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nickjunesource · 3 years

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Max Minghella is sitting in his backyard in the LA sunshine, his t-shirt an homage to the French filmmaker Mia Hansen-Løve, his adopted shepherd mix, Rhye, excited by the approach of a package courier.

“You okay, sweetheart?” he asks — the dog, not me — tenderly.

Minghella, who at 35 has dozens of screen credits to his name, is best known as The Handmaid’s Tale’s cunning chauffeur Nick Blaine, a character who it’s difficult to imagine saying sweetheart. In airless Gilead, of course, a cautious hand graze with Elisabeth Moss’ June can pass for a big romantic gesture. In a Season 1 episode featuring child separation and hospital infant abduction, Nick’s major contribution is to trade stolen glances with a sex slave while “Don’t You (Forget About Me)” pumps discordantly along. I ask Minghella about playing the series’ closest approximation to a dreamy male lead against the show’s dark narrative of female subjugation.

“I know this is not the answer you want to hear,” Minghella says with none of Nick’s hesitation. “But I like that stuff, right? In the pilot, I think Nick only had a handful of lines. It wasn't clear that this is what the character would turn into. And it's quite fortunate for me personally, because I'm not a massively sort of intellectual person in my real life. I love Fifty Shades of Grey. That's like my Star Wars. It suits me to play a character like him.”

Minghella surmises that this enduring romanticism is an outcome of nurture. His father, the late British director Anthony Minghella, made grand romantic dramas like Cold Mountain and The English Patient. And there was the young, cinema-mad Max sitting on the living room sofa, absorbing everything. “It’s taken me a long time to understand this,” he says of his prolonged childhood exposure to love stories. “My dad made The English Patient when I was 10. So it was two years of watching the dailies to that movie and then watching 50 cuts of it. And then [The Talented Mr.] Ripley he made when I was 13, and it was the same thing.” These were an adolescent Max Minghella’s alternative to reruns. “I think they did shape my perspective on the world in a lot of ways, specifically The English Patient. That was a complicated love story, and I wonder sometimes how much it's affected my psychology.”

Some sons rebel; others resemble. Minghella’s co-star O-T Fagbenle, who plays June’s other lover from before the time of Gilead, got his first job acting in Anthony Minghella’s romantic crime film Breaking and Entering. “Anthony is one the kindest, most beautiful men that I've ever had the privilege of working with before,” Fagbenle says. “And Max has his gorgeous, sensitive, open-minded soul.”

Though Minghella spent his childhood on the set of The Talented Mr. Ripley, playing an uncredited Confederate soldier role in Cold Mountain, and tooling around with a Super-8 camera Matt Damon gave him, he insists his upbringing was normal. He grew up in South Hill Park overlooking Hampstead Heath in London with his father and mother, the choreographer Carolyn Choa. (Minghella also has a half-sister, Hannah Minghella, who is now a film executive.) Yes, technically, it was London, but that’s not how it seemed. “I feel like I grew up in a very small town. Every school I went to was in Hampstead. I was born in Hampstead,” Minghella says of the small map dot of his life before university. “When I went to New York, I felt I was going to the big city.”

Despite his illustrious surname, movie-watching was far from restricted to the classics. “Beverly Hills Cop is definitely the movie I remember having an unhealthy obsession with. I think I saw it when I was 5 for the first time, and I'd watch it just two or three times a day for years. I'm just obsessed with it.”

Plenty of actors can trace their love of movies back to a love of stories, but for Minghella the relationship seems to flow in reverse. When he left for Columbia University, Minghella opted to study history for its connection, through storytelling, to film. It was during the summers between his years of college that he started taking acting more seriously. Before his graduation, he’d already appeared in Syriana, starring Damon and George Clooney. Soon, he’d make a splash as Divya Narendra in The Social Network in 2010 and be cast in Clooney’s Ides of March. As all young actors eventually must, Minghella moved to Los Angeles.

It’s been over a decade since he last lived on the Heath, but, perhaps unusually for a person who’s chosen his profession, Minghella is adamantly not a “shapeshifter,” in his words. Home for Christmas this year, he started sifting through old journals stored at his mother’s house, “just like scraps of writing from when I was extremely young up through my teenage years,” before coming to America. “It was hilarious to me,” Minghella says of staring at his childhood reflection. “My review of a movie at 7 years old is pretty much what my review of a movie at 35 will be. My taste hasn't changed much. And when I sort of love something, I do tend to continue to love it.”

Which brings us back to his enduring love of romance, born of his bloodline, which is all over Minghella’s own 2018 directorial debut. Teen Spirit is a hazily lit film about a teenage girl from the Isle of Wight — the remote British island where Max’s father Anthony was born — who enters a local X-Factor-style singing competition. (It stars Minghella’s rumored girlfriend of several years, Elle Fanning.) The story is small, but its crescendos are epic.

Minghella calls the movie — an ode to the power of the pop anthem — “embarrassingly Max.” Max loves a good music-driven movie trailer — he’s watched the one for Top Gun: Maverick “many” times. And Max loves the rhythmic beats of sports movies like Friday Night Lights. Max loves movies with excesses of female energy, like Spring Breakers. He likens Teen Spirit to an experiment, his answer to the question, “Can I take all these things that I love and find a structure that can hold them?” The result is a touching “hodgepodge” of Minghella’s fascinations, inspired by the songs from another thing he loves: Robyn’s 2010 album Body Talk (itself a dance-pop meditation on love).

Minghella hasn’t directed any films since, but he sees now how making movies fits his personality — organized, impatient — more organically than starring in them does. Directing also helped him to appreciate that acting is “much harder than I was giving it credit for,” which, in turn, has made him like it more. Besides The Handmaid’s Tale currently airing on Hulu, Minghella appears in Spiral, the ninth installment in the Saw horror franchise and, from where I’m sitting, at least, a departure.

“I do like horror movies, but the thing that was really kind of magical is that I was feeling so nostalgic, right? We talked about Beverly Hills Cop earlier. I was just missing a certain kind of movie,” Minghella explains of his new role as Chris Rock’s detective partner. He was yearning for simple story-telling, like in the buddy cop movies of his youth, especially 48 Hours. It almost goes without saying that a buddy cop movie is another kind of love story. “And then I read the script and it was very much in that vein.” He clarifies: “I mean, it's also extremely Saw. It's very much a horror movie.”

