#but it’d be like hot fuzz kinda thing

[pizzaqueen]

Started writing a fic where Eddie and Steve are kidnapped by a cult (of yuppies basically) who sacrifice a couple every Halloween except Steve and Eddie aren’t yet a couple because I thought it would be a fun play on the everyone thought they were dating trope

But then I started worrying it might be offensive somehow and I’m not sure if I should finish it? 🙈

#i also have 1500 words of the start of another fic but I don’t know where to take it #and the whole plan for the werewolf!steve fic but it doesn’t feel fleshed out enough #pizzaqueenwrites #Steddie #idk how it would be offensive exactly but maybe because cults are really bad RL things and I don’t want to make light of it #but it’d be like hot fuzz kinda thing

[ohnonotthehorrors]

Goodbye

I’m in a Rancher’s mood so take this 600 word drabble.

TW death, TW strangulation, TW death idolization, (sort of, it’s a ‘cannon typical’ levity)

“No- no no no no no” Desperately, Jimmy scrambles back, the wood of his shield splintering. “You can’t- NO”

It’s his ‘Do Not Eat That’ voice that he uses on moody cows. Scolding and firm in a frustratingly endeared kind of way. But now it’s shriller, the end turned high pitched.

Because an Enderman isn’t a cow, it doesn’t stop.

Long jagged fingers tear through his shield, leaving him clutching at a handle, furious purple gashes torn down his forearm. Maw unhinged and gaping it leans toward him, endless void where it’s throat and mouth should be.

Desperately, he tries to force himself backward. Twigs and sticks tear at his clothes, his feet trip over holes in the hill side. With a sickening twist of dread he realizes he can’t back up further, can’t get out of it’s reach.

“Not like this-” It’s laughably easy for the giant hands to catch around his throat, slender fingers wrapped entirely around as they squeeze.

Tears well in his eyes instantly; hands scrambling at its hold as his feet lift off the ground, kicking wildly. Mouth flapping he tries desperately to drag air passed his collapsed throat.

There is nothing like suffocating to death.

You would think it’d be fire, or lava, that’s the worst way to die. You’d be wrong. Fire burns hot, an unimaginable pain that vanishes with your dying nerves as fast as it arrived. Nothing like getting struck by lightning; that kills you so fast all you’re left with is the ache of respawn.

Bleeding out isn’t… terrible, not good but not the worst. It feels a bit like being drained, falling asleep even, if you can ignore the slight sting along your skin. (Did you know your internal organs can’t sense pain like your skin? Entirely different nerves.)

Poison is bearable as long as you have the right batch. The wrong one… well at least it isn’t getting pricked to death. That’s just embarrassing.

Even drowning is better than being suffocated. Yes, your lungs burn but taking that final gasp full of water is almost… relieving.

(Jimmy’s personal favorite way to die is via kinetic energy. It nocks you out before you feel a thing)

With suffocating there’s nothing to lessen the helplessness. No point where you can breathe in and know ‘it’s over, it’s okay, you can give up.’ There’s just desperate adrenaline, wind pipe screaming under the pressure as your organs fail. Quivering and tingly, like a limb fallen asleep.

The last thing Jimmy sees is eyes. Streaky and hazy, black spots overtaking the fuzz that comes from peering through tears.

(They’re just the wrong shade of purple)

“Void. Tango, I’m so sor-”

Beneath his fingers the Endermen’s claws turn to scratchy bed sheets, mangled by his hands tearing across the cloth. Gasping, fights past the ringing in his ears.

“-ry.”

Slowly, the room stops spinning. It’s wooden, kinda dusty, carriage wheels and holsters hang on the walls. The wood is different from the Ranch- it’s the wrong color. And these blankets are the type Tango hates. He insisted they switch them for the more malleable ones months ago.

Where is he? Did he forget to set his spawn- did someone manage to build whatever… this is around the world spawn?

Swinging his legs around he struggles to sit up, nearly crashing face first into a side table leant against the bed. A side table with a cow boy hat and sheriff badge resting on it.

Right.

Nearly uncomprehending he stares at the badge, it’s innocent metal glimmering in the moonlight. Something like grief creeps up into his chest, squeezing his lungs. It’s vines spiny and thick.

Right.

He’s on Empires. In Tumble Town. Where he’s the sheriff. Because he died first. Again.

There’s a lot he could do, a lot he could think, with that. A lot he could get angry over, could yell and scream and seethe because that just wasn’t- It just wasn’t fair.

And he will. Later.

Now, all that’s running through his head is a single whispered thought:

“I didn’t get to say goodbye”

#life series #jimmy solidarity #solidarity gaming #double life #double life smp #ranchers duo #team rancher #could be platonic or romantic #traffic smp #cannon typical view of death #trafficfic

[portugalisinsa]

In my desperate attempt to sleep I ended up thinking about copaganda and how the term as been abused and misused, so let me rant about it for a little bit

So “copaganda” means a specific thing, namely, a piece of media that pushes propaganda for the police, implying that the police is Great, Actually, and Don’t Worry Your Pretty Little Head About It. Cops is an example of that. Blue Bloods is the poster child.

However, as it always happens, a specific term that is actually Important enters the mainstream and loses its meaning because of people, and now it’s being used by many as “movie and/or show that’s about the police and/or has a police character that isn’t a total dick, which obviously means that the movie and/or show is bad”.

That’s obviously bullshit, and I will show that with Edgar Wright’s great masterpiece Hot Fuzz.

On the surface, a complete dumbass would say that Hot Fuzz is copaganda. Nicholas Angel is shown as good! The final act is a big shooting! Of course it is, right?!

Wrong.

Alright, so, Hot Fuzz begins by showing us Nicholas Angel and how fucking awesome he is. There’s what you would expect (urban pacification, riot control, resolution of “Operation Crackdown”, highest arrest) but, most notably, there’s a degree in Politics and Sociology, and they specifically mention popularity within the community. In fact, in the rest of the movie, that is what he mostly does- community work. He checks the traffic, patrols, gets minors out of a pub, and tries to find a duck for a member of the public.

So Nicholas Angel is awesome, and he’s the best cop. it would naturally follow that the rest of the police would love him. That’s what we want- if you’re good, you meet your objectives, and do your best, you will fit in the police and make the world a better place!

But no, the others fucking hate him. His superiors are shipping him off because he’s too good. He’s making the others look bad, and the idea of, you know, holding everybody at a higher standard doesn’t touch them. No, Nicholas Angel makes them look bad, and looking good matters more than all the results he gets.

Now, it would be easy to make it look like it’s just a higher up problem. The higher up are lazy and image obsessed, but the common officers, the ones we all meet, they’re good and appreciate him. “Don’t worry, public, we’ll protect you even though our superiors are dicks.“

Nope, they fucking hate him too.

So already, not a glowing endorsement of the police. But hey! It could still be copaganda! Maybe, I don’t know, it’s just those city cops, and the country cops are actually the good guys!

Ahah lol, actually? The country cops fucking hate Angel too. Angel is a “city cop” who thinks too highly of himself and is there to show them how it’s done.

If you’re reading this, you may remember that Angel kinda never did anything other than, you know, be a by-the-book officer. The country cops don’t like him for completely bullshit reasons that can be summarized as “you’re new and also you’re trying to make us feel bad for not being as awesome as you by being that awesome and we don’t trust you go away”. Danny likes him, admittedly mostly because he’s a sweetie pie, but partly for the bad reasons- he wants soldier cop.

All of this is, needless to say, not a glowing endorsement of the police.

Eventually, we find out what made Angel want to become a police officer; his uncle was one. He admired him, and wanted to be like him. Now, Edgar Wright could have left it at that, and we would have had a nice, traditional “amazing cop comes from long, noble line of cops” story, but instead, we instantly find out that, actually, his uncle was corrupt, and that’s bad, and Angel is disappointed in him.

So, to recap- we’re basically halfway through the movie, and the only good cop is Angel. (Danny isn’t bad, but like... he’s not exactly good either, at least as a police officer)

The movie continues, and murders start to happen. Angel is literally the only one who thinks anything is wrong. A long, long string of “accidents” is happening, and none of the cops has even the slightest inkling that something is wrong. They’re just like “Angel, you nipped scarf, you’re a paranoid dum-dum“, and what little they do, they do after a lot of arm-twisting and with extreme disgruntlement.

Once again, not a glowing endorsement.

On and on we go, two thirds into the movie, with only Danny liking Angel and showing any kind of improvement as an officer, until we finally get to the revelation that the council is killing people for the greater good (the greater good)... Oh, and btw, who is also part of the council?

The Frank Butterman, AKA The Police Inspector, AKA THE FUCKING LEADER OF THE POLICE IN THIS TOWN.

So, to recap, by the final act of the movie, we find out that the higher ups are corrupt and the main body of the police are ineffectual.

Okay. Cool.

Nicholas Angel then proceeds to pack up for the final showdown. I see lots of people making the argument that this is an example of soldier cop, fixing everything with violence. Me, I think that’s bullshit. In real life, the problem isn’t that cops have riot gear, the problem is that they use it for everything. Riot gear is something you use only when strictly necessary, and I would argue that “murderous council that’s packing” is one of those times when it is.

So the riot gear and packing up is fine. But what about the violence, I hear you cry?

Well, here’s the thing- the man is responding with the appropriate amount of force. Everybody is trying to actually murder him, and he never, ever shoot to kill. He shoots to incapacitate.

Look at the final body count, people. You think Bad Boys would have ended such a show up with none dead, lots low-to-medium injured apart from one guy who was badly injured but did it himself by tripping on a pointy thing? Fuck, even outside of copaganda, what was the last action movie that had such a body count?

Also, the rest of the country police come around, after initially responding AGAINST Angel, and only thanks to Danny mediation. Which... I mean, good, it’s good, I’m very proud of them, but like, once again, this isn’t exactly glowing endorsement. This doesn’t scream “see, audience?!?! Cops may look ineffectual, but when push comes to shove, they’ll save you!” to me, this screams “yo, they’re finally doing the bare minimum”.

