think it’s because it’s so dreary looking with all the snow and cold weather, it’s good to watch it on a dull cold day as it sucks you into the film more. This film is so disgusting and negative but I love it. I really wish we got a sequel to this, I know there is due to be one but it’s not got the cast returning, I can’t remember if Fincher was due to return as well. 

David Fincher as referenced before directs this film. He is my favourite director of all time. If I was to make my top 10 favourite films of all time, he would’ve directed 3 or 4 of the top 10/15. He is so consistent with his films and I can’t think of one of his that I have seen that would get less than an 8 out of 10. 

Rooney Mara is brilliant as Lisbeth Salander, probably spelt that wrong. She becomes this character, this kind of transformation doesn’t happen often, it usually results in an Oscar nod at least if not win and I don’t think she received such. I broke my rule, I usually try not to google stuff but I googled that, she was nominated for this. The Oscars love a big physical transformation. Still the nomination was rightfully deserved as she is brilliant. 

Daniel Craig starts as Mikhail Bromkvist, in fact I think it might have been Blomkvist probably spelt that wrong either way but this is off the top of my head so cut me some slack. He is also quite good in the film as is the guy from Good Will Hunting who’s name is escaping me, his son played Pennywise in the IT remake, not googling it if it comes i’ll type it in. He is great in this film anyway.

It’s just got such a great tone I love it. It makes you feel sick but it’s such an intriguing story that you can’t look away as you need to find out the outcome of the investigation. WATCH THIS FILM.

[docholligay]

A Ghost Story

HOLD ONTO YOUR ASS @maskedtranslatinganon this was going to be a short thing but now its nearly 2000 words about this movie. Nonspoilery above the cut, spoilery below

I turned to my wife as soon as the movie was over. “That movie was written by a man.”

“Oh yeah?”

“It loves its concept so much it forgets to make you care. I’ve seen it a million times.”

The writing credit came up, and I was not wrong. I’ve seen it a million times. Not all men write stories like this, but pretty much everyone who writes these kind of stories are men.

Ultimately A Ghost Story failed where a lot of science fiction and horror can--wrapped up in the assured genius of its high concept, A Ghost Story forgets to make you want to care about its characters, or give you the space to develop that care for yourself. Admittedly, the concept is amazing, and I was surprised by how much I found myself touched by the trailer for the movie. I simply wish the movie had followed through on the level of pathos given by the short. I think, ultimately, the problem was, the writer had a great idea for a story, but not a great idea for characters to inhabit the story, and so the world ultimately felt empty.

That is not to say the movie is not without poignant moments, simply that we are never allowed to linger in a space that might make us delve into a character’s emotions or ideas. This is actually a story which might be very well carried out in the context of a novel, with a deft hand, a medium where we are allowed to see the inner workings of the characters, and how they tick. Within the highly visual medium of a movie, however, it simply falls flat, and regrettably so, the premise being so strong.

(I am not rating this on spooky-scariness. It’s not a spooky-scary kind of film)

Part of the difficulty with the story is it has little idea where it should linger and where it should not. The movie is not very long, clocking in at an hour and a half, and I feel like we could have spent that time getting to know the ghost and his wife, even in small moments, but instead we linger on the two of them lying in bed, in the beginning of the story that will also be the end of the story, and we’re never given any reason to believe in his desire to reconnect with her. We get the tidbit that she hides notes wherever she’s been, cryptically noted as things she wanted to remember, but otherwise she has little characterization. (In fairness, so does he)

They fight about the house, because she doesn’t like it, most of which only really becomes clear on the second go around. She wants to leave. He wants to stay, but does not say why

(Or even that he doesn’t know why, which could have been a beautifully compelling moment for the story. At the beginning, we could see them actually fighting about the house, and him saying he loves it and doesn’t want to leave it, and her asking why, but he doesn’t know, and he is forced to say so, forced to say he feels a connection to the house, that he needs to be here. Then the reveal at the end that he has already been here might have had more weight, more resonance)

Instead we are treated to whatever kind of music happens when the Fireflies guy is having an off day and moody about cheerios not being on sale or something, which we are, I assume, meant to take as a meaningful expression of his deepest emotions but just comes off as flat, Rooney Mara having the same kind of dispassionate nodding at his work as I might have reading my coworker’s Christian unicorn poetry. Her mouth says, “that’s nice,” but her eyes say “please get hit by a car already so we can move this along”

And that is the extent of what we get about their relationship. Mara actually shines more when she is alone--one of my favorite scenes, which will doubtless be disliked by many people, is the lingering pie scene. I thought it spoke so deeply to the strange and quiet stillness of grief, her desperately eating the entire pie, sitting on the floor of the kitchen, with no backing soundtrack, no odd moments, no nothing. Just her, eating this grief pie, alone, until she throws it up, unable to handle the enormity of it all. I thought it was one of the few times the camera’s lingering gaze actually served the characters.

We never know the people he haunts either, or why. It’s easy enough, I suppose, when his wife brings a man home and he makes the lights flicker, The Latino family is handled so bogglingly within the context of the story that my wife leaned over and asked me, “so is the ghost a racist or what?” On the walk home, I explained that the ghost was frustrated by his inability to communicate with the outside world, and destruction is the only way he knows how to communicate, as it’s only the little boy that can see him. I then realized I had been writing motivation into the work--it's never stated, even indirectly, that this is the source of his frustration, and I can’t recall that he realistically tried in any other way. He simply watches a young family enjoy their lives, and then destroys their fine china.

There’s also a side ghost, who exists mainly to explain to us that a ghost can vanish when they have decided to move on, essentially.

One of the “families” the house hosts is essentially the writer’s bloviating soliloquy on the unimportance of man, which, generally, I can get into. (I leaned over to my wife at this part and said “me at parties”) But it’s another part of the movie wherein we spend too much time on a detail of no emotional consequence. The speech drags on and on about how we try to make a mark but ultimately everything fades, and all we create for is to in some small way be remembered, but its still for nothing. Our ghost makes the lights flicker, because apparently reminding him no one remembers anything he did now is less offensive than simply celebrating Christmas and eating beans, which deserves dish destruction, I don’t know.

Finally the house gets knocked down, which is another affecting scene, and you really get a sense of the way everything he knew about himself is crumbling down around him, just as he was about to get her note out of the doorframe, where she painted it before she left. It’s beautifully timed, the feel of it is crushing. I just wish I cared at all about him, so I could feel sorrow at this moment.

Anyway, the house gets covered with a high rise, which he jumps off of, but gives him no escape. Ghosts don’t fly, it seems, which works for me.

So then we get into the whole idea of time being a circle, as he gets sent back to the settlement of the american west, and gets to witness a pioneer family that we also don’t get to know in any way. The little girl sticks a piece of paper under a rock, which is supposed to be an emotionally affecting callback I am sure, and I’m over here like. “Okay but what year is this? I am thinking 1830s? Earlier? Where did she get paper? It’s expensive. How can she write well enough so young to write a note, when many early settlers were illiterate or poorly literate?”