His renewed excitement for acting translated onto The Handmaid’s Tale set, too. Veteran Hollywood producer Warren Littlefield describes casting Minghella in the role of Nick as an effortless choice: “Sometimes you agonize over things. [Casting Minghella] was instantly clear to me, and everyone agreed.” Now in its fourth season, the tone of the Hulu hit is graver than ever. Gilead is more desperate to maintain its rule, and so more audacious in its violence. Perhaps it’s fitting that the show’s romantic gestures finally match that scale.

In one particularly soaring moment, Elisabeth Moss’ June and Minghella’s Nick meet at the center of a bridge and crush into a long kiss. It’s been two seasons since they held their newborn daughter together, and it’s hard to see how this isn’t their last goodbye. Littlefield, like Minghella, is here for the romance among the rubble. “It's spectacular when they come together. In the middle of all of the trauma is this epic love story,” he says. “Max is just magnificent in the role.”

For Minghella, the satisfaction is more personal. He works with good people, he likes his scenes, and he thinks Nick is a complex character. Minghella read The Handmaid’s Tale for the first time in college in 2005. Like all the things Minghella has ever liked, he still likes it. He’s as proud of this most recent season as he is the show’s first. And he watched Nick and June race recklessly back to each other across the expanse of the screen exactly how you might expect. “I watched it like a fan girl.”

#max minghella #the handmaids tale #the handmaid's tale #nick blaine #nick x june #june x nick #osblaine #*

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pixiedane · 3 years

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Fic Writer Review

Thank you for the tag, @ussjellyfish ! I don't know whom to tag so I will just say to all of you: TAG, you're it (scroll to the end to copy paste the questions).

how many works do you have on AO3?

187

what’s your total AO3 word count?

373,260

how many fandoms have you written for and what are they?

The count is 74, but they're not wholly individual (lots of "all media types" for example). I have pseuds for Star Wars (68 works), Star Trek (63 works), and Marvel (18 works). There are 38 works in other fandoms including Leverage, Killjoys, Harry Potter, The Hobbit, House MD, Game of Thrones, Once Upon a Time, Law and Order, Peter Pan, Willow...

16 more questions beneath the cut.

what are your top 5 fics by kudos?

512 kudos, Let's Go Steal a Family (Leverage), 2044 words | The Leverage team decide they don't need to settle down in order to start a family.

This was written for the "Leverage-a-thing-a-thon" run in August 2015 (making this fic almost exactly six years old). It's about found family in the most literal sense.

415 kudos, catch a glimpse of sunlight (Star Wars), 2324 words + a fanvid | What if Anakin listened to Padmé more than Palpatine and Obi-Wan listened to Anakin more than Yoda? tldr; galaxy saved

Created for the 2016 Star Wars Rarepairs exchange, a canon divergent au where Anakin, Obi-Wan, and Padmé work together to take down the Chancellor and raise the twins as a triad.

253 kudos, and a softness came from the starlight and filled me full to the bone. (Star Wars), 726 words | Luke wants to know about his mother.

Written for PadMay 2018, for the prompt "How should Padmé be remembered?". Wow, I'm surprised this is in the top five given it's a tiny ficlet in a giant fandom written for a challenge I made up myself. But I'm pleased! Padmé deserves to be remembered, that's why I started PadMay.

247 kudos, Serendipity (Star Wars), 1914 words | That time Padmé accidentally walked in on the wrong naked Jedi.

Another ObiAniDala AU written for the Star Wars Rarepairs Exchange, 2018 in this case. Two years earlier I'd made a random photo manip of Natalie Portman and Ewan Mcgregor drinking tea and it eventually inspired the fic.

221 kudos, Your Beating Heart Tonight (Star Wars), 3121 words | Padmé develops feelings for her other Jedi protector.

And another written for the Star Wars Rarepairs Exchange in 2016! And also another AU based in a storm of emotions between Anakin, Padmé, and Obi-Wan. I have a specialty.

All five of these are about family first and foremost. Three and a half feature polyamory. Three and a half are canon divergent AUs. None breaks 3200 words. All were written for an event/exchange.

do you respond to comments, why or why not?

For the most part. Sometimes I don't right away and it becomes awkward. And I generally don't respond to negative comments because who needs that.

what’s the fic you’ve written with the angstiest ending?

Probably Abduction, a mirror universe story vaguely inspired by The Handmaid's Tale. My author's note: "It is not a happy story for anyone and implies the extreme emotional abuse of a child, as well as the coercion and torture of adults."

do you write crossovers? if so what is the craziest one you’ve written?

I love crossovers! I've completed a few and have fifty more in wip folders. The most ambitious is War of Stars, a Star Wars/Game of Thrones fusion with 26,480 words, thirty chapters, and five different povs (Cersei, Anakin, Daenerys, Ahsoka, and Boba). Niche, but I am very proud of how it worked out.

I've also blended Star Wars with Mad Max, Kelvin Star Trek, Star Trek Discovery, Deep Space Nine, Sleeping Beauty, and Black Widow.

have you ever received hate on a fic?

I've had a few mean comments but they're basically "I don't like this pairing and I want you to feel bad about writing it" and I won't.

do you write smut? if so what kind?

No. Just not my thing.

have you ever had a fic stolen?

Not that I am aware of.

have you ever had a fic translated?

Yes, I've had a few translated into Russian, which just adds to the headcanon that I'm secretly Black Widow.

have you ever co-written a fic before?

Yes, back in the LiveJournal days I wrote many thousands of words with @vasnormandy. I am slowly posting those stories to AO3 under my Marvel pseud Amelia Danvers, my OC and main character.

what’s your all time favorite ship?

An impossible question because I multi-ship like my life depends on it. Anakin/Padmé is my most prolific ship followed by Rey/Ben, Kat/Lorca, and Carol Danvers/Peter Parker (the parents of Amelia above). But I've written alternate ships for all of the above.