Anyway, the end comes. The London police wants Nicholas Angel to come back because now they look bad, but Angel wants to actually rebuild and direct the police here in the town. They all do paperwork, because that’s what the rules say and rules are important and cops should follow the rules, and more stuff happens but it’s not important for the purpose of this so, here, the end.

At the end, we get the song. The choice of music is important for a movie, it means stuff. Even a mediocre director knows that, and Edgar Wright is a goddamn master of the craft. Have  you seen The World’s End? Check that soundtrack. It’s perfect. Hell, the man directed Baby Driver, which, you know, was half soundtrack. Edgar Wright cares about music in his movies and he chooses it carefully, is the point, okay?

So, keeping in mind that, what do we end Hot Fuzz with? Some bombastic “bad boys bad boys, whatchu gonna do, whatchu gonna do when they come for you”? Something that pumps you up, that makes you go “FUCK YEAH”?

We end it with “Caught by the Fuzz”, by Supergrass. Which, yes, slaps, it slaps my whole bod, and yes, it does pump you up, but, once again, is not a glowing endorsement of the police. It’s a song from the point of view of a scared teen having been arrested by the police who is thinking “fuck I should have stayed at home fuck”.

So what am I trying to say with this? Well, let’s start with what I’m not trying to say; I don’t think Hot Fuzz is an indictment of the police. Please don’t take all of this as me saying that Edgar Wright intended Hot Fuzz as a giant ACAB. That is what in the field we call a reach. Hot Fuzz isn’t an indictment of the police, and that’s fine, because it’s not trying to be. It’s showing the police as a highly flawed institution, and sure, it’s not showing it as flawed as it actually is, but that’s fine, because it’s not trying to be The Wire. What it is trying to be is a fun action movie, which it is, and it is so amazingly.

What I am trying to show is that it’s not copaganda. It’s a movie with a police officer as a main character, a main character who is awesome, but it isn’t copaganda. It’s not endorsing the police. It’s not whitewashing it. It isn’t saying “look at the police, aren’t they great? Aren’t we glad the police are around? Aren’t we better because of the police? Don’t you want to become a police officer? Don’t you think that what they do is excusable, at the end of the day, since they deal with so much?”

But what does this have to do with copaganda? So, look. I get that it’s very nice to tell other people that their favourite shows and/or movie is bad AND wrong, and to feel like you have the moral high ground while doing so. I also get that words change and at the end of the day who gives a shit about it. I really do get that- I will never, ever give a shit about ‘literally’ being used as an intensive and not just to mean ‘literally’, for example.

BUT, some words are actually important, because they do mean a very, very specific thing they are best at describing. And “copaganda” is important, because you read it, you hear it, and you instantly know what it means; it’s something that’s also cop propaganda. Got it.

Which means it’s a word that is important to try and keep for as long as possible, because, you know... the cops aren’t always great. And it’d be best if we weren’t constantly told they are.

I understand that it feels bad to have so many bad things happening around us, and so little power to stop it. But you do have a little bit of power. You have the power to call a spade a spade, and to say ‘that isn’t cool’.

Calling a spade a spade, however, means that you don’t go around calling everything a spade. If you call everything a spade, it creates confusion, and dilutes a message.

So please. Please.

Instead of just pointing at something that has a cop in it and say “copaganda!”, use your critical skills and, like I just did with Hot Fuzz, try to find out if it actually is copaganda before saying it is so.

#hot fuzz #copaganda #long post #now please let me sleep #i'm so tired all the time #man this movie is great #my favourite one is the world's end tho #i'm absolutely not sorry it gave me everything #it made me sad it made me laugh it made me happy it made me cheer #p.s. this is all to say that I'm also not exactly sure Brooklyn 99 is copaganda #but i honestly haven't watched it in years so i have no interest in defending it tbqh #not that i've ever seen anyone saying that hot fuzz is copaganda #i'm sure someone has if only because there's always that one person willfully misinterpreting things #usually the same person going 'uhm maybe if people don't have critical skills #it's because of english teachers not doing their job' #sure it's your english teacher's problem #not you ignoring what they're saying because 'the curtains are just blue' and then covering your ears

[ot3]

wait wait wait can you explain more how to be funny and what makes humor work preferably a la essay form if you’re up to it. I’m reading a comic and the jokes aren’t sticking so I’d love to be able to properly be able to figure out what makes some joeks works but others not so I articulate what I hate about it

This response got kinda long so i’m sticking it under a readmore. TL;DR: I don’t think I can tell you how to be funny and what makes comedy work, I don’t think anyone can tell you that. However, I can give you a bunch of advice and guiding questions on how to go about figuring out these answers for yourself

Honestly I don’t think that’s something I’m capable of doing this in any sort of reasonable amount of time. It’d either have to be something really short and really general like what I wrote in the rvb0 post or it’d have to be incredibly long and incredibly specific where I pick specific good and bad examples of comedy and break down what I think works and what I think doesn’t. It’d take a lot of slow and meticulous work I don’t really have the time for, and I’m also not sure how helpful it would be, because once again, comedy is super super subjective and I don’t want to risk overemphasizing my own tastes/general observations as any sort of gospel.

the best advice i can give you would be to try and properly figure out for yourself why these jokes aren’t sticking! because processing something as Funny is much more of an innate reaction than, like, engaging Cerebrally with Narrative Developments it can be much harder to actually realize why something works or doesn’t. I’m going to start by sticking in what I said in my original RVB0 post here in case anyone is reading this without context. 

A rule of thumb I personally hold for comedy is that, when push comes to shove, more specific is always going to be more funny. The example I gave when trying to explain this was this:

saying two characters had awkward sex in a movie theater: funny

saying two characters had an awkward handjob in a cinemark: even funnier

saying two characters spent 54 minutes of 11:14's 1:26 runtime trying out some uncomfortably-angled hand stuff in the back of a dilapidated cinemark that lost funding halfway through retrofitting into a dinner theater: the funniest

The more specific a joke is, the more it relies on an in-depth understanding of the characters and world you’re dealing with and the more ‘realistic’ it feels within the context of your media. Especially with this kind of humor. When you’re joking with your friends, you don’t go for stock-humor that could be pulled out of a joke book, you go for the specific. You aim for the weak spots. If a set of jokes could be blindly transplanted into another world, onto another cast of characters, then it’s far too generic to be truly funny or memorable. I don’t think there’s a single joke in RVB0 where the humor of it hinged upon the characters or the setting.

Then there’s the issue of situational comedy and physical comedy. This is really where the humor being ‘tacked on’ shows the most. Once again, part of what makes actually solid comedy land properly is it feeling like a natural result of the world you have established. Real life is absurd and comical situations can be found even in the midst of some pretty grim context, and that’s why black comedy is successful, and why comedy shows are allowed to dip into heavier subject matter from time to time, or why dramas often search for levity in humor. It’s a natural part of being human to find humor in almost any situation. The key thing, though, once again, is finding it in the situation. Many of RVB0’s attempts at humor, once again, feel like they would be the exact same jokes when stripped from their context, and that’s almost never good. A pretty fundamental concept in both storytelling in general but particularly comedy writing is ‘setup and payoff’. No joke in RVB0 is a reward for a seemingly innocuous event in an earlier scene or for an overlooked piece of environmental design. The jokes pop in when there’s time for them in between all the exposition and fighting, and are gone as soon as they’re done. There’s no long term, underlying comedic throughline to give any sense of coherence or intent to the sense of humor the show is trying to establish. Every joke is an isolated one-off quip or one-liner, and it fails to engage the audience in a meaningful way.

When you see a joke that doesn’t land - try mentally rewriting it. Is there anything you could do to make it funny? Can you bring to mind any similar jokes from other pieces of media that you did like? How does the joke effect the pace of the story - is it an awkward and unnatural pause within the flow of events/dialogue? Is the joke well implemented - that is to say, regardless of how ‘objectively’ funny or unfunny the actual meat of the thing is, is it coming from the right source and directed at the right target? Does it add to your understanding of events/characters/setting, do nothing in this department, or does it detract from/contradict them? Is it immersion-breaking (and if so, is this intentional or meaningful?) or does it pull you deeper into the world you’re being shown?

Once you start asking these questions of both media you like and media you dislike you’ll start to recognize patterns in what lands and what doesn’t, and I don’t think they’re questions anyone else can really answer for you.

I think it also is a question of whether comedy is the intended final destination of a piece of media or just a step along the way. Media that exists solely as a vehicle for jokes is going to have comedy that looks very different than the comedy present in media that exists for heavy narrative purposes but includes moments of levity. 

Here are two examples of shows I think are really good and are also about as different in concept, execution, and intent as humanly possible: phineas and ferb and breaking bad.

Breaking bad is probably the most emotionally taxing television experience I’ve had in my life. I mean this as a compliment. breaking bad is supposed to be grueling to watch. It also has jokes in it. the scenes that are funny server to really meaningfully increase the immersion, not break it, and they do this by bringing a very realistic sense of human interaction that grounds the high-stakes melodrama into something that looks a hell of a lot more like reality. There’s one scene in particular i think does just such a great job of exemplifying this. here we’ve got jesse having dinner with walt and his wife while they are, as always, fighting with each other viciously and creating such a horrible and suffocating miasma of tension over the entire narrative, and jesse is trying to break some of this tension very poorly.

Then, in literally the complete opposite vein, you’ve got the phineas and ferb episode ‘lets take a quiz’ which i consider incredibly formative in the development of my sense of humor. The entire Bit of literally this whole episode is that they’re doing this terrible quiz with no rules that makes no sense and candace is trying to win but nobody knows how to play this game. 

Phineas and ferb is an episodic children’s cartoon that deals almost exclusively in unreality and the absurd, and so this kind of bit works here.

Saying ‘whats good comedy’ is really hard because it’s just like saying ‘whats good narrative’. There’s no one set of criteria; it boils down to what is the intention of your comedy, and how successfully were you able to act on these intentions?

This really got away from me sorry I am working on extremely little sleep i hope this helped even a little bit. My final piece of advice is: go watch hot fuzz. seriously. go watch hot fuzz (2007) dir. edgar wright and look at how the jokes in that movie are because theyre perfect and i love hot fuzz and it’s fucking funny

#long post #Anonymous

[zmediaoutlet]

omg your tags, now I can't stop picturing Sam waking Dean up with his mouth, what have you done (!!)