Lest you think I am being annoying about westerns, I can be, a little, but I can totally let it slide when I give a tinker’s damn about what’s going on. At this point, I am fucking crying out for a character. Not just one I like! Just a fully realized character. That’s it. That’s all.

Anyway, the entire family gets murdered by Natives like a minute and a half after we meet them, so again I am thwarted. We watch her body decompose into the bones, because something something the enormity of time. (About that: My wife was shocked she didn’t cry, because the enormity of time always gets to her, but she was never even remotely moved to tears, which should tell you something about how this whole thing is handled)

Anyway, we’re back at the house, with he and his wife, and I know, AS A WRITER, this is where he wants to bring the hammer down. This is where, as a writer, you want to whip back the curtain and go, “BEHOLD!” But there’s nothing to behold. We finally get confirmation they were fighting about the house, and it might have had some emotional resonance that he was in the house already, that what he was really feeling was a draw to himself, if we had known they were fighting about the house and if we were allowed to see his ridiculous nonsensical attachment. When we came back to the house, we could have said, “OH SHIT HE WAS THERE THE WHOLE TIME THAT’S WHY” but since we don’t lean on his attachment early, the whole thing just seems dumb.

Anyway, he’s the one who scares them where the movie opens, they spoon while a camera looks on too long, and he finally gets the note out of the doorframe, before she ever painted it in.

(I have some questions that might be interesting that I’ve been pondering.. So why settlement? Is it a house? Is a home on the residence what draws him into the circle? Is that why he didn’t go back to the primordial ooze? IS the high rise being commercial the reason he was able to throw himself off and begin again?)

He decides to move on, having read the note she painted into the house, which I can only assume says “I realize the narrative has given me no reason to miss my husband this much” and disappears.

(I do actually like that we never find out what her note said, and I think that is real and correct and if everything else in the story had been handled with more emotion and depth, it might have been lovely.

If I sound bitter, it’s mostly because the concept is so beautiful, and the epic of it could be so sweeping, if we were allowed the two seconds of emotional space to care about the characters. I actually think this could be a beautiful novel. (And you wouldn’t even have to make it gay!! (I would make it gay)) I think the general concepts of why we’re attracted to a place could be chilling if we were given that. But we aren’t. The story is so married to “Time...just epic, dude.” that it forgets that the whole reason the enormity of time scares us is that depersonalization, and if we had gotten to know our ghost at all, seeing him more and more removed from his humanity might have been amazing. But they never GIVE us that, and so I ultimately found the story very wanting, while thinking it could be a brilliant concept to use, with appropriately rich characters.

[nickdelo]

Top 25 Films of the 21st Century

Nick’s List

1. Boyhood (Linklater, 2014) 2. Eternal Sunshine of the Spotless Mind (Gondry, 2004) 3. Before Sunset (Linklater, 2004) 4. In Bruges (McDonagh, 2008) 5. Children of Men (Cuaron, 2006) 6. There Will Be Blood (P.T. Anderson, 2007) 7. Inside Llewyn Davis (Ethan Coen, Joel Coen, 2013) 8. Before Midnight (Linklater, 2013) 9. The Master (P.T. Anderson, 2012) 10. The Social Network (Fincher, 2010) 11. In the Mood for Love (Kar-wai, 2000) 12. Nightcrawler (Gilroy, 2014) 13. Ex Machina (Garland, 2015) 14. Hell or High Water (Mackenzie, 2016) 15. Moonlight (Barry Jenkins, 2016) 16. Beasts of the Southern Wild (Zeitlin, 2012) 17. Catch Me If You Can (Spielberg, 2002) 18. The Hurt Locker (Bigelow, 2009) 19. The Departed (Scorses, 2006) 20. Short Term 12 (Cretton, 2013) 21. The Prestige (Nolan, 2006) 22. Mud (Nichols, 2013) 23. Y Tu Mama También (Cuaron, 2001) 24. Creed (Coogler, 2015) 25. Frances Ha (Baumbach, 2012)

John’s List 1. Gladiator (Scott, 2000) 2. Hot Fuzz (Wright, 2007) 3. Inside Llewyn Davis (Ethan Coen, Joel Coen, 2013) 4. Anchorman (McKay, 2004) 5. No Country for Old Men (Ethan Coen, Joel Coen, 2007) 6. Training Day (Fuqua, 2001) 7. Django Unchained (Tarantino, 2012) 8. There Will Be Blood (P.T. Anderson, 2007) 9. John Wick 2 (Stahelski, 2017) 10. Inside man (Lee, 2006) 11. Burn After Reading (Ethan Coen, Joel Coen, 2008) 12. American Psycho (Harron, 2000) 13. Gone Girl (Fincher, 2014) 14. Zoolander (Stiller, 2001) 15. Best in Show (Guest, 2000) 16. Nice Guys (Black, 2016) 17. Adaptation (Jonze, 2002) 18. Birdman (Inarritu, 2014) 19. Bernie (Linklater, 2011) 20. Sicario (Villeneuve, 2015) 21. The Master (P.T. Anderson, 2012) 22. The LEGO Movie (Lord and Miller, 2014) 23. Doubt (Shanley, 2008) 24. The Savages (Tamara Jenkins, 2008) 25. Silence (Scorsese, 2016)

ND: We've had this discussion a few times before: is there a difference between "best" and "favorite?" My initial reaction is no. We like what we like, for whatever reason you come to or criteria you choose, that's the grading scale, pure and simple.

The one glaring instance where the "best" and "favorite" line begins to blur is with the work of Richard Linklater, whose films are so emotionally vulnerable that they have effectively changed the way I see the world. In another filmmaker's hands, Boyhood would have been a showy gimmick, but Linklater understood what this project needed to be before shooting the first scene, allowing the deeply human nature of the film to unfold beautifully and organically. It deserves a spot on this list for innovation alone. Explain yourself, John!

JI: With a fear of being blocked from continuing this project, I must admit, I haven't seen Boyhood yet. That's is the plain and simple reason why it is not included on my list. Wish I had some lame, pretentious reason for its exclusion. 

ND: I am happy to see you've somewhat made up for this oversight with the selection of other outstanding Linklater film, Bernie. It's a rare feat to so perfectly utilize two very specific actors (Jack Black and Matthew McConaughey). Walk me through your process a bit before we get into detail. JI: My process was pretty simple and I think you outlined it pretty well, I picked what I like. I could tell you why I picked each and every one of these movies individually but on the whole, you have to go with your gut and pick the movies you feel are the best to you. Also, as we have discussed previously, going into being best is staying power. There are a few movies I've only seen maybe once or twice but I still think of them to this day. Movies like Doubt and Silence are like that for me. I feel if a movie has that kind of power it is impossible to not include it on a "best" list. Please feel free to eviscerate me for not seeing Boyhood, I deserve it.  ND: You have shamed me, son. Boyhood is on Netflix so you're running out of excuses. Though I am not without sin, having not seen Doubt.