You can read more about my shipping interests here.

what’s a WIP that you want to finish but don’t think you ever will?

Oof. I have a lot of WIPs that I would like to finish but it's hard to get back to.

what are your writing strengths?

Dialogue. Introspection. I'm good at writing a specific point of view. Characters addressing their issues. I like to pull at threads so I've built up those skills. I love mixing and mashing fandoms and pairings. Complex relationships and the discussion thereof.

what are your writing weaknesses?

Action, like sex scenes or fight scenes, and anything plot heavy. I'm more interested in character and it shows in my writing.

I am also terrible at follow through and finishing things. It's why so much of my fic is written for challenges with external deadlines.

what are your thoughts on writing dialogue in other languages in a fic?

I'm not fluent in any other languages and I wouldn't want to do it without extensive research.

what was the first fandom you wrote for?

Either Star Trek (TNG, mainly the adventures of Beverly Crusher - as a preteen, at the Academy, as a single mom, and because I'm me I also gave her a Romulan lover) or Star Wars (the adventures of Han and Leia's daughter who was ME but also Jaina Solo before Jaina Solo existed because she was a twin who wanted to be a pilot more than a Jedi). These stories were written on notebook paper in colored pen and I'd do dramatic readings in the backyard, in costume, with only the trees (all of whom I'd named, mostly after heroines in books, like Elizabeth, Jane, Anne, Alice, Mary, etc.) as the audience.

what’s your favorite fic you’ve written?

Well, the one I imagine as something more is Pas De Deux, my Jedi Dance Academy AU. I can picture the senes in my mind and I really enjoyed the adaptation process, melding two things I love into one. The characters and events are recognizable, but also very different and that's something I enjoy.

Questions for anyone who wants to complete it:

Fic Writer Review

how many works do you have on AO3?

what’s your total AO3 word count?

how many fandoms have you written for and what are they?

what are your top 5 fics by kudos?

do you respond to comments, why or why not?

what’s the fic you’ve written with the angstiest ending?

do you write crossovers? if so what is the craziest one you’ve written?

have you ever received hate on a fic?

do you write smut? if so what kind?

have you ever had a fic stolen?

have you ever had a fic translated?

have you ever co-written a fic before?

what’s your all time favorite ship?

what’s a WIP that you want to finish but don’t think you ever will?

what are your writing strengths?

what are your writing weaknesses?

what are your thoughts on writing dialogue in other languages in a fic?

what was the first fandom you wrote for?

what’s your favorite fic you’ve written?

#tag meme #fic meme #fic writing #pixie writes

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felicia-cat-hardy · 3 years

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Max Minghella On 'The Handmaid's Tale,' His Dad, Romance, & 'Spiral'

“You okay, sweetheart?” he asks — the dog, not me — tenderly.

Get Relationship Advice Here

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ashintheairlikesnow · 4 years

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trope: environments where gender roles are strictly enforced? (example: women having to serve men and be breeded by them)

Can I choose this face as my response:

I generally do not enjoy the employment of that trope, no. I mean. I’ve read some dystopias that overcame that initial reaction of disgust but not a ton. And LET ME TELL YOU INTERNET how much I loathe the “we have to put sexism in (fantasy world) to make it more realistic!” concept.

NO.

YOU DO NOT.

You invented this fantasy world, please trust me that you can invent a fantasy world where sexism isn’t built into the system and where r*pe is not the primary and inherent catalyst for the character arc for the vast majority of your female characters. We don’t NEED that scene of a female protagonist being informed about how that’s just how it is mmmkay. We already live that bullshit. We don’t need it. It’s not necessary, and if you can’t tell (story in which sexism is absolutely unrelated to the actual plotline in any way) without building virulent, violent sexism into the scaffolding, well, your readers are not to blame if they ask you to explain the WHY. Okay? Okay.

I mean, there are stories (Handmaid’s Tale, to repeat an example from an earlier answer) where it’s built into the structure. But there is a distinct difference between a dystopia in which womens’ rights have been deeply curtailed to the point of having none and how women are forced to victimize each other to try and survive, or make desperate awful choices in an attempt to escape, and one where it’s “LOL THAT GIRL JUST GETS R*PED BY EVERY DUDE SHE SEES welp, it’s fantasy, it wouldn’t seem realistic without it!” because the author’s imagination was so, so small he couldn’t even begin to invent a believable or layered female character that wasn’t repeatedly degraded in very specific ways.

My friend @sableflynn recently mentioned the idea of wanting to write whump where the whump that befalls the female character happens completely outside of her biologically assigned sex or her gender. That’s where I’m at.

Even stories like the Handmaid’s Tale I can’t read all the time. But if it’s not absolutely inherently necessary to the function of the plot, I am just... not interested in stories with heavily enforced gender roles. Listen. I grew up in that shit. I choose not to live it now. And it just... doesn’t interest me much.

#rape tw #noncon tw

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love-little-lotte · 5 years

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My Top 11 Favorite Outlander Episodes (Seasons 1-3)

Hello! I’m back again with another Outlander post haha. What did you guys think of the latest episode? Wasn’t much of a fan of it (what the hell, Roger?) but I’m kind of looking forward for the next episodes now.

But that’s not what this post is going to be about. I mentioned from my Outlander Obsession post that I would like to discuss about the cast and characters of Outlander, much like I did with The Handmaid’s Tale before. But then I realized that there are so, so, so many Outlander characters that made an impression and it would be impossible to fit them in one post. So, I decided to make a Top 11 Favorite Outlander episodes.

These episodes are entirely my favorites. So I don’t care if you agree with me. I’m just sharing to you my fave episodes. You can definitely share your own as well. I also chose episodes from the first three seasons because Season 4 is just starting. Maybe I’ll make another one when Season 4 is done.

So, shall we begin?

#11: Season 1, Episode 15 - Wentworth Prison

This episode was such a roller coaster, I swear. Since I don’t know anything about Outlander (I just recently started reading the first book, thanks to a suggestion), I was caught off guard when this episode happened. I don’t really have the stomach for torture scenes, so this one almost made me cry. The next episode is more, um, detailed for sure and is more harrowing than this one, but I couldn’t bring myself to rewatch that episode just yet.