It’s cold—really goddamn cold. First things Sam notices whenhe wakes up, in order: how fucking incredibly cold it is; that he’s lost theblanket, sometime during the night; he’s got a morning woody crushed in againstthe mattress and it feels, ah, good; Dean’s gone.

He opens his eyes. Dean. His brain struggles to come online,fifteen rail lines speeding forward at once. In the muddle he claps himself inthe face too hard, trying to rub the sleep from his eyes—ow—and struggles toturn over, the mattress creaking under him. Dean, where—oh. There. A lump, onthe far side of the bed, a king bed, oh—right, they got a king bed, somewherein Texas—Lubbock—and Dean had grinned defiance at the hairsprayed old lady atthe front desk, and slapped Sam’s ass before they left the lobby—mortifying,but Sam had secretly enjoyed how lemon-bite-pursed her wrinkly old mouth got—andoh, damn, it is really cold, jesus. Winter in Texas shouldn’t be this cold, andhe puts together only slowly, trains struggling to leave the station, that theheater under the window must be broken, and fucking Dean stole all the covers,and Sam’s left here in his boxers with his skin goosepimpling in the frigidair, and he rubs his face again, wanting coffee, Miami, a massage. That order.How likely is he to get any of it.

He gets up and pees instead, the tiny bathroom equally coldand the seat freezing his ass when he sits down. He pushes his hard-on down,angles so he won’t piss all over the floor. Splash of water on his face, after,and a gulp of cold water from the tap, and he’s more awake, but colder, and hecrosses the thin carpet and climbs onto the bed and tugs at the blanket,unrolling Dean from his burrito. “Ngh,” Dean says, somewhere under there, butSam doesn’t give a shit. It’s cold, and the whole point of a king is to shareand they didn’t even screw last night, and Sam’s going to—get—ah, there, and hefolds himself under the unfurled sheet and beige fuzzy-fleece and crappypolyester duvet and, more importantly, a body’s worth of warm, giving skin, andDean shivers when Sam spoons up behind him but he can just deal, Sam’s the onewith the icicle toes, here.

God, it’s comfortable. He drags his chin against Dean’sshoulder, stubble scraping, smells him. Warm, unwashed body, and salt, and adistant waft of cologne there at the back of his neck. Sam touches his belly,soft, and drifts for a moment. The blanket makes everything better. Still. He’sawake, kinda. Probably won’t sleep again—that’s not how his body works anymore—andhe really ought to start the day. Find their next hunt. Get moving.

His dick’s shoved against Dean’s thigh, swelling, content.He shifts his hips, an easy press. Mm. He licks his lips, brushes his noseagainst the back of Dean’s head. There’s that, too. He slides his hand toDean’s hip, squeezes, and Dean doesn’t move, snoozing on. Sam flexes his ass,pressing forward—yeah. Okay. Maybe the day doesn’t have to start right away.The hunt’ll still be there, if he finds it an hour from now.

He dips beneath the blanket. Too cold to do anything else.Warm, warm, and he presses kisses along the pretty familiar curve of Dean’sback, his hip. Sleeping naked, the degenerate, and Sam runs his teeth along theswell of his ass, his nose brushing soft skin. A cave, down here. Smells—god,Dean, just like Dean, and he pushes at his hip and he tips, turns, sleepymurmur barely audible through the muffling blankets. Sam grips his ass in bothhands, squeezes. Mm. He’s got a completely inexplicable spatter of freckles here,and Sam can’t see them in the murky dim under the covers but he knows exactlywhere they are, and he kisses a patch of skin—salt, his tongue finding itunerring. Smooth, and Dean’s thighs mostly smooth too when Sam runs restlesshands down them, and then up, his thumbs dragging up the soft insides. He huffsout a breath, kneels up. The blankets come with him, light peeking through upnear Dean’s shoulders, but he’s not awake, at least as far as Sam can tell. It’smaking his balls throb, his dick heavy and aching. Fun to play with Dean—didn’tknow how much more fun it’d be, when he was dead to the world, and Sam’s brainwrites in yard-high letters across the inside of his eyes he’s asleep,and fuck, why is that so hot.

He reaches down and holds his dick through the muffle of hisboxers, scooches down further, on his knees at the foot of the bed. Dean’s legslazily open, and Sam slides up, kisses his asscheek, urges one thigh open—higher—anda sigh, somewhere, but then there’s the gold, his balls plump and plush againstthe mattress, his ass open. Sam’s mouth waters. He keeps one hand under Dean’sknee, keeping him open, and leans in—ah, and talk about smell, jesus, thebody-warm here, and salt and funk, and he kisses at the top of thecrack, and licks there too, the knob of bone hard under his tongue. Barely-hairyhere, too, Sam’s brother, delicate as always—just the finest layer of goldenfuzz that goes velvety so fast under Sam’s tongue, and he crouches and nuzzlesin and licks lower, lower, skin-taste thick in his jaws, saliva pumping up.Fuck—and then there, home, and finally—real hair, crinkly and matting down fast,and the rough patch of his asshole, and the sourness of Sam’s morning breath matchinga long night of sleep, and Dean’s thigh twitches then, and there’s a mumble,somewhere up above the blankets where it doesn’t matter. Sam licks again, flatand sloppy, spit flooding. Jesus, it’s good, nasty and sleepy-warm, and withhis free hand he pries Dean’s asscheek aside and then just really goes to work,licking deep and steady, mouth open, breathing trapped in all this—the wrinkleof it under his tongue, and the plush give. “What,” he hears, somewhere, and hehumps his hips into the bed and drags his thumb over Dean’s balls, spitssloppy, wet running down his taint to where Sam’s petting him, and he pushes upand gets his thumb—in—inside, fucking in where it’s so tight, that familiar ground,and Dean moans and his legs spread wide and he’s awake, yeah, fuck, he’s awakeand Sam fucks his thumb in and out, licking there and making it wet enough tomake it good, sloppy, and then Dean farts on his face.

Ripe—jesus—Sam coughs, says, “What the fuck,” shoving up onone hand, and Dean’s—laughing, the asshole, the absolute—“are you kidding,”Sam says, god, the taste is in the back of his throat, what the—

Dean’s shoulders are shaking as he clutches the pillow, his faceburied down. “Holy shit,” he gets out, shaky, “but dude, you’re the one—”

“You fucker,” Sam says, rearing back, the blankets fallingdown around his hips. Dean’s still laughing, one hand clapped over the top ofhis own head, and—even as Sam licks the back of his own wrist to get the tasteout—there’s Dean’s crack, wet, and his thighs still spread wide, and Sam’s dickisn’t—soft, at all, by any means.

Dean turns his head over his shoulder, grinning. His eyes areall bleary. “That’s what you get,” he says, and yawns, and Sam looks at himwith the corner of his mouth crusted with drool and his back freckled andsmooth and his asshole soft, and he shrugs, and spits into his hand, and wetshis dick where it’s popping out of the front of his boxers, and leans in andpresses—ah, there. There. Dean blinks, surprised, mouth gone into an o, and Samsays, “Okay?” Soft, and asking, but not really asking, because Dean nods—of courseDean nods—and Sam lets his weight drop in and Dean opens around him, reluctant,the drag not really smooth at all on just spit but ah, fuckin a, good and tightand just, just what Sam needed. Screw a massage.

He bottoms out, pubes crushed in against Dean’s wet ass.Dean pulls his thigh higher, lifts his hips. “Goddamn, early bird,” he says,thin, and Sam leans forward over his shoulder and kisses him. Sticky, his lipschapped, both of them sour-mouthed. He tilts his pelvis, feels Dean’s assholeripple. Grips his hip, slides up to his ribs. When their mouths part Dean lickshis lips, blinks at him. “You just kissed me with fart-mouth,” he says.

“And whose fault is that,” Sam says. Dean raises hiseyebrows, and Sam watches his face change when he pulls his hips back, andsinks back in again. God. Talk about warm. “Good?”

“Not saying,” Dean says, like that’s not an answer. Hiseyelids flutter, and he gathers the pillow under his head. “Mm. ‘s cold. Pull upthe blankets, bitch.”

Sam reaches down, does. “Yeah, maybe if you hadn’t hogged ‘em,”he says, and fucks in again, lazy, slow. He pulls the covers up to his own shoulders,and leans back and spits between them, where the root of his dick’s breaking Deanopen. He slides his thumb around, wetting the slide as he pulls out, back in.Dean’s ears are bright red in the dawnlight. “This is all on you, you know.”

“Yeah?” Dean says, and slips a hand back under the cover ofthe blankets to haul Sam’s hip in tighter. Fuck, fuck. Sam braces his knees outsideof Dean’s, arches his back. If he could get deeper—but Dean seems to think it’senough, by the whole-body shiver. Jesus. This body. Home, if Sam ever needed one.Dean licks his bottom lip, slants a look back at Sam. “Tell me later, huh?”

“Yeah,” Sam says, grinning down at him, and braces a handagainst the headboard. Later.