JI: Huge misstep on my part, for many reasons but especially since I really enjoy Ethan Hawke. ND: My girlfriend will be relieved to know I am not the only one.

Anyway, film-going experiences that resonate with me long after I leave the theater always score the highest on my lists, as the director's ability to utilize all aspects of the medium plays a huge part in landing an emotional impact or gathering more information upon repeat viewings. So it's no surprise the Coen Bros., Paul Thomas Anderson, Alfonso Cauron, and David Fincher are prominently featured throughout our lists as masters of blending the cerebral with a cinematic spectacle. I should address the lack of comedies on my list (though In Bruges, Eternal Sunshine, Llewyn Davis, and Frances Ha are all loosely comedic). Don't get me wrong, there are few things better than laughing your ass off in a theater, but when applying the "re-watch" test to some of my all-time favorite comedies (Walk Hard, Forgetting Sarah Marshall, 21 Jump Street), the jokes, once tread, aren't good enough to lift the film to the highest class, considering the low bar for cinematography, acting and, most importantly, narrative. I may be in the minority here, but these movies are largely fleeting experiences as I grow older. What are your insights into your comedic selections? I wouldn't classify Hot Fuzz as a strict comedy considering the high-wire act Edgar Wright always pulls off, nor Best in Show, a borderline Shakespearean experience with levels of complexity to the jokes. Anchorman is clearly a classic, and you obviously believe it has aged well. Zoolander, though, I'll need some convincing. JI: I think I largely agree with your take on comedies in regards to putting them on a best list but in terms of rewatchability I'm not sure I agree as much. Of course there are comedies that don't stand the test of time, Borat chief among them, but for the most part I feel great comedies stay funny no matter how many times you've heard the jokes. Addressing your second point about the two straight up comedies, Anchorman and Zoolander, there is a level of comfort and familiarity with those two. I'm not confident they actually do still hold up but since I saw them at the time I did I think they still hold that spot for me, if that makes any sense. A perfect example of being weary of their relevance now is the fact I haven't and never plan on seeing either sequel. On Zoolander specifically, I saw it in theaters and hated it but every subsequent viewing I've enjoyed it more and more and no matter how many times I've seen it there are still lines that crack me up. Not sure if that does anything to convince you but it just strikes a cord for me and I can't really explain it but seeing it when it came out in 2001 rather than today is a big part of that.

About the other two, I just think they're great movies that happen to be really funny. Hot Fuzz is the perfect send up of the types of movies Nick Frost's character loves. The performances are great, I particularly love Timothy Dalton's character, there are impressive action sequences and I really relish all the cameos in the beginning between Martin Freeman, Steve Coogan and Cate Blanchett.  Not sure if this is a hot take, but it is the best movie from the Frost, Pegg, Wright trio. Best in Show gives such a realistic feeling to such absurd characters in an equally absurd premise. It is funny throughout without seeming cartoonish despite the cartoonish nature of the characters, like Eugene Levy's character and his two left feet. I haven't seen all of your films but one that I'm curious about and especially its place on the list is The Social Network. I liked it but my thoughts don't really seem to align with many people's on the quality of the movie. What standout so much for you with that movie that it is in your top 10?

ND: The Social Network opens with one of the most captivating scenes in recent memory. There's nothing to it -- two college kids are in a bar chatting across from one another, and eventually the girl breaks up with the guy. It's been done a thousand times before, but the way it's staged and written and performed is nothing short of memorizing. In five minutes of shot/reserve-shot dialogue we learn everything we need to know about Jesse Eisenberg's portrayal of Mark Zuckerberg -- how he's wired and what his motivations are. The scene is jammed with more character development that most movies can manage in their entire run-times, and when the fervently escalating discussion culminates in Rooney Mara's Becca telling Mark, "you're going to go through life thinking that girls don't like you because you're a nerd, and I want you to know, from the bottom of my heart, that that won't be true. It'll be because you're an asshole," it hits you like a freight train.

That scene sets the stage for the whole movie, a rudimentary premise turned thrilling through the artful design of David Fincher. There's a perfect cross-section of seedy Ivy League ritual and lure, the dangerous hubris of a brilliant, spiteful teenager, and the lustful excitement of an unknown frontier. Fincher made a movie about Facebook -- FACEBOOK! -- a pulse-pounding high-wire act, which is miraculous.

I'd like to hear more about your no. 1 selection, Gladiator. It's unlike any other movie on your list, both in terms of genre and style. What about it has made such a lasting impression? 

JI: Gladiator is definitely one that even I didn't expect to be number one when I started out doing this. The first thing that made such an impression is that my dad took my to see it in the theater, I was about two months away from turning eight, so seeing such a violent movie in the theater was a big deal. (Questionable parenting? The world may never know). Beyond that though it is insanely re-watchable for me. I watched it twice over memorial day weekend! In terms of the movie itself, the action scenes are incredible, the performances from Crowe and Phoenix are really solid. Crowe is a little one-note throughout but I think he fluctuates that one note just enough to create a sympathetic hero and somewhat rounded character and Phoenix is always great as the weirdo bad guy. Has he ever not been really good in anything? There are definitely flaws with the movie, so it isn't number one because it is a flawless piece of art, but I find it to be highly entertaining (yes, I was entertained Maximus) and something you can always watch. I feel like this hasn't be a very articulate breakdown as to why, but it is just kind of a gut call.

ND: Shame on you for spoiling my "Are you not entertained?" joke.

JI: Not including the comedies, is this the pick you have the biggest issue (if that's even the right word) with? Also, were there any movies for you that surprised you where you ended up slotting them, similar to my experience here with Gladiator?

ND: I don't want to be misunderstood. I don't have a problem with any of your picks; art is a very personal thing and who am I to judge how you or anyone else creates a criteria for greatness? I'm just trying to pick your brain a little bit. I will admit to having never seen Training Day. And I thought No Country for Old Men was underwhelming -- though I know I am in the vast minority and it might have been a case of the film being so hyped that I was predisposed to be disappointed.

JI: I wasn't trying to imply that you had a problem with any pick, that's why I hedged and said I don't think issue was the right word to use. No Country's ending falls a little flat but up until that point I find Javier Bardem too magnetic to be disappointed on the whole.

ND: In regards to the ordering, there were no surprises in the top 10. I'm sure on a different day Eternal Sunshine or Before Sunset or even In Bruges could have been no. 1, but I didn't overthink it with Boyhood (watched it again this weekend) and it's not worth splitting hairs over my best of the best.

I guess the biggest surprise is In the Mood for Love at no. 11, as I hadn't seen it until about a year ago. It's right up my ally in terms of a deeply melancholy romance story, chock full of utter beauty and heartbreak weaved together so seamlessly. It's a quiet film that speaks volumes in its slow, calculated moments. Recalling my The Social Network, Boyhood, et al picks, I am always impressed when filmmakers take a simple premise and do something inventive with it, and Wong Kar-wai brutally precise decisions are marvelous. 