The Wentworth Prison episode, however, is more bearable to watch. I especially love Claire in this episode, since she portrayed a strong modern woman. Jamie rescues her a lot - when she was almost assaulted by Black Jack Randall and the one with the witch trial - and now, we get to see her rescue him. Despite the dangers ahead, she didn’t stay put and she was ready to risk everything.

This also highlighted the acting chops of Caitriona Balfe, Sam Heughan, and Tobias Menzies. They were definitely convincing as their characters, especially Sam and Tobias. I bet this was not an easy episode to shoot (as well as the next one), but hats off to them!

#10: Season 2, Episode 11 - Vengeance is Mine

Ah, this was such an entertaining episode. I watched this in a public place on my phone while I was eating lunch, and I had to stop myself from screaming when the Duke died. The Duke of Sandringham is one of those characters that you love to hate! And it was such a pleasure to watch him die (most fittingly) in Murtagh’s hands. Mary also got her revenge to the man who raped her, which really ruined her prospects with the love of her life, Alex Randall.

Claire, also once again, became the heroine of the day when she sacrificed herself so that the Redcoats would leave them alone. Thanks to her quick thinking, she was able to save Jamie and the others, and crossed paths once again with Mary, saving her as well.

#09: Season 3, Episode 1 - The Battle Joined

Finally! All of the events in the first two seasons led up to the historic Battle of Culloden, and it was a delight to see it. Though they only had snippets of it, it was so satisfying to see Jamie finally end Randall’s life. He finally got his revenge! But this triumph is temporary, when Jamie wakes to realize that most of his friends lost their lives in the battle, and that Claire is not there with him.

Claire, on the other hand, is adjusting to her new life in Boston with Frank. It wasn’t easy, of course, but she was able to make life bearable. She learned to have a new relationship with Frank, even though it was not what they had before. Not only has she to overcome her new relationship with Frank, but also her status as a woman in the 40s, especially since she was regarded as one of the bravest women back in the 18th century Scotland.

#08: Season 1, Episode 1 - Sassenach

The episode that started it all. I started watching Outlander because I was bored one Sunday afternoon, but when I watched the first episode, I knew that I came across something special.

The episode showed a small backstory of Claire in the war and her relationship with Frank, which made us sympathize her character when she time travelled to the 18th century. It also showed us Claire and Jamie’s first meeting with the dislocated shoulder scene! Sparks were definitely flying when they first met, I swear. The title of the episode is also one of my favorite term of endearments Jamie uses for Claire.

#07: Season 2, Episode 4 - La Dame Blanche

I have a soft spot for period dramas and dinner episodes haha. Maybe it’s an after-effect of Downton Abbey.

Other than that scene though, this also introduced us to another villain in the Frasers’ life - Comte St. Germain. That piece of shit tried to poison our favorite feminist icon but being the baddest bitch that she is, she survived. This was also the episode when Claire finally reveals to Jamie that Black Jack Randall is actually alive, and that he will get his revenge. Jamie also got over (more or less) his traumatic experience, and finally has sex with Claire after months.

#06: Season 2, Episode 13 - Dragonfly in Amber

This episode reduced me to tears! So many goodbyes. So many heartache. My poor heart can’t take it. Though there was a small piece of happiness (Claire is pregnant, again!), it was also the reason why Claire has to go back to her own time for the safety of her unborn child.

Claire and Jamie’s tearful goodbye were so heartfelt and real, and both Cait and Sam acted so perfectly in that episode. I especially love Jamie’s lines: “Lord, ye gave me a rare woman, and God, I loved her well” before making love to Claire one last time. In the end, though, we find out that Jamie never really died in the Battle of Culloden and Claire makes up her mind to go back to see him again.

Oh, and we also get to see Brianna, Claire and Jamie’s daughter. She’s an interesting character, for sure, and I can’t wait to see more of her.

#05: Season 3, Episode 6 - A. Malcolm

Yes! The most awaited reunion! After 20 years of being separated from each other, they finally reunite. Even though they’re much, much older than they last met, the passion is still burning and the love they feel for each other is still there.

Aside from the most-awaited love scenes, my favorite scene in this episode is Jamie finally seeing photographs of Brianna. It was such a wonderful moment, that after 20 years of not knowing what happened to his wife and daughter, he is finally aware that the sacrifice he made 20 years ago was worth it. The couple also had a lot to talk about after not seeing for so many years. I watched the whole season 3 in, like, a day so I cannot imagine the agony the fans had to endure while waiting for this episode haha.

#04: Season 1, Episode 7 - The Wedding

Ah, of course. You can’t have a Top Favorite Outlander Episodes without including this episode. This episode showed Claire and Jamie’s first kiss (which was weirdly during their wedding lmao) and their first love scene/s (they had sex, like, three times in this episode).

Like I mentioned in a previous post, I don’t think Claire was in love with Jamie when she married him, but she was obviously drawn to him, and she felt a strong attachment. This was the beginning of an understanding Claire and Jamie shares - may it be physically, or romantically.

Plus, the costumes and setting were breathtaking. Claire’s wedding gown was absolutely charming, as well as the wedding place. It really gave me the 18th century feels. The flashbacks were also nicely put, as it gave more personality to other characters.

#03: Season 1, Episode 9 - The Reckoning

Correct me if I’m mistaken, but this was the first episode that Jamie was narrating, instead of Claire. We finally get to hear what he was thinking about the entire time. It was also in this episode where he truly admitted that he was indeed falling in love with Claire.

Claire and Jamie also get their first major fight as a married couple. The whole screaming match they shared was so... entertaining to watch haha. I could watch the two of them bantering the whole day, I swear. And when they forgave each other? Gah, tears me up all the time.

Though the whole “disciplining the wife” scene was cringey, I guess it was still necessary especially because this was set in the 18th century, and husbands really do that to their wives. Jamie apologized in the end, though, and promised never to do that again and they had the most mind-blowing sex scene in the whole series lmao.