#Anonymous #wincest #naughty fic #continuing to try to write cheery stuff #we need some g.d. cheer #my writing

[lassieposting]

Are you still doing that domestic ship thing? What about Charlotte/Dan?

domestic ship meme!

send me a ship and i’ll tell you:

who reaches out to new neighbors

honestly, neither. they both work such ridiculous hours and spend so much time at the office/precinct that they usually only realise someone new has moved in when the neighbours come to talk to them. or they’ll get stopped in the driveway by a friendly stranger on the way to/from work. 

who remembers to buy healthy food

both of them. they’re a very healthy, fit couple. they have super busy schedules and jobs that take up a lot of their time, so honestly it’d be easier to live off fast food, but they’re both into exercise and proper nutrition, so they’d rather make the effort to cook for themselves. 

who remembers to buy junk food

dan. charlotte lost custody of her kids while mom was wearing her meat suit, so the only kid in the house is trixie. so she’s the only one who really eats junk outside of dan’s pudding fixation. 

who fixes the oven when it breaks

dan. he’s always the handy one. he likes feeling like he can fix something in charlotte’s life, even if it’s something small - he likes being able to take some of the worry off her. if she’s home she’ll sit and chat with him while he’s working. 

who waters the plants/feeds their pet(s)

charlotte. she needs something to look after once she loses custody of her kids. sometimes it’s dan, and sometimes it’s trixie, but sometimes she doesn’t have either of them on hand, so she keeps a hardy little rubber plant in her office. 

who wakes up earlier

they both get up stupid early to work out before getting ready for work. like they always know exactly what time the sun comes up. sometimes charlotte gets up even earlier, if she’s had a bad night. but dan’s the later riser out of the two of them. charlotte averages four hours of sleep a night; dan prefers to try for a nice healthy seven-eight. 

who makes the bed

neither of them. charlotte pulls the quilt over the sheet when she gets up, but doesn’t really make the bed. when the sheets need changing, it’s usually dan; laundry was his chore during his marriage with chloe and he just sort of does it automatically for charlotte. 

who makes the coffee

charlotte. she’s got expensive taste and she’s fussy about her beans, whereas dan is used to precinct coffee and will drink any old swill, so he lets her deal with her fancy, obnoxious coffee maker and super specific coffee preferences. 

who burns breakfast

charlotte, deliberately, because dan’s waffles are better. 

how do they let each other know they’re leaving the house

a lot of the time, they don’t; because of the sheer amount of prep work and shit involved in being a lawyer, dan is often still at the gym when charlotte leaves in the morning. 

how do they greet each other when one of them gets home

charlotte comes up behind dan and wraps her arms around him, just to lean into him for a minute or two. murmurs hey. dan knows better than to come up behind charlotte, it’d just freak her out. so he greets her with a cheek kiss and pulls her in for a hug.  

who brings home little gifts like flowers/chocolates more often

dan. despite the machismo he’s actually pretty romantic. charlotte’s a pretty materialistic girl, and she’s not spending so much money on herself now that she’s trying to be good, so he likes to get her little trinkets and surprise presents he can leave on her desk for her to find. 

who picks the movie for movie night

they usually cycle through what’s on the skybox until they find something they agree on. dan’s pretty easy to please so it’s often charlotte that makes the final decision. dan’s a pretty “sure, if you want” kinda guy.

their favorite kind of movie to watch

buddy cop comedies like hot fuzz. charlotte was a cop before she was a lawyer, so she likes films that take her back to a simpler time and make her laugh. and dan likes to watch charlotte laughing, likes to see her when her eyes don’t look quite so haunted.  

who first suggests a pillow fort

dan. charlotte is talking about things she misses doing with her kids and pillow forts come up. her kids are getting a bit old for all that now but it’s something she misses from when they were younger and she was much more involved in their lives. dan offers to make one for her the next time it’s his turn to have trixie.  

who builds the pillow fort

both of them plus trixie. dan is the chief structural architect; charlotte contributes style and fancy fabrics. 

who tries to distract the other during the movie

they talk a lot during movies anyway, swapping anecdotes and jokes and stories. they hold hands a lot too, just casually, dan doing the little strokey thing with his thumb back and forth across charlotte’s knuckles. or she’ll rest her hand on his thigh or her head on his shoulder. they’ve both been through some shit - divorces, kid drama, supernatural bullshit - so it’s nice for them to just have that easy affection with someone they really care for. 

who falls asleep first

usually dan. charlotte tends to lay awake for a long time dwelling on shit, mostly her hell loop, and tries not to fall asleep because she’s afraid of having nightmares. dan’s deep breathing when he’s asleep is soothing for her and she likes to lay her head on his chest and listen to his heartbeat as she’s getting too tired to stay awake.

who is big spoon/little spoon

charlotte is the little spoon, and also a really restless sleeper; she has a lot of nightmares and tends to get up a lot, call lucifer, sit mindlessly in front of the tv, etc. dan’s a pretty deep sleeper, so it’s like a 50/50 toss-up whether he’ll wake up when she pulls away from him. 

#lucifer on netflix #lucifer on fox #netflix lucifer #danlotte #dan espinoza #charlotte richards #lucifer headcanons

[britesparc]

Weekend Top Ten #451

Top Ten British Films of My Lifetime

Here we are with another of my semi-regular “this has nothing to do with anything but I just thought about it” lists. Nothing to tie into, nothing to celebrate, just a moderately interesting topic. Hopefully.

I don’t feel like people talk about British films the way they did in the nineties. Maybe that’s just because I'm not a teenage wannabe film director reading Empire anymore so I'm not picking up on a meta-narrative or looking for ways into the industry, but I think it’s more the changing nature of the film “biz”. The nineties proved that there was a functioning film industry in Britain, and the subsequent rise (or return) of huge blockbusters filming here has meant that there’s always a lot of money flowing through British studios and companies. Star Wars, the Wizarding World, and James Bond are just three franchises where, whichever country owns the rights or the IP, there’s still a strong UK flavour to the productions, even if they have American actors and directors. Even indie films get money from all over the globe now, further muddying any attempt to define the nationality of a film. For a long time there, the Coens were making films for Working Title, so arguably they were British films too.

I'm going to insert a depressing caveat here and say that, with Covid shutting the cinemas and the government’s reluctance to offer ongoing support to the industry, there is a chance that our position as a great location or a destination for a raft of production and post-production services may be under serious threat. Like with Thatcherism, we could end up seeing a return to the bad old days of the eighties, when despite stone-cold gems emerging, the industry did struggle. But anyway.

Basically, I don’t always know if a British film is a British film these days, and their Britishness does not get ballyhooed as much as it did 25 years ago.  But all the same, for reasons undefinable (because Lord knows I’m not feeling very patriotic at the moment), I have here decided to list my Top Ten British Films. I’ve focused on “in my lifetime” because, well, it’s easier, and there are fewer huge films that I've missed. But like I always say, I'm not a journalist or a professional film critic, so there certainly are some huge films that I've missed. Off the top of my head, three very big films I've never seen are Naked, Sexy Beast and In God’s Country; maybe they would be on the list. Also, with the 2020 of it all, I've seen virtually nothing this year (Farmageddon and – is it British? – Cats are the only Brit-flicks I saw at the cinema before the Dark Times; if you’re after a review, well, Farmageddon is better). But, look, this is my list and It's utterly arbitrary, as always.

Rule Britannia, etc.

Paddington 2 (2017): yes, it’s utterly delightful, which we need more of in this day and age, but it’s also exquisitely constructed on a technical level. It's phenomenally well-shot, Paddington himself is an extremely good effect, the scripts are tight, the performances spot-on (give Grant an Oscar!)… honestly, this film is perfect. I try to be arch or cynical but I can’t. It's a masterpiece and it does not get enough love.

Withnail & I (1987): as sublime a piece of screenwriting as you’re likely to find, the film is also bolstered with two stand-out performances for the ages (three, really, if you include Uncle Monty). Simultaneously a hilarious character comedy, a gritty but nostalgic look at a lost decade, and an utterly tragic tale of self-destruction.

Brazil (1985): one of those films that’s disturbingly, increasingly prescient. A grim look at the future through a dirty lens, a visual tour-de-force, Michael Palin playing a delightful monster, pathos, romance, tragedy… almost certainly Gilliam’s best film.

Trainspotting (1996): utterly seminal; stands alongside Pulp Fiction as one of the definitive films of my youth. Boyle’s direction is so assured, Hodge’s screenplay distils an unfilmable novel into something utterly cinematic, and McGregor delivers an unforgettable performance. Cool, slick, funny, strange, tragic, and very, very British.

In Bruges (2008): another film with two people swearing a lot and just having terrific dialogue, this time against an ironically beautiful backdrop. A neat character study, great performances, devastatingly sad, just damn funny. Also inspired my wife and I to take a real holiday to Bruges, so top marks.

Hot Fuzz (2007): probably, on balance, the best of the Cornetto Trilogy, perfecting the intense montage-heavy style but giving us a bigger canvas, excellent action, a neat puzzle box of a plot (the forward-referencing is at its peak here), a series of increasingly amazing cameos, and arguably the best incarnation of the classic Pegg/Frost double act.

United 93 (2006): unlike many on the list, not one I’d relish watching again; a blisteringly tense, heartbreaking interpretation of the last moments of flight United 93 on 9/11. Taking something seemingly unfilmable, Greengrass gives us a thriller of the highest calibre, a director working at the top of his game to make something unbearable but unmissable.

Ex Machina (2014): it’s rare that a film can be a tense chamber piece and also a groundbreaking sci-fi and also a great special effects movie, but Ex Machina is that, as well as a directorial debut (Dredd rumours notwithstanding). Gleeson and Isaac are incredible in their cat-and-mouse relationship, Vikander is a revelation as Ava, and the whole thing is shot through with such assuredness, walking well-trod paths but absolutely giving us something new and interesting.

Notting Hill (1999): I kinda had to have a “traditional” romcom in here, of the kind popularised by the writing of Richard Curtis; I think common logic says Four Weddings is the best but I’ve always preferred Notting Hill as it’s simultaneously more focused (just dealing with Grant and Roberts) but also has a bigger canvas as it touches on celebrity and fame. As a piece of popular writing it’s exceptional; funny and genuinely romantic and moving, with a great central couple you’re always rooting for.

Brassed Off (1996): sneaking into my Top Ten, displacing the likes of The Descent, Richard III, and 12 Years a Slave, simply because its message of resilience in the face of governmental cruelty and its quiet depiction of nurturing northern socialism is striking a chord at the moment. Stephen Tompkinson should have been able to launch a Hollywood career off the back of this performance, and the late, great Pete Postlethwaite is a beacon of tragic, stoic heroism, especially in the climax of the film. The Fully Monty went into similar areas to greater financial success, but Brassed Off is the sadder film, the film that stays with you longer.