Quick side bar: I learned about In the Mood for Love on CineFix, a YouTube channel that creates incredibly detailed and researched lists. It's a must-subscribe for any film buff.

The next biggest surprise is Catch Me If You Can. It's decidedly unlike all my other selections, and very Spielbergian (not always a good thing), but god damn, that movie is just so much fun. It's a perfect caper, plain and simple.

JI: I was curious about your inclusion of Catch Me if You Can, because as you said it is so unlike any other movie on your list. Spielberg has been a little hit or miss since the turn of the century, good thing he's producing Gremlins 3. ND: I didn't want us to devote any space for honorable mention selections in order to make the 25 mean something, but I'm changing my tune a little bit. Give me ONE movie that hurt the most to leave off. I really wanted to find a spot for Wall-E. That movie blows my mind. JI: My original number 25 was going to be the documentary Let the Fire Burn. Probably a way out there choice considering the rest of my list. It is about MOVE in Philadelphia and what ultimately transpired when Mayor Goode effectively bombed the house that MOVE was in. Not sure if you've seen it but I loved how they used all archival footage to tell the story. There is no narration and from I remember very little on-screen text. The documentary plays out telling the cohesive story of MOVE and then the aftermath and fallout following all the destruction. It also features councilman Ed Rendell, which might be a nice easter egg for some. It also does a great job of bringing to light a story that even in Philadelphia isn't really talked about or told anymore and gives full context to both the MOVE members and the city.

ND: I actually just watched Let the Fire Burn not too long ago. I took a deep dive into the MOVE bombing earlier this year, absorbing as much about it as I could, because you're right, it goes largely un-talked about considering what a bonkers story it was (though just this week the city commemorated the event and the lives lost with a monument). And I definitely appreciate a documentary that is driven by facts and not an agenda. I'm surprised to see we only have three overlapping selections -- The Master, Inside Llewyn Davis, and There Will Be Blood. The former two we talked about in depth during our last collaboration, but let's discuss TWBB for a second, especially now that Daniel Day-Lewis is "retired." Even for a career as illustrious as DDL's, his turn as Daniel Plainview by far his crowning achievement, and I'd put it toe-to-toe with any performance ever put on screen. He carries every frame with such menace, vigor, and even surprising vulnerability that makes the viewer sympathize with a terrible man. It's unlike anything I've ever seen.

JI: I haven't watched it all the way through in a while but I find myself often YouTubing scenes just to inject more DDL straight into my veins.  The only other character that has been so outright horrible, vindictive while retaining vulnerability and a likability to me was Gandolfini as Tony Soprano. However, that is comparing apples and oranges, with an 86 episode series compared to a single feature.

Back to DDL in TWBB. His Plainview is such a transformation that anytime I see the movie or see clips my brain doesn't even compute that DDL is Plainview. He truly takes on his characters and becomes them and it is incredible in the way he has been able to transform himself through his various roles. I can see why the say it takes him about three or so years to mentally prepare for a role. It is hard to imagine anyone ever topping his absolute mastery of the art.

Two questions about DDL I'd like to pose for you. 1) Do you think the retirement will stick? He has done this before where he took time off to be a cobble. Now he is supposedly retiring to become a dressmaker. I think he'll eventually make his way back to the screen. 2) This is more of a thought exercise than a black or white question but should we be grateful for the few performances he did produce and how outstanding those are or should we be disappointed we only got so little of him during his career? It is a little disappointing to me but the other side of the argument is that maybe his performances would have suffered if he took on more projects and didn't throw himself in fully as he did. ND: The answer to your first question is simple: no. Maybe at this very moment, DDL thinks that he's done all there is to do on screen, and considering he already-selective process, I bet this sabbatical lasts less than 7-8 years. But he will come back. DDL knows he's the best, and he will get that itch again once he reaches senior citizenry. And he's spent his entire adult life getting lost in other people that I'm not even sure he knows how to be himself. The more interesting question would be: what do you want his big comeback role to be? This is a hard question that I wasn't exactly prepared for, but we are so used to seeing him in these larger-than-life roles that I wouldn't his coming back in a simple, humanistic family drama. Mike Mills (Beginners, 20th Century Women) has the goods to write him a juicy role, but even more perfect would be Kenneth Lonergan (Manchester By the Sea). Holy shit, I want to see nothing more now. The second question is a bit more complex, because it was undoubtedly frustrating for DDL to take his good old time selecting only to leave us with Nine or The Ballad of Jake and Rose, but even in subpar movies (I didn't enjoy Lincoln, either), DDL always makes it worth watching, so his batting average, so to speak, is still remarkably high. If he were to have taken more roles along the way, could he have given us a few more classics? Probably, but more likely is he would have given us more disappointments. Look at De Niro and Pacino. The two have combined for dozens of duds in the past 20 years to only a handful of good roles. If the alternative to DDL's selectivity is Dirty Grandpa, Stand Up Guys, The Intern, Jack and Jill, etc., I'll take the former every time. JI: I think I'd like to see him comeback and do something totally unexpected. How fun would it be if he was in a comedy or a Tarantino movie? I'd love to see what he could do in something that is so very much outside his realm, without stepping into Jack and Jill territory like you mentioned previously. 

This is slightly (very) off topic, but since you mention De Niro and Pacino, you think they can turn their cold streaks around with Marty in The Irishman?

ND: I mean, if anyone's going to bring those two back from the dead, it's Scorsese. He has more than earned our trust at this point. I'd be lying if if wasn't a tiny bit worried about Marty going back to the gangster well -- and god forbid he ever cast a woman or a PoC -- but if it ain't broke, I guess.

Let’s leave it here since we’ve covered a lot. Though if you want to return with a deep dive on the John Wick 2 > John Wick decision, I’ll be here waiting.

#my writing #movies #film #top 25

[queerbrownfox]

Despairing Or Deceased: Why Don’t Queer People Get Happy Endings?!

I’ve never met a wlw girl who doesn’t have a soft spot for Carol. I mean, Cate Blanchet and Rooney Mara fucking in the fifties during the rise of McCarthyism and housewife culture? You watch the trailer, you’re already in love with both of them. “My angel. Flung out of space.” And you’re thinking, How is it possible that I’ve gone all this time without having a big old gay crush on Cate Blanchet? But while you’re so busy contemplating that, and hating Carol’s husband, slowly your satisfied grin is turning melancholic. And then you’re frowning. And you’re like, wait… she isn’t just going to… they’re going to find a way to… a fucking letter?! That’s how this ends? A letter.

Sure, I’m an emotional movie watcher, and well, yes, admittedly I was crying by the end of that movie, but in some respects, I feel like it was out of sheer sadness and disappointment as it was, well, indignation. 