#02: Season 2, Episode 7 - Faith

This was one of the saddest episodes, ever. Or probably the saddest one. Claire losing her baby was such a punch to the gut. The whole scene with Claire singing to the baby was also such a heartbreaking moment. Claire is not a stranger to losing family members, since her own parents died when she was really young, but losing a child is something she never even imagined, also probably because she thought she could never conceive.

The whole scene with the Comte and Raymond was also a nail-biter. The whole thing was directed perfectly and without flaw, and I love seeing the Comte receive his bitter end. Claire is someone you would not like to mess with.

Caitriona Balfe in this episode was such a force to be reckoned with. Her acting chops were truly highlighted in this episode, and I could definitely feel her pain and anguish. I couldn’t imagine how she handled those feels, because ah, she was so amazing in this one.

#01: Season 1, Episode 11 - The Devil’s Mark

This episode is the best, really. The directing, the acting of everyone, the whole thing leading up to the witch trial... ah! Geilles is actually one of my favorite characters, even though she’s a villain. She’s tough and clever, and I have a weakness for female villains because it’s such a breather. Geilles is a very interesting character, for sure.

I’ve already suspected that Geilles was something else, when Claire saw her dance in the woods before, so I wasn’t really surprised when she was also from the future. Lotte Verbeek’s acting was so good, and I couldn’t imagine a better Geilles than her.

Also, I always believed that this was the episode Claire finally realized that she’s really in love with Jamie. She finally trusts him enough to tell him the truth. And despite all of that, Jamie accepts her and even took her to Craigh na Dun so that she can be together with Frank again. He was ready to give up his happiness, his love for her, so that she could be happy.

But Claire didn’t go through the stones. She decided to stay with Jamie because yes, she’s in love with her. She also told him to bring her home to Lallybroch. It was actually in the next episode where they say “I love you” to each other, but her staying is also a sure sign that she was indeed has serious feelings for him.

So, there you have it - my Top 11 Favorite Outlander episodes. Most of them are from the first two seasons, because those two are my favorites are more memorable to me.

This is probably going to be the last lengthy Outlander post I’m going to make, unless there’s something exciting that will happen in the future episodes and I’ll have to rant about it haha.

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partialbirthabortion · 6 years

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can you elaborate more on ur feelings about the handmaid’s tale?

Spoilers under the cut:

Ultimately, I enjoyed s2 even though I think it lacked a bit of the emotional and narrative finesse of s1 (just like I enjoyed Luke’s non-novel-canonical s1 episode even though it was probably the season’s weakest) BUT the sheer fucking gratuity of female pain just too much. All the colonies scenes were stilted and unneeded (why are only women sent to them?), the Nick having sex with a fifteen year old scene, the torture of the handmaids after they refused to stone Janine, Serena’s whipping, Moira’s wife being introduced just so we could see her battered corpse thirty minutes later (which I totally forgot about until just now, since there was ZERO breathing room between agonized women screaming in pain through the whole season), June’s rape, piled on and on and on. Nick is the most boring and unlikeable sympathetic character ever written and I dreaded having to watch his scenes. June’s resistance through the season was too circular, frankly not shooting Fred when she had the chance was insulting. Serena’s arc was PHENOMENAL and I hope Yvonne Strahovski’s performance in the role sets her up for life because she deserves it, even if I think she’s a little too kind to her character in the post-episode interviews; I liked that Serena’s redemption was, if anything, her CHOICE to save Nicole, and not any pain inflicted on her incidental to the society she instrumented. The weight pulled by secondary characters this season - Ann Dowd as Aunt Lydia, Alexis Bledel as Emily, Madeline Brewer as Janine, Amanda Brugel as Rita, but also any number of phenomenal one-shot tertiary appearances - is a real testament to how GOOD tv could be if we just wrote roles for women. I loved the overarching Power of Motherhood themes.

But mostly fuck season 2 for that fucking!!! Last scene which I am furious about!!! First of all, at least EIGHT SEPARATE WOMEN risked actual death to smuggle June out of Gilead, second of all, she’s already had one foiled escape attempt and she’s fine with just throwing her infant daughter at the border and hoping she’ll make it across? What the fuck does she think she’s gonna do with no support network, no tools, no disguises, being a probably nationally recognizable pariah at this point?? It was just such a phoney mechanism for creating drama and it was COMPLETELY unnecessary to keep the story rolling for s3! Imagine how great a story they could tell if she had to face Luke without Hannah, or had to decide to reenter Gilead to find her, or could pass on to the rebel American government the MANY state secrets she now possesses on account of the DOZENS of Gilead documents she had access to while Fred was in the hospital. I’m FURIOUS at the idea that she would make the choice to stay, considering she had already tried to escape without Hannah before! It was unnecessary, and it was cruel, and it was just fucking dumb.

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considertheturtle · 7 years

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The Handmaid’s Tale Episode 6: A Woman’s Place

“So please, don’t be sorry. Do something.”

This episode was essentially completely off book. But still is worked within the realm of Gilead and was really interesting to see both how Gilead came to be, and also the awful way people will look past atrocities if it serves their purposes.

“I guess you get used to things being one way.” Dang Janine.

Rita: “Ms. Waterford wants to see you.”

Offred/June: “Awesome.”

I love that stoic, grouchy Rita lets out just the smallest of smiles.

Offred is getting progressively more sassy with Ms. Waterford, the way she waits an extra moment to leave and says, “red is my color.” She’s getting a little more reckless.

The scene with the Waterfords praying for a baby was really cute. They seemed almost decent.

He truly didn’t know what he had. Actually, I think he did know, but couldn’t stand up to his buddies and then grew use to his power.

I mean, Serena Joy is a monster and I hate her, but she’s an intelligent monster and would have been a force beside him. And she was loyal. Mr. Waterford blew it.

Nick is so cheesy, “How’s your day going, you look pretty?” What a goof. But the hand holding. Ugh, these people are so starved for affection. It’s perfect.

EMoss’s nonverbals when she was asked “are you happy?” Ugh, that felt like a knife twisting in your stomach.

I had so much hope for Ambassador Castillo. I loved the way she stuck it to Serena.

“How does the quiet half of Gilead feel about all of this?”

“A society where women can no longer read your book. Or anything else.”

“God asks for sacrifices...” Please show me where God said, “Women shall not read?”