Right, there we are; a definitive list. Sorta. I’m kind of surprised there are so many relatively recent films up there; I thought it’d be full of stuff from the late eighties and mid-nineties (I’m note sure why I feel that “mid-nineties” needs a hyphen whilst “late eighties” doesn’t, but there you go). As I flicked through my mental album, however, I realised that a lot of films from that period I hadn’t seen in twenty years or more, and I just didn’t feel like I could justly rank them; A Fish Called Wanda, Time Bandits, The Company of Wolves, Educating Rita, The Cook, the Thief, his Wife, and her Lover, Secrets and Lies, Mona Lisa… all of these might have been included if either my memory was better or if I’d whacked a DVD on more recently.

Anyway, there you. Brits are good at some things. Obviously those things don’t include feeding hungry children or successfully negotiating international trade agreements, but there you go. Can’t have everything.

#top ten #films #movies #british films #cinema #paddington #withnail #richard curtis #edgar wright #danny boyle

[crimsonbluemoon]

28 minicat

It’s so weird jumping between fluff and smut but I’m having fun with the variety! ^.^

Okay, so this one is a homage to Libahunt because I’ve been wanting to write because me and Bels talked about this idea and it killed Bels and I needed to flesh it out so here you go, please enjoy. 

(Warning: This is no indication of how Libahunt will end. It’s just a ‘what if everyone wasn’t about to die to Grigori’ scenario) 

28) Make meMinicat

“Tyler, you have to take your foot off the ground.” 

“Make me.” The growl was low when Tyler glared back at Mini, who rolled his eyes from where he stood. The scene, honestly, was ridiculous, and he was sure anyone who didn’t know the specifics of the world Tyler came from would find it more than a little confusing. Craig was on one side of the parking lot of the deserted school, which was long since cleared out for summer vacation. He lacked any of the protective gear that Tyler wore, despite the hunter telling him numerous times he didn’t need it. 

“I have literally fallen off a four-story building chasing a vampire; do you think a bike is going to hurt me?” 

Yet Mini insisted his boyfriend wore the helmet and shin pads (both looking ready to burst from being far too small for the hunter), more for his own pleasure than anything else. 

“You know, for someone who claims to be the baddest thing around, you are kinda wimping out right now. I know three-year-olds who learned how to ride a bike faster than this.” He teased to help distract Tyler from the fear he refused to admit he had, though Mini knew it wasn’t getting hurt. Tyler had always been the best at what he did, and failure was a bitter pill for him to swallow. Anything he took on, he did with 100% effort, unless he was sure he’d struggle with it. Things like swimming in the ocean, baking cookies, or riding a bike were things Mini learned as a kid, but Tyler avoided them like the plague. They reminded Tyler that he wasn’t the ‘perfect tool’, but perfectly human, and Craig hated that his boyfriend sometimes still saw himself that way. 

So he’d taken on his own mission; prove to Tyler that it was okay to be human, including making mistakes. And it started with the bike currently seated between Tyler’s thighs.

“Why are you such a pain in the ass?” Tyler snarked back, his temper making his drive spark out around him. Mini rolled his eyes at the show of power, knowing it’d never be used on him. It was impossible for a Phoenix Knight to use their drive on their Phoenix, meaning Tyler couldn’t ever actually hurt him even if he wanted to. 

“Come on, Tyler.” Finally, Craig caved, jogging across the hot parking lot in order to stand behind his stiff boyfriend. He ignored the grunt of protest when he placed his hands on Tyler’s hips, trying to make his grip firm enough for the other to feel through his shirt. “I’ll hold onto you while you pedal, and then when you’re ready, I’ll let go.” 

“This is so fucking stupid, I can run faster than a bike. Why do I need to fucking learn-”

“Because everyone should know how to ride a bike.” Because you should have learned how to do this as a kid. Mini didn’t say the words out loud, hating how dark and grim Tyler’s past was. Tyler rarely mentioned his parents, though Mini knew they hadn’t had a lot of time together before Tyler was sent off into training. He wasn’t sure who raised Tyler, if anyone, but the idea of a small kid facing the cruel world Tyler grew up in alone bothered Mini far too much to think about for long.

“Humans should, maybe, but hunters don’t need it.” Mini rolled his eyes at Tyler’s grumble, leaning up on the tips of his toes to press a slanted kiss to the edge of his jaw.

“Just humor me?” Craig asked, nuzzling the fuzz on Tyler’s face before pulling away to let him settle on the bike. 

“Whatever.” But Tyler tightened his hands on the bars of the bike, and Mini felt a smile creep onto his face at the nice mutter. “Just once, okay?”

“Wouldn’t dream of more.” But even as Tyler finally pulled his foot off the ground and pedaled forward, Mini’s mind was thinking of where he could find cookie batter and frosting on the way home. 

Tyler may have never gotten love as a child, but Mini was determined to make up for it now.

#Anonymous #Minicat #Fire and Ice boys #Crimson Drabblez #<3

[jehilew]

Me and Mr. & Mrs. X #4

So, MMX4 and I had a day together. We met, and we didn’t quite get along at first. We had some disagreements, and there were some disappointments to hash out.

But you know, she’s one of those issues you gotta kinda chill with a minute, and get to know. She’s not everyone’s cup of tea right off, and she can be a little off-putting if you let her, but... we had us a little sit-down this afternoon, spent some quality time together. Me and MMX4, we came to an understanding. We still don’t see eye to eye on all things, and I still have my bones to pick, but she’s alright. We’re okay now. And I have some things to say about her!

Alright, so, I’m going go ahead and say this issue had some developmental beats I was looking for, and needed, but I didn’t necessarily love how some were brought in/handled. I definitely appreciated the intent behind them, and while it sounds a whole lot like I’m about to give a negative review here, no, I’m not.

I didn’t hate this issue. I didn’t even dislike it.

I was expecting something bigger, thanks to warnings and those glorious opening pages letting my Marvel husband show off for my Marvel sister-wife, but I’m not mad at it. I was expecting Remy to carry through with that panache throughout the issue, and although he didn’t quite do that, he did have his solid gold star moments. I was a little irritated by the spinning door tossing out and pulling in new cast, and yet another separation of our couple. I am absolutely going to calm my tits for a month and see what kind of resolution KT’s got in store for us in the next issue, though.

Alright, so I have to start out with my favorite parts of all, because they are stunning!

I mean, what’s not to love about this first page? It picks up right where the last issue left off, with our newlyweds strung upside down, and all the flirty wit and banter with it! We also get to see how clever these two are, sharing a kiss to pass on a lock pick (though how she wound up with the pick in the first place instead of him is a question, but I’m not really caring, because making those two kiss is never a bad thing!).

And then, we have this little gem of a spread that plays up some of Remy’s thieving and acrobatic skills. And shows Rogue practically drooling as she watches her very athletic and very hot husband grunt and sweat as he pulls himself up to pick the cuffs.

I... can’t blame her there. And if she should so happen to swoon just a little as he flips and catches her for a very swoonworthy kiss...?

Well. She’s allowed.

Honestly, I dig this entire page for Rogue’s shoes alone. Say what you will about her lack of finesse, but the girl cannot be faulted for her taste in Shi’Ar heels and accessories. Or her poses, for that matter, because you know Remy’s taking a second longer than he should at her ankle, and you know he’s taking the opportunity to check out his wife’s legs all the way up!

And then we have our action! Bazaldua and D’Armata continue to hit it with these action sequences and gorgeous space scenes, and this issue is packed with both.

This scene, where the Starjammers mistake the ship for baddies and take fire happens right before a couple of pretty pivotal moments in this issue--and the arc at large, as well as the trajectory of our couple as the titles continues. While these panels aren’t terribly important in and of themselves, the art is beautiful. Check out those central BOOM panels. How can you not love them?? For one, this is the second time Remy’s face is attractive in this series. (The first was on the first page, with the upside down lock pick kiss. Mmmm, that scruffy jaw, too...). Two, those surprised/alarmed faces are perhaps the most real expressions we’ve seen out of our heroes yet, so much love and kudos to Bazaldua! Three, the design jars you and almost rattles your teeth right along with the hits, an effect conveyed with the blur and the edges around the words.

Gorgeous. Absolutely gorgeous.

This spread jumps forward a little, skipping past one of those pivotal moments I’d mentioned earlier to kick off the other. Here, the ship has crashed, and the Starjammers have jumped.

Guys? This design is just...wow.

Listen. I understand there’s likely better action scenes done somewhere else in the comics world in all the forevers that comics have been alive. I get it. But this? You can’t take away from this. It’s a fluid, epic, powerful fight scene where everyone is a badass and no one is a weak link. It beautifully depicts the sheer scope in size with Titan in the background (getting his massive ass handed to him by Rogue, I might add) encompassing nearly the whole spread. The layout is clean, it’s not fussy, and despite all that’s going on in it, it’s not ‘busy’, it’s super easy for the eye to follow. D’Armata’s brilliant use of colors makes this an outer space scene, and when you pair that up with strong inks like this...

I just might be saying the art is really, really pretty.

And then, you’ve got these last two pages. Simple, not a lot of things in it, but they aren’t any the less dramatic for it.

I mean, Rogue and Xandra just got blown to smithereens right in front of a stabbed Remy, and next, you have everyone picking their teeth out of the sand and gasping in disbelief in the aftermath.

I’d say that’s pretty fuckin’ dramatic, y’all.

Of quick note, the above page, bottom panel, marks the third decidedly handsome Remy in this run. Bazaldua is getting better at those faces!

And god, those colors... Marvel, anytime you do outer space, please do call on your man, D’Armata.

Second quick note, Rogue’s death. Look. We already know she’s not dead dead. Like, no shit. This is an ongoing title, we’ve seen all kinds of evidence of a future Mr. and Mrs. clear into a third arc. But seriously, these poor guys...

It’s their honeymoon!! They should be somewhere breathtaking and tropical, with the only worry they have being sand getting in the wrong places because they decided to have sex on the beach, not oh shit, my husband just got stabbed in the guts and my wife just got blown to bits.

Poor things...

Anyway, moving on, here’s a spot I honestly love/hate, that other pivotal scenario:

This all took place right after the Starjammers shot them out of the sky, and right before they descended in attack. And this is a part in the book that both was needed and fell flat for me.