I thought to myself, “There is no possible way on this planet that a lesbian would’ve written that ending.” And guess what? I was wrong. 

The film, which won an Academy Award in 2015 for best adapted screenplay, was based off of a novel of the same name by Patricia Highsmith, who also happened to have written The Talented Mr. Ripley, another big one. And, shocker, she was a lesbian. Then again, she was also infamously alcoholic and world-hating according to her biography, which would explain the desire to ruin such a beautiful, forbidden and therefore all the more lustful relationship between Carol and Therese. (But still, I’m not satisfied one bit by this supposition).

After seeing Carol and feeling quite personally offended so to speak, I started thinking about how often I’ve thought about it before, how often I’ve felt slighted by the queer movies I’ve seen, that drove me to frustrated tears of longing by the end. There are the obvious ones, like Blue Is the Warmest Color, and Brokeback Mountain, even Rent, I’d put in there (Angel’s death deserves an honorable mention at least). And furthermore, the contemporary lesbian film classic, Pariah—that one absolutely wrecked me, as it hit so close to home with the entanglement between religion and sexuality.

Oh yeah, and why is it always about religion? God, I’ve searched near and far, I’ve even delved into Hebrew language movies, gay of course, to find Secrets, an excellent movie about women studying the Torah in a monastery-esque school, and then they fall in love and it’s amazing, but, lo and behold, religion tears them apart and just to really rub it in everyone’s face, the lesbian lover attends her gal-pal’s wedding at the end. Jesus. (Although I have to admit—highlight of that movie is when the nerdy bookish protagonist tries to convince her girlfriend that being a lesbian isn’t against scripture. “It says man cannot lie with another man, but it says nothing about women!”).

To boot, I’ve just never seen a movie involving the story of a trans person that ended well. Lots of beautiful stories, like in The Danish Girl and Boys Don’t Cry, but again, we end up in a puddle of tears when we see these beautiful human beings who we’ve grown to love throughout the course of the story be absolutely shattered in the end by their circumstances.

Look, I know it’s an unforgiving world. It would be a terrible injustice to overshadow the extent to which gay and trans people have suffered at the hands of this close-minded and objectively moralistic world. I mean it when I say that. Feel-goods that are sugary sweet and totally bullshit never have been my cup of tea. But why can’t we gay people catch a break? Is there nothing out there to make us feel better about a shitty break up or a #foreveralone Valentine’s Day? No? Nothing? Netflix, I’m counting on you here.

And... another let down.

Maybe the problem is that we’ve got too many straight filmmakers trying to make bank out of hopping onto trendy, “kinky” gay stories that fetishize the coming out process and sexy firsts between ladies and gents . . . I don’t know. But I look at Blue Is The Warmest Color, written and directed by a straight male and directing straight girls to scissor and quiver while he stands in the corner with crossed arms and probably a gross smile (that’s how I imagine it, anyways), and I start to imagine this narrative falling into place in a gruesome way. 

See, it’s the whole thing with straight guys watching porn, or getting hard-ons when you say, “Sorry, I’m not interested, I’ve got a girlfriend” and they get that look on their face that means they either think they can “turn” you or hop into bed with you: it’s only about the sex. These movies send the message that when it comes to queer folks, it’s not about the relationship. Why else would Blue have that twelve minute sex scene in the middle of it? For a jerking off break, nothing more, nothing less. The gay people, they can have sex, sure, but they can’t have a relationship—that’s weird. I can use them to help me jack off, but I don’t want to think about them holding hands or walking their dogs or going to the grocery store together. I don’t want to think about them ending up together.

These movies, they send messages. They act as though us deviants can’t ever work things out in the end—we don’t deserve our identities. In the end, like in Blue, we’re just bound to be torn apart in fits of rage and jealousy that end in slut-shaming, or worse. Now, even Nymphomaniac, directed by Lars Van Trier, features an asexual man living alone, who takes in a sex-crazed destitute woman off the street and listens to her story with kind eyes, even making these quaint references to fish and their instincts as she goes along with her exploits, trying to make a connection in his own quaint way. And you think, how nice. This asexual man and this nymphomaniac sharing an ironic moment that just feels kind of nice to the viewer. You think, there’s a glimmer of hope in humanity.

And then, at the end, he rapes her. What, the actual fuck.

The end of that movie saw me easily the angriest I’ve ever been at the end of any movie, ever. And I’m not the only one. The IMDB comments spoke for themselves.

I said it once, and I’ll say it again. The way these movies end makes it seem like we don’t deserve our identities. That our desire for “traditional” sex is either going to win out in the end, or else, we won’t get our happy ending. Because we don’t deserve happy endings. We don’t deserve normalcy. What we get is passionate, lusty love affairs that are more often than not seen as kinky and deviant, only so that they can end in the utter chaos that they deserve. 

I’m so sick of these endings. I’m sick of sitting through straight rom coms, in which the girl almost always gets the guy, so it seems, and yet I’ve gotta search high and low, though foreign films, biopics, documentaries and musicals to find just one goddamn gay love story that turns out alright for someone in the end. 

Sigh.

Well, to any of you simmering in indignation like me sitting through these sob stories, I guess I offer you a sliver of consolation. I get you. I feel it too. And it proves to me more and more each day why I have to write these wrongs and make the gay flicks we all deserve. Preferably before anybody else dies a tragic, gay death. ♡

#lgbtq #lesbians #gay blog #film #lgbt writers

[asecretsummer-rpgpromo]

WANTED! FC can be changed!

♠ Sofia Morgan is 26 years old and is often confused with Rooney Mara. She is Open.

“Oh yes, poor Annie. Poor poor Annie. Enough about her! What about people who are alive who have problems?!”

→ Background

Sofia Morgan is an unknown member of a well known family here in Baberton. She is actually Walter Carlisle’s niece, the daughter of his older sister. In Baberton, most everyone seems to know who her uncle is, but no one really knows Sofia yet. But then, she is kind of used to that. Growing up, Sofia has never really been the centre of attention. With her uncle in rehab and her cousin as a leukaemia patient, there was always more concern for someone else and that drove Sofia crazy. Why couldn’t someone spare some attention for her for a change? She ended up coming to resent her cousin and her uncle for it and began feeling more then just a bit unloved by the rest of her family. Of course, things got slightly better when her uncle Walter moved his poor, sickly daughter out of their Home in London to the suburbs, but not by much. Sofia’s parents ad grandparents still always seemed more concerned with how Bridget was doing then what was going on in Sofia’s life and she absolutely hated it.

Throughout her life, Sofia has always striven to do her best at everything, she was a top student as well as a good athlete, excelling in mixed martial arts. She won countless awards and has done a lot to make her family proud. And of course, they are proud. But it doesn’t seem that way to Sofia.it always seems to her like no matter what she does, it always takes a back seat to Bridget. Sofia wouldn’t go so far as to say she hates her cousin, but she is definitely jealous. For all her life, she has wanted to be the centre of attention just once.