SJ seems so much like a hopeful bride who went into it with visions of a perfect tranquil life, only to see it crumble all around her.

It’s strange seeing her commanding nature. “That wasn’t a request.” And her wordliness “there’s nothing that can’t be solved with movie popcorn” and then talking about how she supports taking over the US through violent means?

“We’re saving them.” Oh boy. Saving them by killing them, destroying their families, stealing women, forcing them into slavery so YOU can have a baby? I must be dense. Please draw me a picture to help me understand how this is saving THEM.

YOU are not saving them. YOU are selfish.

I digress.

Is it wrong that I rewatched that kiss twice? I feel no shame. Also, with this painful content I really needed a hug. I really have no shame binging on june x nick moments.

“Being in here is a privilege.” GO AWAYYYY

Watching her facial transformation when Offred wants to leave but needs to stay, ugh it made me sick. I wanted her to just get out, and hate the thought of her having to pretend she likes him.

Mr. Waterford, if you saw that blood in her sink you would know the true answer to the question “did you like that?’

Aunt Lydia standing up for the women (NOT GIRLS). This is where you see who the true believer is. She’s also awful. But at least she believes what she practices, rather than believing it when it serves her.

Please remove the damaged ones. Bruised Apples. Go Away Serena.

Bringing in the children of Gilead with the handmaids in the room was sooooo disgusting. Filthy disguating.

“My name is June.” In the books Offred is thnkng of Luke when she says she wants to be held and called by her real name.

End scene. I’m so glad she took the risk of speaking even at the risk of death. I thnk she would have broken completely without it.

I didn’t catch it until the third time around, but she does say “They rape me” not “He rapes me.”

“Please don’t be sorry. Please do something.” - The motto for our present time.

Does the ambassador think explaining her country’s situation justifies her unwillingness to help? I cannot even imagine how a woman, who appears to be relatively with it, could hear Offred’s words and decide it was still worth trading for sex slaves.

Luke’s alive. Yeah. It was nice seeing that they are resistance members within the different nations. At least Offred’s risk paid off just a little bit. But overall, it’s just heartbreaking to see her unload all of that only to find out it made very little difference.

Mood: Feeling Deflated.

#the handmaid's tale #offred #june #nick x june #nick blaine #serena joy

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bellabooks · 7 years

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Imagine If They Had Just Made Them Gay: Early 2000’s Movie Edition

I’ve got a bit of a confession to make. I consume a lot of content on a pretty regular basis. And not a lot as in “I binged watched the entire new season of Orange is the New Black in one weekend” sort of way. No, I consume a lot of content as in “I’ve somehow managed to plow through yet another +30k word Clexa-centric fanfic, caught up on the last three episodes of The Handmaid’s Tale, and re-watched Deadpool for the umpteenth time all in the span of 24 hours” sort of way. And, as most of you can commiserate with me, when it comes to finding decent LGBTQ+ centric content to watch, it’s truly slim pickings to say the least. Yes, there’s definitely been a vast uptick over the last decade in the sheer amount of LGBTQ+ content that’s being produced, but in all honesty, one can only re-watch Grey’s Anatomy and Wynonna Earp episodes so many times. So, what’s a gay to do? Well, let me introduce you to a little game I like to play called “Imagine If they Had Just Made Them Gay” The rules are simple. * Pick a movie * Preferably one with more than one female lead, but as we all know, that automatically cuts down your options by at least 60%… if not more. * Analyze the plot * Does it pass the Bechdel test? Unless you’ve picked Wonder Woman or Power Rangers, nine times out of ten, it doesn’t. * Re-imagine it if they had made the characters gay. Let’s start with some easy ones, shall we? BEND IT LIKE BECKHAM (2002) First and foremost, this movie is already extraordinarily gay. A main character who’s more obsessed with playing soccer than dating the opposite sex. Check. Two girls who prefer to go by the shortened, androgynous versions of their names. Check. Parents who assume that their kids are dating each other because their friendship is one Hayley Kiyoko style sleepover away from being classified as a full-fledged relationship. Check. Keira Knightley spending two thirds of the entire film wearing nothing more than a sports bra and soccer shorts. Check, check, and check. So then, why on earth, does this character even need to exist? Well, actually, he doesn’t. What if instead of Joe being the standard, run-of-the-mill object of affection for both Jess and Jules to pine after, he simply is nothing more than just another one of their coaches? Blasphemy, you say? But how can one have a teenage centric rom-com without the beloved (and oh so painfully stereotypical) two girls / one guy love triangle? Simple. You just don’t. Imagine if Bend It Like Beckham went something like this… Jules, a soccer-obsessed sportsbian, is in desperate need of someone to fill the open spot on her club team and just so happens to stumble across Jess, an equally talented soccer-crazed girl, while out on a run one day. The two hit it off in a “I just met you five seconds ago but am already picking out our future children’s names” sort of way and Jules asks Jess to come try out for her team. Jess wants to say yes, but there’s just one major glitch. Her parents directly forbid her. Jules, being the adorably awkward and slightly thirsty lesbian that she is, begs Jess to at least come to a tryout, saying that if she just so happens to in fact make the team, then she will help Jess hide it from her parents. Jess agrees and the two instantly go about getting to know one another… on the pitch… off the pitch… in the locker room… in the backseat of Jules’ car… But, of course, just when Jules and Jess are about to solidify their budding relationship by adopting a pair of hers and hers rescue dogs, Jess’ parents find out about her foray into the highly controversial world of women’s soccer and guilt trip her into quitting the team, and ergo Jules as well. Not willing to give up on her u-haulin’ dreams so easily, Jules goes behind Jess’ back and makes an emphatic plea directly to Jess’ parents, somehow convincing them not only of Jess’ potential future career in the USWST but also that she would make the world’s best daughter in-law. BRING IT ON! (2000) Now, I know what you’re thinking… We already have a plethora of gay cheerleaders. Brittany, Santana, and now even Waverly too thanks to the infamous opening scene of episode 203 of Wynonna Earp. But Torrance and Missy? At first glance, Bring It On! is nothing more than just another classic early 2000s high school movie. Girl meets boy. One’s popular and the other is not. At first, they literally have nothing in common, but as time progresses and they find themselves forced into a host of completely unbelievable circumstances, they come to realize that they are madly in love with one another and despite their differences, wind up together. Pretty straightforward, right? But, there’s one thing about Bring it On! That makes it stand out among the rest… and it’s not the insanely quotable dialogue. That’s right. It’s Missy. Missy, by all logical card-carrying queer accounts, should be Torrance’s love interest, not her twin brother Cliff. She not only perfectly fits the “polar opposite yet somehow we’ve got undeniable chemistry” template but also manages to go one step further, by being the one to truly help Torrance find herself and in the process unlock her inner cheerleading potential. Also, let’s be honest… No one dances like this for strictly “just a friend.” So, if you will, imagine if Bring It On! went something like this… 18-year-old Torrance Shipman seems to have everything going for her. She’s pretty, popular, has a boyfriend that could double for a real life Ken doll, and, to the surprise of no one, has just been named the captain of her high school’s cheerleading team. There’s just one minor problem…Torrance is gay. So, so painfully gay. And no one knows about it. No one, that is, except for her long time boyfriend and resident beard. Torrance is dead set on staying hidden far– think Narnia level far– in the closet until one day in walks a new girl Missy Pantone to cheerleading tryouts and suddenly everything changes. Although seemingly not the cheerleading type, Missy, a former gymnast and resident badass, is willing to give the sport a shot if it means that she still gets to flip and tumble. And also spend time with, the incredibly easy on the eyes, Torrance Shipman. After few late night, hands on practices later, Torrance and Missy are suddenly the hottest high school couple, that unfortunately, no one knows about. With the exception, of course, of Missy’s sidekick of a twin brother Cliff. Torrance’s perfect world, though, comes tumbling down like a faulty human pyramid, when one of the other cheerleaders accuses her and Missy of stealing routines from a rival school. Not wanting to lose her title, nor run the risk of being outed, she does the unthinkable and places all of the blame solely on Missy. Which, of course, leads to a major “I want all of my snapbacks and flannels back” sort of blow out between the two them, where Missy tells Torrance that she isn’t willing to be with someone who values cheerleading and being considered high school royalty over their relationship. After a good, old-fashioned heart to heart with Cliff, though, Torrance comes to realize the error of her ways and goes about making things right… including publicly coming out and announcing to the world that she and Missy are indeed a couple. So, what do you think? Simple enough game, right? What are some other movies you think that would be better if They Had Just Made Them Gay? Jess Harris-DiStefano is a Brooklyn based writer / producer who has a deep seeded passion for both creating and supporting positive LGBTQ+ related content. http://dlvr.it/PX4k2b