Alright, so KT has already made it crystal clear that Rogue is going to work on gaining that power control. Which, yay!! And goddamn, about time, Marvel! Goes without saying I’m super excited by this, and I’m practically peeing myself waiting to see how KT goes about it. So, for that, this excited me.

I was also pleasantly surprised on two other counts here. First, the Legacy ‘fix’ on Rogue’s mutation was addressed. I’d hated it when it’d happened, because she hadn’t done it herself, and I’d been ready to set fire to something when, of course, that had flopped. And I’m not going to lie, when Xandra made a similar offer, I was ready to bash my head into a wall, because really? Again? (Should have known better, because of course KT wasn’t going there!) Not to mention, it all felt a little...forced, her offering. As I said, I loved that the ‘fix’ is called out for the band-aide that it was, but it felt a little odd to shove that talk in right here.

Anyway, second, I was happy to see them having their first spat as a married couple. We see Remy snipping at her for sliding back into her old “bUt mAH pOwERs..” angst, and basically clamming up on him when he’d asked her further about it.

(And do not even try to act like he’s being a jerk because he can’t get laid--he’s not. He’s talking to her, and rightfully expecting her to talk to him. She shut him out, crossed her arms, slid back into her old, safe, isolating drama, and he snapped at her. She doesn’t get to do that anymore, right?)

Then we see her fuzz up at him, walls immediately slamming into place as she bites back about being too difficult, and he can just leave if she’s too much. Yes, she butt-clenched super hard. Yes, she was being a bitch. And yes, I expected this, it’s in character, it’s a defense mechanism. And in order to put that old habit to bed, you have to bring it out and deal with it.

All extremely cool with me, but next is where this scene also irritated me. Because after the stick rammed itself so far up her butt, it poked out her throat, he, too, predictably fell back into his old rut of backing off just so when she got all obstinate on him. Which, again, yes, to square it away, it has to be brought up. Except he came across very doormat-y here. He could back off without laying down and taking hits. He had nothing to apologize for. 

Remy is, without doubt, his sexiest when he’s got a backbone with her. He’s been exhibiting one since he sent her off with the harbor speech. He had one in the mini, when he refused to let her take easy ways out. He’s had one in this series, too, and he backboned the hell up when he’d flared up at her just before she snapped his face off. I absolutely appreciate what’s happening here, but... I am disappointed that he was slapped so far down, so easily.

At any rate, despite my feelings on how he was handled, I am thrilled that the whole thing accomplished what it’d set out to do: marked a little growth as a couple, and a bit of character development (admittedly, mostly hers--which I get). We see that with the last four panels, where he opens up first, and then she uses her words like a big girl! And then--gasp!--they...they hugged it out and said sorry and figured out they can work shit out.

Who knew, right??

Good for them!!

Anyway, all in all, I’m not giving this issue the bad rap I initially did on the first read-through. It’s not my favorite in the series so far, but it’s not my least favorite, either. There are some nice elements here, some progression happening in it, and I hope to see lots more of that to come with Rogue and Gambit, both as a couple and as individuals!

Many thanks to Kelly Thompson, Oscar Bazaldua, and Frank D’Armarta for all you’re putting into this series, I’m ready to see what’s next!

#mmx4 #mr & mrs x #mr&mrsx #mr. and mrs. x #Rogue #Gambit #Anna-Marie LeBeau #Remy LeBeau #comic review

[prompt-master]

So, Maybe I Need You

@saltyalienmilk asked: Fam, you should write a fanfiction where Michael calls Jeremy jemmy (*｀･へ･´*)

Anon asked: Boyf riends fic idea that Jeremy and Micheal are hanging out in Micheals basement, playing video games or getting high or smth, and jere playfully calls Micheal a loser, bla bla. Michael has a small panic attack bla bla jere tries to help… basically it ends in fluff. Your really good at balancing fluff and angst so I decided to ask you, ur awesome! Bye.

Remember guys if it’s not ok you can ask for a redo! I’m sorry this isn’t the best quality but I hope you like it!! Let’s get into it:

“Dude, my man, my best bro of twelve years, are you ready?”

“Michael I was born ready.”

“Ready for what? Masturbating?”

“Michael!!”

The best feeling in the world had to be when Jeremy and Michael slipped back into their normal friendship again. Both of them never thought it’d happen, especially now that they aren’t each other’s only friend anymore. Somehow though, after a few weeks of effort, they managed to bring back a routine just like the old days. And boy, were they happy to be back in the basement again, chilling on two bean bags while Michael sets up the Nintendo 64.

Honestly this night couldn’t get any better. Jeremy had passed his final exams with way higher scores than expected, he hadn’t heard from the SQUIP in a long time, and his dad hung out with him right before he left for Michael’s. Michael had gotten a free slushee, found a sweet deal on some old retro games, and was becoming less awkward with the new friend group. To top it all off they had a bowl of party mix, a bunch of candies, and two rolled up blunts for later. It was going to be the greatest night since ever.

Michael plopped down on the bean bag next to Jeremy, leaning back and craning his neck to give the taller one a giant goofy smile.

Jeremy laughed at that, “so what game are playing?”

“What do you think, Jemmy?”

“Mario kar- I’m sorry what?”

When Jeremy turned to face Michael he saw the boy sitting there with a mischievous smirk, one that pushed his cheeks up to his eyes. His eyes held a glint that said “you heard me, boy”. See Jeremy was used to random nicknames by the other, there was even a phase where Michael had called him “Jerry baby” jokingly. Michael gave him better pet names than any girlfriend he’d ever had, and he had like…two! But…

“Jemmy? That’s a new one. Sounds like jelly.”

“It’s cute! Like you-!” The second that came out of Michael’s mouth he seemed to regret it. He instantly lost eye contact as Michael’s eyes darted around the room, his face a shade of red to rival his signature hoodie.

“Michael you think a lot of things are cute.”

“Do you not like it? I’m hurt! I give you quality names to be called by and this is how you treat me?” He held a hand to his forehead, swaying back dramatically.

Jeremy just rolled his eyes, playing around with the control as he tossed a Swedish fish into his mouth. He started to play the game, he as Luigi and Michael as Peach, then Michael picked rainbow road.

“Why do you do this to me?”

“Cause your my friend, Jemmy!”

Jeremy nearly drove right off the track, “Oh my god”

“Oh is something wrong Jemmy ? Jemmy, Jemmy, Jemmy!”

Unsurprisingly? Jeremy completely lost. There was something about that nickname and the whole way Michael said it that left his stomach with this fluttering tingle. Kinda like on those elevator drop roller coasters, you know, when they drop you. His face heated up and it was almost like…whenever Christine talked to him. Weird. Either way it was distracting and he’d lost.

Jeremy groaned as Michael swallowed up his victory and rolled in it. He took a big swig of sprite as Michael tossed his fists up and ranted about how he would always be the number one gamer.

“Ready to get your ass whooped again, nerd?” Michael smirked at him, excitement coursing through him as he happily played with the controller, ready to go.

Jeremy laughed, unable to say no to that determined face and the way Michael stuck his tongue out, “I’m the underdog now and by like, movie law, I have to win.”

“Yeah well does your movie law work with this?” Michael moved the joy key, and with a press of a button rainbow road was selected again. Dammit.

“Wha-! Dammit Michael! You’re the worst, oh my god!” Jeremy said it with a lighthearted laugh, not noticing the way Michael’s shoulders went tense. It wasn’t the first time Jeremy had said something like that of course, they tease each other like that all the time. But…now was after the SQUIP.

Jeremy prepared himself to dish out a full on beating, leaning over in his chair like a hunch back, with a way too confident smirk.

“Hey…hey Jemmy.”

“Don’t you dare start-”

“I gotta present for you, Jerm.”

“What is-”

Suddenly he was hit right off the map from a green shell, launched by no other than princess peach.

“Oh my god you’re such a nerd what the heck!” He laughed, getting right back into the swing of things once he was on track again. Michael felt his hands twitch with hesitation again, but he ignored the feeling in his gut and kept going. He had a title to uphold after all.

But then it happened again. Jeremy was behind him and Michael was too smart to just let the boy pass him, and without any tools to help him, he simply blocked Jeremy’s path.

“Cmon get out of my way loser!”

That was the last straw for the restricted beating in his heart. It broke down the bars and started rampaging like an angry gorilla in a zoo.

He felt bad, he really did. He knew he had a dependency issue and he knew that it wasn’t healthy to be so dependent on one man but…god he couldn’t help but think back to that night. Jeremy might abandon him again, leave him behind like the undeserving loser he was. No, no Jeremy didn’t mean it like that, he was being too clingy and looking to deep into it. Michael ran off the track, but when he was put back he didn’t drive. He sat there as the same music repeated itself, not realizing when it had paused. Not realizing when Jeremy had a hand on his shoulder.

“Woah, woah, Michael! …are you ok?”

Michael felt hot shame running through him. Yeah sorry man no big deal I just can’t live with the thought of you being an asshole and leaving me again. He pulled his hood up and over his head, his hands shielding his face, “yeah…yeah I’m fine. I’m sorry. I’m fine, really.”

He heard a small shuffle, and he saw the tips of Jeremy’s converse moving to face him. Jeremy must have gotten out of the bean bag and was now bent down in front of him. Jeremy wasn’t the best at comforting people, he was awkward and sweaty. But right now he’d damn well do his best for someone like Michael.

Michael felt the hand on his shoulder give a light squeeze, it was oddly grounding, “Michael…you can tell me what’s wrong, like, I’m here? I guess. Get it? Heere?”

Michael couldn’t help but chuckle, knowing Jeremy was only making those jokes to cheer him up. He took a shaky breath, focusing on the hand through the anxious fuzz in his mind. He brought a hand from his face and placed it on top of Jeremy’s.

“It’s stupid..”

“Well, not if it did this to you.”

Michael took a deep breath through his nose, the floor suddenly being the most interesting thing to look at, “I just…you know…I don’t…”

Michael’s voice wavered as little wet spots started to form on the ground, “I don’t want to lose you again.”