Things have changed just recently though in a very dramatic way. Coming home from a huge competition, Sofia told her parents about this creepy guy who had been watching her the whole time. Her parents were a bit concerned, but Sofia told them it was fine and went back to her apartment. But over the next few months, she began relieving cards and presents and got pretty freaked out. Then one night she ran to her parents place, beaten and in tears saying that he had broken into her house and attacked her. Now everyone was freaked out and for the first time, all eyes were on Sofia. The cops couldn’t find anything, but suggested Sofia should maybe go live somewhere else for her own safety. This is what lead to the decision to send Sofia to live with her aunt, uncle, and cousin in Baberton. A decision that Sofia was not exactly enthusiastic about.

→ Back to Baberton

Life in Baberton has been a bit of an adjustment for Sofia, especially living with Bridget. Though Walter and Aimee have been welcoming and openly concerned, their daughter is still always their main concern. The. Of course there is Beau, a border on the property who Sofia is totally into, but he is head over heels for, who else, Bridget. What really got her though was how Bridget didn’t even want all the attention. She was always sneaking out with her friend Alex and doesn’t care about how worried everyone is about her. Sofia has always been so jealous of Bridget’s treatment and Bridget doesn’t even know how lucky she is.

Sofia never met Annie, but then you don’t really have to to know about her around here. That gets to her as well. This girl is dead and is still the centre of attention. It’s safe to say that Sofia also extremely dislikes this dead girl that she never knew simply for the fact that in this town, she also has to compete with her as well as Bridget for attention. This also outs her in a bit of a disagreeable position with girls such as Annie’s old friends and Hannah Clarkson, Sofia wants all eyes on her and has issues with anyone who gets in the way of that.

→ What’s Her Secret?

Sofia faked the stalker incident in order to get attention. There was a creepy guys watching her at that competition, but she dealt with him before she ever got back to London. However, she saw how it concerned her parents and loved finally having attention and figured she could milk this for all it was worth. She anonymously sent the gifts and notes to herself and broke into her own home and beat herself up. She fooled everyone, even the cops all in an effort to get the attention she felt she deserved and is not afraid to pull more stunts like this to keep attention on her.

Main | Plot | Most Wanted | Characters | Ask

#rooney mara #town rp #roleplay #secrets rp #pll rp

[lerin1024-blog]

Top 20 Movies (in my opinion) from Jan-June 2017, first half of the year!

1. GOLD - (Stephen Gaghan) Starring Matthew McConaughey. The release date of this was December 30, 2016. But, I couldn’t help but put this on my list. A true story of the biggest gold mining scam in history, with the mystery surrounding who was involved and who is actually still alive today. Very intriguing all the way through. Such a touchy subject to touch base on! The way McConaughey warps into each and every one of his characters is something so incredible and memorable. This is a must see.

2. MEAN DREAMS - (Nathan Morlando) Starring Bill Paxton, Sophie Nelisse, & Josh Wiggins

Bill Paxton’s last movie released after his unfortunate passing earlier this year. Mean Dreams was an adventure. Sophie & Josh worked so well together in this film, which is why it really worked so well for me. On a mission to run away from her father who is a dirty cop, this combination of young actors really ran away with the show! I hope to see them work together in a future film.

3. THE DISCOVERY - (Charlie McDowell) Starring Robert Redford, Jason Segel, & Rooney Mara

We all have questions of what happens when we die. Is there an afterlife, and if so...what is it like? The Discovery attempts to explain a scientific finding and I think it’s findings were pleasant enough to make me enjoy this movie, as well as shed a few tears. It’s moving and incapsulating...even sentimental to say the least. It never bored nor confused, as many movies will when this is the topic. Easily memorable with no frustrated questioning afterwards. Charlie McDowell also co-wrote this with Justin Lader. Two thumbs up guys. 

4. GIFTED - (Marc Webb) Starring Chris Evans, Mckenna Grace, & Jenny Slate

Raising a child prodigy isn’t easy. Especially when you are the uncle and your niece is so intellegent you would move the earth to help her, protect her, and keep her challened and safe. But what IS best for little Mary? I absolutley adored this movie and I know you will too. An emotional and heartfelt drama.

5. KING ARTHUR LEGEND OF THE SWORD (Guy Richie) Starring Charlie Hunnam, Jude Law, Astrid Berges-Frisbey & Eric Bana

Growing up in a sweltering city and brothels unknowing his own birthright brought this movie to life, as so many Arthurian movies have been made, this is my first look at one, and I was impressed. Very impressed with the way that Guy Richie made this action packed film. The sound effects and music were outstanding and really got it moving. Saw it twice, back to back. The sword coming out of the stone and wall like butter and Hunnam’s extrordinary acting abilities really made this truly the “one and only” Arthur movie, I believe. It opened my eyes to a whole other genre of films I’ve probably been missing!

6. THE SHACK - (Stuart Hazeldine) Starring Sam Worthington & Octavia Spencer

A story about a family tradgey, which leads a father to question his faith. This sends him on a mission to find answers. And answers he gets, and maybe even more than that. A kind of myseterious movie that surprises you mid-way through with picturesque beauty and underlying emotion. Tip: Grab a box of tissue and stay with it. You’ll be glad you did,

7. GET OUT - (Jordan Peele Writer & Director) Starring Daniel Kaluuya & Allison Williams 

I have never seen a movie quite like this before! Peele deserves much acknowledgement from this. During a trip to visit the parents of his girlfriend Rose, Chris is in for the shock and awe of his life. I don’t want to spoil anything here, but this is a must see and I wouldn’t necessarily consider this a “horror” film as it suggests, but certainly a strong thriller. Parts played by all were spot on and flowed well throughout this nail biter. OR should I say nightmare? (But in an entertaining way...) 

8. A DOGS PURPOSE - (Lasse Hallstrom) Starring Josh Gad & Dennis Quaid

A dog who is looking for his real purpose in life. He experiences his life and death reincarnated five times. A movie with so much soul, it is not easily forgotten. A nice one for the family to see together. It’s a tear-jerker for sure, but during the happy times as well as the sad. Josh Gad does a great voice for the dog in all the phases of his lives. A wonderful book to movie adaptation. 

9. BLACK BUTTERFLY - (Brian Goodman) Starring Antonio Banderas & Jonathan Rhys Meyers

“A Killer Story with a Twist”....Now who doesn’t love that type of movie! I know I do! This was a thrill to watch, more so because I didn’t read about it first, not even the cover. So, I was really happy with the storyline. I will admit, Meyers performance didn’t match up equally to Banderas, but that comes with eons of experience! Or, perhaps I just wasn’t use to the way he talks. Don’t get me wrong, this story was GREAT. Make sure you stay with it though. It also had the potential to be so many other things as well, but for what it was, I think it was a great watch and would recommend this to anyone!