#Movies #Bend it Like Beckham #Bring it on

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avelera · 7 years

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So overall thoughts on “The Handmaid’s Tale” now that I’ve slept, because some things won’t get out of my head.

Warning for SPOILERS for eps 1-3, but also some VERY triggery stuff including an in-depth discussion of its portrayals of the dehumanization of women.

(For the record, the show is AMAZING, relevant, terrifying, superbly crafted, etc etc etc but definitely not for the faint of heart)

- I’ve never seen a horror film so geared towards uniquely female fears. Realizing this also made me realize just how often women are acted upon in horror movies, but how rarely the fears shown are uniquely female compared to how many are uniquely male. It’s hardly even noteworthy if a horror film addresses male fears like emasculation or various other forms of humiliation or murder. Obviously horror films feature murder and pain a great deal because most people share those fears. But Handmaid’s Tale delves into really horrifying visceral female fears like female circumcision, child theft, the loss of financial independence, the reduction of our identities to merely our bodies, and the normalization of rape, in a way that is extremely rare in an environment where it feels like most horror films are geared towards men and women (with murder or pain as the focus of fear) or just males as a larger audience.

(TW for this rape discussion point like holy shit)

- The normalization of rape I wanted to talk about with a bit more depth. It’s not at all unusual for horror films or film and tv with horrifying elements to feature rape. Yet it’s generally speaking shot much the same way that murder scenes are shot, or like a hunter and prey. Often there’s some sort of jump scare, or cornering involved. While this is of course horrifying, I think it’s a fairly male perspective and thus it only shows a portion of the act, it shows the part of rape men think about most. It’s also usually treated as an aberration or a one-off act, and the long term fallout the victim suffers is usually only addressed in more sensitive works.

Yet I think from a female perspective what is much more terrifying is the idea that it won’t be a one and done, that one can be a captive. This latter depiction is a little more rare, Black Sails depicts it for example. What the Handmaid’s Tale did which brought a whole new level of chilling horror that I think women identify more with and that men don’t really comprehend is that rape can be banal. It can be dull. It can be repetitive. That since women don’t need to be aroused to have sex, their bodies can be used without their consent or emotional or mental involvement. It’s a regular reality for women all over the world, but the male gaze doesn’t like to think about that as much. One aspect of why the Ritual scene was so frightening was because it wasn’t sensational. It wasn’t even the most brutal or dehumanizing thing that was happening to Offred. That rape wasn’t the worst thing that could happen, it would just be one regular, accepted part of a larger torment.

- I like how the show depicts men about as rarely as many shows usually depict women. Men are there, they’re involved, they even have some lines. But even though this society was arguably built for their purpose and they’re the drivers of most of what is happening, they’re not given center stage or even a great deal of agency. They’re almost ridiculous. Joseph Fiennes as the Master has a perpetually tragic look about him (something about the eyebrows). We’re shown that he’s almost as much a prisoner of this system as the women, what’s more despicable about him is that with his huge advantage of power and voice he does nothing. He could help disrupt this system if he’s so tormented by it, even in just his own household, but he chooses not to because it would be more difficult and uncomfortable for him than just letting things be, than just suffering in silence.

Similarly with Nick the driver, he’s an enforcer of this society but he doesn’t really benefit from it except being slightly higher on the pecking order than the Handmaids. No woman has been assigned to him. You see a future the “Men’s Rights Activists” want, without acknowledging that there’d be losers as well as winners, that they’d be even more trapped than now by toxic aspects of masculinity.