There was a harsh silence, one that would have convinced Michael that Jeremy had left if it wasn’t for the hand on his shoulder. He just focused on the little tear stains building up in the floor, making little splashes. He really fucked up this time. He should just keep his damn mouth shut-

A warm embrace distracted him from his thoughts, shielding him from both the world and his own thoughts. Michael quickly wrapped his own arms around Jeremy, taking in the sweet scent of blueberries, vanilla, and cigarettes from hanging out with Rich. For just a second everything felt fine.

“I’m not going anywhere, ok Michael? The SQUIP is gone…he’s gone and I- I don’t wanna lose you either”

Michael nodded, trying to stop the tears from making a wet spot on Jeremy’s shoulder with no success.

“I need you.”

“I need you too, Jemmy.”

#bmc #be more chill #boyf riends #fanfic

[1-dollar-cd-sale-reviews]

Decade: Ten Years of Fierce Panda (2004) - Side A

This is a compilation of several British bands who have worked with the Fierce Panda record label over the span of their first ten years. The track listing is pretty lengthy - 20 tracks that span over 75 minutes - with bands like Supergrass, Coldplay and Keane catching my eye. I’ve been excited to check this CD out for a while. Given the length, I’ve decided to review it in two parts, or “sides” - much like a vinyl record.

I have to mention before we get started, though - this compilation has been a pain to review. This CD had a track list on the back of the jewel case, but the metadata for each track is completely wrong - it turns out there’s an American track listing and a British track listing, and my copy had the latter with the metadata of the former. I’m very tired, and not in a particularly good mood - but regardless, I’ve tackled the first half of this compilation, and my thoughts are under the cut. 

I’ll be frank - so far, I’m not a big fan of this release. Not necessarily because I dislike the artists, though I haven’t heard many songs I’ve liked, but because I feel like it might suffer from the “loudness war”.

The term “loudness war”, for those who aren’t aware, is a term regarding the artificial inflation of an album’s volume - making something sound louder in post for any number of reasons. Probably because people regard loud music as being better, or clearer to listen to, or commanding more attention. I dunno, it’s probably some corporate line. It was a growing trend in the late 90′s, and persisted throughout the 00′s - though according to Wikipedia, it’s been a point of contention for longer. The consequences of this practice can include audio clipping and distortion, which are both major issues with these first ten tracks.

I made the connection on the second track of the album, Supergrass’ “Caught By the Fuzz”. While I don’t think it’s a particularly good song to begin with, there’s a clear discrepancy between this MP3 and the official single + music video on Youtube. The singer’s voice is harder to make out on the compilation version, to the point of mild distortion behind the (not particularly great in the first place) instrumentation, and it makes a bad song even worse. Honestly, the previous track wasn’t the best either (Ash’s “Punkboy”), but it should still have a particularly clean sound.

This issue persists across every song I listened to on this half of the release, whether I liked it or not. The Bluetones’ song “No. 11″? It was passable, but it was unnecessarily loud and dubious in audio quality. Placebo’s “Bruise Pristine”? Kinda mediocre, at least to me, but it could have at least had better sound quality. It got to the point where I managed to find a song I well and truly enjoyed - Embrace’s “All You Good Good People” - and I listened to it again on youtube to give it the attention it deserved.

Of the songs I’ve listened to so far, I only particularly like two of them - the aforementioned Embrace song, and the Seafood song “Porchlight”. The singer of “Porchlight” really did the song justice - his vocal range and the sound of his voice fit the lyrics he was singing, and he had skill when it came to singing. He wasn’t afraid to go for some ambitious notes, and he hit them really well. You’d think the repeated chorus line “there’s a house on the lake” would get repetitive and annoying, but this guy manages to pull it off - I really liked this song, in comparison to the rest of the album but also on its own merits.

I liked 3 Colours Red for what it was - it was a fairly well-made heavy rock song, though I wasn’t so hot on the tempo of the thing, and I kinda-sorta enjoyed what I interpreted as a bit of a Blink-182 influence on the song “Chandelier” by Idlewild? Aside from that, I was a bit let down. I’d love to say it was due to personal bias, considering how annoyed I was at the hoops I ended up jumping through to get this review on the road, but I genuinely went into these songs hoping for something awesome and mostly came out of them empty-handed.

I started to lose hope with Kenickie’s song “Come Out 2nite”. I’ll be frank - I didn’t think I’d like the song based on its name. I was surprised when the vocalist turned out to be a woman, only because every other vocalist before this track - and every vocalist after it - was male, but it didn’t ensure the quality of the track. It’s just sort of slow and sloppy as a song, and combine that with the pre-existing clipping and distortion issues, and you have a song that lowers the bar beyond the point you were hoping it’d reach.

But nothing compares to the Low Fidelity Allstars’ song “Diamonds are Forever”. I don’t know if it’s a cover of the James Bond theme from the movie of the same name, or a remix, or what - there’s a roboticised text-to-speech voice that calls it a remix - but it is awful. Absolutely terrible on all accounts. There’s an ongoing droning note throughout the entire song, which plays as a singer talk-sings through a couple of completely uninteresting and banal sentences, and as snippets of what I assume are another song play over it later on. I have never disliked a song that I’ve covered on this blog more than I disliked this one.

Okay. I’m tired, I’m not in the best mood right now and I’ve covered half of this album. I’m going to take a break, maybe take a nap, and come back later for “Side B” of this anthology. It has Coldplay, Death Cab For Cutie and Keane on it, so my hopes are high - Coldplay gets a bad rap, but they’re got a couple of alright singles.

#fierce panda #embrace #all you good good people

[televisor-reviews]

Top 10 Best Movies Of 2017!

2017, as a whole, was a pretty damn good year for film! Sure, it had a shit ton of crap, but I definitely think there was way more great films than terrible. Even the bad stuff, tended to have something likable about them (hence why there were mostly unfunny comedies on my worst of list). Meanwhile, the good movies, I generally really loved. I don’t think it’ll go down as one of the best years for film, but it’s a better contender than most. And these are what I believe to be the top 10 best! And keep in mind, even with the extra year, I still didn’t see everything: so as great as I’m sure The Big Sick & The Florida Project are, I never got around to them. For a comprehensive list of every movie I did see from 2017 (in order from best to worst), go here: https://letterboxd.com/animatorreviewa/list/every-2017-movie-ive-seen/

#10. Baby Driver In a few decades, Edgar Wright is going to be considered one of the best directors of all time. It’s going to be: Steven Spielberg, Stanley Kubrick, Edgar Wright. Baby Driver, though not as energetic as Scott Pilgrim Vs. The World nor as hilarious as Hot Fuzz, is objectively his best directing project. How Baby’s mind boggling driving goes along perfectly with the music he’s playing looks incredible the entire way through, never relenting & always exciting! And if this was all it had, it’d still be an amazing movie but not “top 10″ worthy. But it has Oscar-worthy performances from Ansel Elgort, Jamie Foxx, & even Kevin Spacey (a terrible person with lots of talent), a gripping narrative, & amazing looking special effects that’ll make Transformers: The Last Knight blush! If anything, the reason why it’s only at #10 is because, at the end of the day, I’d still prefer to watch Shaun Of The Dead... again...

#9. Coco Pixar has been on a serious roll ever since they got through their shitty phase. Inside Out made my 2016 list, Incredibles 2 is probably going to make my 2018 list, & even Cars 3 was way better than it deserved to be! Coco is Pixar showing that not only are they back & going to stay, but could make movies that should suck & yet is still amazing! Every dumb movie cliche is on full force in this: the family that hates music but it’s the main protagonist’s passion & his family just doesn’t understand, but through a wacky & heart-warming adventure through his family’s history, maybe they’ll blah blah blah blah blah... It even rips off The Book Of Life to a good extent! Yeah, this movie isn’t great because of its twists & turns. It’s great because even though you know exactly what’s going to happen from beginning to end & yet it’s still gripping, interesting, & fun with gripping, interesting, & fun characters that you’d want to run around a million cliches with! It was a blast to watch in theaters & definitely worth sitting through Olaf’s Frozen Adventure to see.

#8. Get Out I’m not even going to pretend like I know what it’s like to be black in America. It’s pretty clearly not something I will ever understand as I can actually hide my minority-ness. So, a movie like Get Out, as great as it is, I find generally pretty hard to relate to what happens in them. But I will say that Get Out, as a film, is absolutely thrilling, exciting, & at times scary. I was worried about this character & concerned about what he was going through; when things start not making sense, I’m right there with him! That’s what a good horror movie should do & that kind of horror is in low demand nowadays. Even It, a movie that almost made the list, didn’t engross or engage me as much as Get Out did! The directing of Jordan Peele & the acting of Daniel Kaluuya are on full display & only makes this chilling movie even more so! A great start to a great comedian’s great directing career!

#7. Gerald’s Game Though, as a horror movie, I find Get Out far more engaging & engrossing than Gerald’s Game, I do think it’s far better made with a much better basis, story, & acting. What I really love about Gerald’s Game is how it tells its plot. It’s not new to tell your story out of order (Pulp Fiction, Mulholland Drive, every Christopher Nolan movie), but very few do so as well as this! From the beginning, its unique & universally horrifying concept makes sure you’re paying attention & holds on to it with equally unique & universally horrifying events told in the perfect order to have it make sense throughout but not entirely so until the very end. It starts off on the perfect note & holds it throughout! Fascinating & universal, Gerald’s Game is the perfect engaging drama!

#6. Molly’s Game A biopic that doesn’t tell the whole truth, just how much did happen & to whom is the whole reason why I found myself intrigued with Molly’s Game. The great story told fascinatingly with incredible performances is why I love Molly’s Game. The film itself feels like a particularly great poker game: just when you think Molly’s up, just as quickly, she can fall back down. At the end, you’re just concerned if she’ll end up broke by the end of the night! And just like a great poker game, it’s hard not to get engaged with every little thing that happens in this film & it requires Oscar-worthy performances from everyone, especially Jessica Chastain! Incredibly engaging & engrossing, it’s the perfect movie for critics!