BEAUTIFUL 10 - (Mark Pellington) Starring Shirley Maclaine & Amanda Seyfried 

Shirley does it again, and this should be in my number one spot, but this isn’t in any specific order. Harriet’s character was wonderful and powerful as Shirley’s characters always are...Strong, Independent, Wise, and Indifferent. This incredible movie teaches you to treat each day as a challenge to yourself. “Have an honest day”, Harriet will say. The risks she would take in her life would define her and she deeply wanted to be remembered, not forgotten. “Make mistakes because that’s living...” This was an honest movie, with a grest cast, storyline, music was SUPURB! And the vocabulary of basically every sentence written was perfect. Thank you Stuart Ross Fink! Many life learning messages throughout this movie, which I loved. It will not EVER be forgotten as one of the best movies I have ever seen.

11. EXTORTION - (Phil Volken) Starring Eion Bailey, Barkhad Abdi, & Danny Glover

A man in a desperate situation, without the time or the resources he needs to save his family while on vacation in another country. These things really happen, and in a world that can be uncertain at times, this movie really tuggs at the heartstrings for this man...and for the viewers! Brilliantly played by who I thought was Michael Fassbender...So sorry to Eion Bailey, who did a remarable job! I am one of your newest fans! Thriller for sure, so if you settle in with popcorn...get ready for one fast paced movie that will make time pass so fast, you won’t know it until it happens! I dare you to fall asleep during this! I’m so glad this is a nominee. Much respect.

12. THE SPACE BETWEEN US - (Peter Chelsom) Starring Asa Butterfield, Britt Robertson, Gary Oldman, & Carla Gugino

Men are from Mars & Women are from EARTH. That’s the story. But don’t be fooled by the online reviews by others. Yes, it’s a “coming-of-age” movie, but it certainly has a big spark inside of it’s whole. Born on the planet Mars, “Gardener” wants nothing but to go down to earth and live a normal life. This has consequences to his health, obviously. Undetermined, yet, even by the astronauts and medical staff astronauts, and life itself on earth...things seem pretty clear...until they aren’t. Upon finding out and missing out...the end of this movie was great...it didn’t leave me hanging (I hate that!). So, take a chance on this one and see it for yourself.

13. BRAIN ON FIRE - (Gerard Barrett) Starring Chloe Grace Moretz

She was a professional reporter, living her dream in the big city, when something goes unexplainably wrong within her. This a true story, so it stood out to me in a huge way. No spolier’s here. Although, it’s an amazing movie! So many people with this same undiagnosed conditioned have been saved because of this woman’s parents never giving up to find answers. Enough said.

14. THE LOST CITY OF Z - (James Gray) Starring Charlie Hunnam & Robert Pattinson

Based on a true ��legend” of a story.... A persumed lost city in the Amazonian rain forest. British research and map explorer Persy Fawsett travels into the deep debths of the rainforest to find the truth. Is there another civilization? And if so, can he proove it? Can he even get back home alive, or at all? What is the sacrifice worth? Watch this stellar movie, which is at it’s best, although it may leave you to find the true meaning of it all for yourself.

15. I DONT FEEL AT HOME IN THIS WORLD ANYMORE - (Macon Blair) Starring Melanie Lynskey & Elijah Wood

After a home invasion, Ruth shows the normalcy of how sometimes theres just nothing the police can do. Irritated with rude people, its clever that she enlists the help of her abnoxious neighbor, Tony to help her find her computer through her GPS laptop finder on her phone. This is a dark comedy, to me...I loved every part of it. But it also moves into the suspense catagory as well, making it even better. This is Sundance! Nice to see it got the Jury award this year. Much deserved.

16. HIDDEN FIGURES - (Theodore Melfi) Starring Taraji P. Henson, Octavia Spencer & Janelle Monae...and Kevin Costner.

An untold true story of the launch of astronaut John Glenn into space. Back when African American women weren’t treated equally, these three brilliant woman’s minds go to work everyday at NASA and are the real (competent and confident) brains behind the whole operation. This story was powerful, and got much appreciation and respect from me and many others who have seen it. 

17. BEFORE I FALL - (Ry Russo-Young) Starring Zoey Deutch & Kian Lawley

How can the power of one single day have an impact on your whole life? Based on this best selling novel by Maria Maggenti. Sam seems to have the perfect life, but she wakes up living the same exact day over and over again, tring to change things and figure out what it all means. It’s a fun watch and the book is amazing! So, give this one a shot if you want to see something teenager-ish with big twists. I have a girl teen myself, and we enjoyed watching this together! It just had to make my “Top 20″.

18. COLOSSAL - (Nacho Vigalondo) Starring Anne Hathaway & Jason Sudeikis

Now this was just FUN. Not usually my style (Monster’s)... but this was the exception because of the story and the amazing cast. A Rivalry, between two friends happens to be a very dangerous one! I enjoyed not just the cast, but how grounded it was. An easy watch, and like I said...pretty fun, and quite original in itself. 

19. SPLIT - (M. Night Shyamalan Writer & Director) Starring James McAvoy

Split personalities come out to play around in a kidnapping of 3 teenage girls in this deep seated thriller. One they leave a surprise, although each and every one is played brilliantly by McAvoy and told in a clever way by Shyamalan. All of his movies are great, in my opinion with this one taking a top spot in my mind. I loved how darkly insanely crazy this was, watching each character emerge on screen. And just knowing that the final personality took over 15 years to create. Wow! 

20. LIFE - (Daniel Espinosa) Starring Jake Gyllenhaal, Ryan Reynolds, Rebecca Ferguson

On board the International Space Station, astronauts go on a mission to brig back proof if there is life on Mars. Extraterrestrial Life. And their findings proove to be very dangerous and life threating to everyone on board. Clever, and suspenseful, I would watch this one again. It’s interesting and the cast is great. There may or may not be a few twists! 

Honorable Mention: THE BELKO EXPERIMENT, where “Office Space” meets “Battle Royale”. A disturbing game insues inside of a huge titanium or crazy metal impenetrable building full of office workers. Very blood thirsty & a thriller that does have its twist, which of course, I’m all into. Not for everyone, thats for certain, but if you like “games” like these on the screen, this is a great new one to see! 

[asecretsummer-rpgpromo]

WANTED! FC can be changed!

♠ Sofia Morgan is 26 years old and is often confused with Rooney Mara. She is Open.

“Oh yes, poor Annie. Poor poor Annie. Enough about her! What about people who are alive who have problems?!”

→ Background

Sofia Morgan is an unknown member of a well known family here in Baberton. She is actually Walter Carlisle’s niece, the daughter of his older sister. In Baberton, most everyone seems to know who her uncle is, but no one really knows Sofia yet. But then, she is kind of used to that. Growing up, Sofia has never really been the centre of attention. With her uncle in rehab and her cousin as a leukaemia patient, there was always more concern for someone else and that drove Sofia crazy. Why couldn’t someone spare some attention for her for a change? She ended up coming to resent her cousin and her uncle for it and began feeling more then just a bit unloved by the rest of her family. Of course, things got slightly better when her uncle Walter moved his poor, sickly daughter out of their Home in London to the suburbs, but not by much. Sofia’s parents ad grandparents still always seemed more concerned with how Bridget was doing then what was going on in Sofia’s life and she absolutely hated it.