#5. I, Tonya I already praised Molly’s Game for how it tells its mostly true story, but I, Tonya is about a famously inconsistent story from & about inconsistent people. I don’t know why, but I find that everyone in this movie has their own stories & they’re probably all lying very interesting & it makes for a great story. It’s kinda like if you took every good element from every Alice In Wonderland adaptation & put them all into its very own movie. Like if the story itself had a couple of decades to edit itself into the best version it possibly can be. Add in the marketing of it maybe being true: taking all the intrigue of a “based on a true story” of something so outrageous while not feeling like it disrespects its audience enough to think they’d believe it. And it helps that its story is based on one of the most interesting parts of modern American history & it has 2 of the best performances of the year (Margot Robbie & Allison Janney). Put them all together & you get the 5th best movie of 2017!

#4. The Shape Of Water Beauty And The Beast is one of the most timeless & universal stories ever told, hence why there is so many versions of it. Everybody can relate to the idea, feeling, & fear of being neglected, ignored, & hated & for many people at many points in history, that fear was a reality. The original story is so universal, it can be read as being a peasant at the turn of the 18th century just as much as it can be about being gay at the turn of the 21st century & that’s why it has persisted for so long. The Disney animated film of the same name from 1991 was revolutionary for many reasons, but its incredible story is largely why it became the first animated movie to be nominated for Best Picture at the Oscars. So, The Shape Of Water actually winning with this story is not only deserving, but it’s probably my favorite telling of the classic. Guillermo Del Toro had already made a name for himself by directing the critically praised Pan’s Labyrinth, the audience pleaser Pacific Rim, & creating the hit series Trollhunters: Tales Of Arcadia. The Shape Of Water is plausibly his most praised work & possibly his best work. The chemistry between the 2 mute leads is incredible & it becomes even more so after you realize that it’s all without talking! And that fact makes the villain seem even more villainous when every little thing he says is hate filled. And the amazing directing of Del Toro is what brings it all together, making it a worthy Best Picture winner.

#3. The Disaster Artist Another biopic with a possibly untrue story, The Disaster Artist shows that James Franco & Seth Rogan don’t need cheap sex jokes or obvious drug jokes to be funny. In fact, they can make a movie about an already obscure film that only nerds know about & can make a decent hit! Hell, maybe they can also get it nominated for a few Oscars & make it on my Top 10 list! I was ready to call this duo dead after The Interview made only obvious jokes, The Night Before was ungodly uninteresting, & Sausage Party was straight up unfunny. But The Disaster Artist brought a breath of fresh air, a movie for movie nerds & not just the kind that Google what really happened in the Infinity War comics. Ones that keep up with Nostalgia Critic & Cinema Snob because they’re still pretty big guilty pleasures & hope that they’ll eventually review Where The Dead Go To Die. The kind that already knew that The Room exists, love the fact that The Room exists, were immediately excited when Greg Sestero released his book, & were even more so when James Franco said he wanted to make a movie about it! I do my whole shpeal about how true to life the Franco bros. performances are & how great the directing was. But really, the reason I put this above The Shape Of Water & I, Tonya is because I’m a nerd. That’s mostly it! It’s not even my favorite movie about movies, that’s still Ed Wood.

#2. Guardians Of The Galaxy Vol. 2 Stepping back & looking at the empire & universe Marvel has created, it’s impressive & incredible just how huge & lucrative it has become. And it wouldn’t have become so if it didn’t have the films to back it up. When the first Guardians Of The Galaxy came out, it was Marvel trying to send the message that they can make a film out of one of their most obscure properties & not only make it a humongous hit, but also make it so good that it ends up on the 1001 Movies To See Before You Die list! And with its sequel, they pumped up everything that made the original great tenfold, added in some heartwarming moments to make sure you don’t leave the theater dry, & a much more interesting villain! And by god is Ego such a fascinating & engrossing villain, especially compared to the nothing of a character that made up Ronan. The way it covers its themes of family & parenthood is clever & amazingly well done. You’re right there with Peter Quill, wondering when to side with his dad or his best friends; whether or not a few good deeds redeems the torture of a childhood he had thanks to Yondu. And that kind of inner thought process is largely thanks to the incredible writing & directing of James Gunn, who is irreplaceable. Guardians Of The Galaxy Vol. 2 is now my 2nd favorite Marvel movie & 2nd favorite movie of 2017. #RehireJamesGunn

Before we get to #1, here are a few runners up:

Wonder Woman I didn’t realize it until after the fact, but 2017 was a really good year for superhero movies. Spider-Man: Homecoming was an amazing comeback for my favorite hero, Thor: Ragnarok somehow made Thor more likable, even Justice League managed to not piss me off! But, arguably, the most important of these was Wonder Woman which showed that not only can female led superhero movies make money, but also be very good!

Paddington 2 2014′s Paddington surprised both critics & audiences with its genuinity, heart-warming-ness, & immensely likable lead character, gripping everyone. When Paddington 2 came out, it immediately got 100% on RottenTomatoes, & that is a serious rarity. To the point where I first thought it was a fluke, like it got almost entirely middling reviews resulting in a 100% on a movie that generally averaged with 6/10s. Leaving the theater about 2 hours later, I can agree that it not only deserves that 100%, but it’s way better than the first movie! And I love the first movie!

Call Me By Your Name This was actually a really good year for Oscar nominated films. Most years, I don’t even consider most of the nominated movies because they tend to be a little pretentious, long, & boring. Which does have a place, just not the type I tend to watch a million times like the films I do put on my lists. But this year, my list is filled with Oscar winners & I actually wanted to include more like Three Billboards Outside Ebbing, Missouri, Dunkirk, & All The Money In The World. I think Call Me By Your Name is at least more interesting than most of these if only for the background of being about 2 bisexuals, one being a kid. It can get a little pretentious, long, & boring but definitely worth watching!

The Meyerowitz Stories (New And Selected) Meyerowitz Stories is Adam Sandler’s stab at an artistic movie after nobody saw Ridiculous 6 & Punch Drunk Love continues to garner praise from just about everyone. It’s the beginning of a new kind of Sandler movies as he gets used to his new home on Netflix & realize what kind of movies that kind of audience wants to see. I really hope that he continues to make these kinds of movies in the years to follow!

John Wick Chapter 2 On the side of action movies that aren’t based on comics, the John Wick movies continue to be exciting, action packed, & most importantly, fun! I had fun when I watch these movies, which is something I don’t say about the darker side of modern action movies. I haven’t had this much fun watching an action movie like this since Die Hard!

mother! On the battle of is this movie pretentious garbage or exciting drama; nominated for both an Oscar & a Razzie; do I love or hate mother!... I actually fucking love these kinds of movies! The kind that makes no sense as you’re watching it but every sense after the fact. Movies like Black Swan, Mulholland Drive, & The Cure For Wellness. So I might be biased towards this kind of movie, but I loved it!

Star Wars Episode VIII: The Last Jedi Talk about toxic movie topic, I also really loved The Last Jedi! I actually thought it was a clever film that completely subverted my expectations at every moment. I love that Rae’s parents turned out to be nobodies, it’s such an interesting twist on this build up & arguably the most daring take they could’ve have after the millionth fan theory stated that it’s Luke & Leia. I loved where it left our heroes, at their bleakest moment, paralleling The Empire Strikes Back! I genuinely loved this movie & I’ll admit, I don’t totally get what all the hate is about! But whatever, my list, my runners up, nyeh nyeh.

Bill Nye: Science Guy Here’s my documentary entry... & it was a hard pick between this & Jim And Andy: The Great Beyond but I did inevitably pick this one because Bill Nye is a personal hero of mine. I’m a science dork, I’m subscribed to ASAP Science, I grew up with Bill Nye. I find his journey fascinating, this documentary very well made, & I can’t wait for the next season of Bill Nye Saves The World.

World Of Tomorrow Episode Two: The Burden Of Other People’s Thoughts I really hope Don Hertzfeldt catches on with more movie nerds. Just between this, the first World Of Tomorrow, It’s Such A Beautiful Day, The Meaning Of Life, Rejected, & every other film he’s created, he’s easily one of my favorite directors. Making some of the most thought provoking & intelligent films I’ve ever seen. If I included short films, this would be a serious contender for #1! Please watch this, just the phrase “The Burden Of Other People’s Thoughts” makes this worth watching!

Loving Vincent Fuck! I didn’t even get to include the pretentious animated film of the year? This is the only movie I can think of where literally every frame is a painting & it looks beautiful! Throughout, you can tell the people making this are genuinely passionate about Vincent Van Gogh & that’s what really drives the movie. I also want to take this time to mention My Little Pony: The Movie, which is my “I love this animated movie way more than most people probably should” of the year & I didn’t even have room in the runners up for it!

#1. Logan Last year, I was running around looking for a movie to beat Captain America: Civil War for Best Movie Of 2016. Luckily, I did find it in Arrival but the reason why I so desperately didn’t want Civil War to win out is because it just didn’t feel right. A fun & intelligent film for sure, but mostly surface level in a way the Marvel movies are able to be. For 2017, I saw Logan in theaters & instantly knew it should at least be on my year end top 10. At first it was just #5, but it did eventually climb up as the more I thought about it, the more I loved it. Before long, I was battling whether or not this or Guardians Of The Galaxy Vol. 2 should top the list. And though I do think I’ve seen GOTG2 more times than Logan, at the end of the day, Logan is the objectively & subjectively better made film. The action feels dark but in a real way, like this could genuinely be someone’s reality like Die Hard or John Wick. But this is way more clever, intelligent, & interesting than those movies ever were. This was the last film for Hugh Jackman’s Wolverine & for his efforts, it was rightfully nominated for Best Adapted Screenplay at the Oscars. What a way to go out...

#top 10 #top 10 best #top 10 best movies of 2017 #2017 #logan #mother! #star wars #the last jedi #star wars episode viii #star wars episode viii that last jedi #star wars the last jedi #guardians of the galaxy #guardians of the galaxy vol 2 #loving vincent #my little pony #my little pony: the movie #world of tomorrow #world of tomorrow episode 2 #the burden of other peoples thoughts #world of tomorrow episode 2 the burden of other peoples thoughts #bill nye #bill nye: science guy #science guy #jim and andy #the great beyond #jim and andy the great beyond #john wick #john wick chapter 2 #wonder woman #justice league