Throughout her life, Sofia has always striven to do her best at everything, she was a top student as well as a good athlete, excelling in mixed martial arts. She won countless awards and has done a lot to make her family proud. And of course, they are proud. But it doesn’t seem that way to Sofia.it always seems to her like no matter what she does, it always takes a back seat to Bridget. Sofia wouldn’t go so far as to say she hates her cousin, but she is definitely jealous. For all her life, she has wanted to be the centre of attention just once.

Things have changed just recently though in a very dramatic way. Coming home from a huge competition, Sofia told her parents about this creepy guy who had been watching her the whole time. Her parents were a bit concerned, but Sofia told them it was fine and went back to her apartment. But over the next few months, she began relieving cards and presents and got pretty freaked out. Then one night she ran to her parents place, beaten and in tears saying that he had broken into her house and attacked her. Now everyone was freaked out and for the first time, all eyes were on Sofia. The cops couldn’t find anything, but suggested Sofia should maybe go live somewhere else for her own safety. This is what lead to the decision to send Sofia to live with her aunt, uncle, and cousin in Baberton. A decision that Sofia was not exactly enthusiastic about.

→ Back to Baberton

Life in Baberton has been a bit of an adjustment for Sofia, especially living with Bridget. Though Walter and Aimee have been welcoming and openly concerned, their daughter is still always their main concern. The. Of course there is Beau, a border on the property who Sofia is totally into, but he is head over heels for, who else, Bridget. What really got her though was how Bridget didn’t even want all the attention. She was always sneaking out with her friend Alex and doesn’t care about how worried everyone is about her. Sofia has always been so jealous of Bridget’s treatment and Bridget doesn’t even know how lucky she is.

Sofia never met Annie, but then you don’t really have to to know about her around here. That gets to her as well. This girl is dead and is still the centre of attention. It’s safe to say that Sofia also extremely dislikes this dead girl that she never knew simply for the fact that in this town, she also has to compete with her as well as Bridget for attention. This also outs her in a bit of a disagreeable position with girls such as Annie’s old friends and Hannah Clarkson, Sofia wants all eyes on her and has issues with anyone who gets in the way of that.

→ What’s Her Secret?

Sofia faked the stalker incident in order to get attention. There was a creepy guys watching her at that competition, but she dealt with him before she ever got back to London. However, she saw how it concerned her parents and loved finally having attention and figured she could milk this for all it was worth. She anonymously sent the gifts and notes to herself and broke into her own home and beat herself up. She fooled everyone, even the cops all in an effort to get the attention she felt she deserved and is not afraid to pull more stunts like this to keep attention on her.

Main | Plot | Most Wanted | Characters | Ask

#rooney mara #roleplay #town rp #scream rp #rp

[asecretsummer-rpgpromo]

WANTED! FC can be changed!

♠ Sofia Morgan is 26 years old and is often confused with Rooney Mara. She is Open.

“Oh yes, poor Annie. Poor poor Annie. Enough about her! What about people who are alive who have problems?!”

→ Background

Sofia Morgan is an unknown member of a well known family here in Baberton. She is actually Walter Carlisle’s niece, the daughter of his older sister. In Baberton, most everyone seems to know who her uncle is, but no one really knows Sofia yet. But then, she is kind of used to that. Growing up, Sofia has never really been the centre of attention. With her uncle in rehab and her cousin as a leukaemia patient, there was always more concern for someone else and that drove Sofia crazy. Why couldn’t someone spare some attention for her for a change? She ended up coming to resent her cousin and her uncle for it and began feeling more then just a bit unloved by the rest of her family. Of course, things got slightly better when her uncle Walter moved his poor, sickly daughter out of their Home in London to the suburbs, but not by much. Sofia’s parents ad grandparents still always seemed more concerned with how Bridget was doing then what was going on in Sofia’s life and she absolutely hated it.

Throughout her life, Sofia has always striven to do her best at everything, she was a top student as well as a good athlete, excelling in mixed martial arts. She won countless awards and has done a lot to make her family proud. And of course, they are proud. But it doesn’t seem that way to Sofia.it always seems to her like no matter what she does, it always takes a back seat to Bridget. Sofia wouldn’t go so far as to say she hates her cousin, but she is definitely jealous. For all her life, she has wanted to be the centre of attention just once.

Things have changed just recently though in a very dramatic way. Coming home from a huge competition, Sofia told her parents about this creepy guy who had been watching her the whole time. Her parents were a bit concerned, but Sofia told them it was fine and went back to her apartment. But over the next few months, she began relieving cards and presents and got pretty freaked out. Then one night she ran to her parents place, beaten and in tears saying that he had broken into her house and attacked her. Now everyone was freaked out and for the first time, all eyes were on Sofia. The cops couldn’t find anything, but suggested Sofia should maybe go live somewhere else for her own safety. This is what lead to the decision to send Sofia to live with her aunt, uncle, and cousin in Baberton. A decision that Sofia was not exactly enthusiastic about.

→ Back to Baberton

Life in Baberton has been a bit of an adjustment for Sofia, especially living with Bridget. Though Walter and Aimee have been welcoming and openly concerned, their daughter is still always their main concern. The. Of course there is Beau, a border on the property who Sofia is totally into, but he is head over heels for, who else, Bridget. What really got her though was how Bridget didn’t even want all the attention. She was always sneaking out with her friend Alex and doesn’t care about how worried everyone is about her. Sofia has always been so jealous of Bridget’s treatment and Bridget doesn’t even know how lucky she is.

Sofia never met Annie, but then you don’t really have to to know about her around here. That gets to her as well. This girl is dead and is still the centre of attention. It’s safe to say that Sofia also extremely dislikes this dead girl that she never knew simply for the fact that in this town, she also has to compete with her as well as Bridget for attention. This also outs her in a bit of a disagreeable position with girls such as Annie’s old friends and Hannah Clarkson, Sofia wants all eyes on her and has issues with anyone who gets in the way of that.

→ What’s Her Secret?

Sofia faked the stalker incident in order to get attention. There was a creepy guys watching her at that competition, but she dealt with him before she ever got back to London. However, she saw how it concerned her parents and loved finally having attention and figured she could milk this for all it was worth. She anonymously sent the gifts and notes to herself and broke into her own home and beat herself up. She fooled everyone, even the cops all in an effort to get the attention she felt she deserved and is not afraid to pull more stunts like this to keep attention on her.

Main | Plot | Most Wanted | Characters | Ask

#rooney mara #roleplay #rp #town rp #bio rp