Even Offred’s husband Luke, who shows hints of this pervasive male attitude by being ok with the idea he’d take care of his wife and manage her finances, rather than being outraged at the notion, doesn’t think his conclusion through to the end. He’s happy to be the protector, but doesn’t consider what would happen if society decides he’s expendable, which it eventually does, that his maleness will not always impart the privilege and protection that he imagines is his right as head of the family and husband of his wife. That once you accept that people can be dehumanized, you’ve given up your right to say where the line is, when and where and for whom the dehumanization stops.

- As a final thought, I will say I’m happy the quality of the show is so high. Given how resistant many people will be to how very very plausible this world is (nothing in the show has not happened at some point in human or even American history) - there would be a temptation to discount the show based on weak elements rather than content. Since literally everything is so top notch, from the acting to the director, photography, pacing, tension, etc. those who take issue with the show can only really target its message. I’m curious to see what happens as this show gains an audience, which it very much deserves. Frankly after seeing it I’m not sure how anyone could not take to the streets in a fury over even the slightest infringement on women’s equality.

#the handmaid's tale #tht #tht meta #TRIGGER WARNING #tw rape

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hoynovoy · 3 years

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Max Minghella On 'The Handmaid's Tale,' His Dad, Romance, & 'Spiral'

“You okay, sweetheart?” he asks — the dog, not me — tenderly.

Get More Dating Advice Here

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fathersonholygore · 7 years

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Hulu’s The Handmaid’s Tale Season 1, Episode 3: “Late” Directed by Reed Morano Written by Bruce Miller

* For a recap & review of the previous episode, “Birth Day” – click here * For a recap & review of the next episode, click here. Offred (Elisabeth Moss) hears about what happened to Ofglen (Alexis Bledel). She was taken in a black van. Whisked away. She was a “member of the Resistance” and those are CHOICE WORDS for 2017. “I didn‘t even know her name,” Offred a.k.a Jane laments. Now the girl is gone. Disappeared in some cell, in an unknown place. “When they slaughtered Congress, we didn‘t wake up. When they blamed terrorists and suspended the Constitution, we didn‘t wake up then, either. They said it would be temporary.” Flashbacks to Jane and Moira (Samira Wiley), jogging together and listening to tunes. They have a nasty confrontation with a guy in a coffee shop. He drops the word SLUT on them and this gets Moira particularly pissed. Open misogyny already, long before the patriarchy clamped down. Jane has troubles with her bank account, and later she sees men with guns come to the office where she works. A troubling development. Their boss has to let them go, required by law; all the women are gone. Ominous, as an army arrives. Not the regular US army, though. In the present, Offred is tended to by Rita (Amanda Brugel), who’s suddenly more a fan of her. This shows us what goes in the minds of the women bent under the state. She didn’t care about her before. Since she hasn’t had a period yet, Rita deems her more worthy. Because she may be pregnant. Suddenly Offred, even in the eyes of other women like Rita in servitude and Serena (Yvonne Strahovski) in lesser servitude but still shackled, is more than nothing. For now. Until she’s given birth, like poor Janine (Madeline Brewer). What Margaret Atwood’s book did well, as does this adaptation, is present how difficult life can be between women when the patriarchy has trodden them into near dust. She shows, through characters such as Serena and Aunt Lydia (Ann Dowd), that the ruling class of men oppressing women likewise leads to the oppression of women by other women. Devastating consequences in many forms. Offred tries comforting Janine, who slips further into a bad mental state. She starts thinking she is free, that she can do what she wants because of her ability to conceive. Fine to think she can eat lots of ice cream. Not fine if she pushes it too far in that militarised zone. I hate to think what may happen to Janine. I truly worry, especially since she believes her Commander is in love. Later we see Serena try justifying herself, in a way, to Offred. She says that she’s “blessed” to have her around. I can’t help thinking that’s a load of shit. Then there’s Nick (Max Minghella), I haven’t sussed out his purpose or what he’s up to, ultimately. Maybe he’s the reason Ofglen isn’t around anymore, maybe he isn’t. He has a properly nihilistic view of their new world, believing it’s useless to try acting hard: “Everybody breaks. Everybody.” And this time around, he’s taken her to a black van. He advises her to tell them whatever she knows. Uh oh. Flashback to Jane and Moira, before the fall. Women cannot own property by law anymore; not money or a house, nothing. They’re starting to shut America down after the terrorist attack in Washington awhile back. Women are systematically being jailed, in every sense. Moira makes a good argument for why the #NotAllMen crowd need to shut up, because the heinousness of men is too terrible for us individual men to worry about being separated in name from the crowd. We do too much damage. In The Handmaid’s Tale, this is presented all too clear, in every bit of its rawness. Luke: “Should I just go in the kitchen and cut my dick off?” In the present, Offred is questioned by a man and zapped by Aunt Lydia. They want to know more of Ofglen, what they talked about, any mentions of unpatriotic activities, so on. Then up comes the subject of lesbianism. Touchy, especially when breeding stock and a known lesbian come into contact. According to their world Ofglen is a “gender traitor” and you’ve heard similar words before from rabid racists who use the term race traitor for white people empathetic/sympathetic to people of colour. In fact, this society expressly forbids the use of the word gay.

In the meantime, Ofglen spends her days with a mask covering her mouth, brought from one place to the next in shackles. She tries appealing to the baser needs of the guards, though they won’t bend. She is branded an “abomination” but sentenced to “redemption” because she is “fruitful.” Not a good omen, that’s absolutely positive. Ofglen’s lover is taken to a vacant lot where she’s lifted on a crane and hung by the neck. One of the slowest, most brutal death scenes without graphic violence that I’ve EVER SEEN! Ofglen is then carted away to her own, perhaps even slower punishment. Nick goes to see Offred, bringing her ice for the stun stick wounds she suffered. There’s more to him, even if he’s complicit in the entire thing. He plays the whole nice guy card while alone with her, acting as if he could be the hero. But again, similar to what Moira spoke of in the earlier flashback, men are not the answer, they are the problem here; the nice ones, too. The women, eventually, are going to enact revolution. Whether it’s painful and bloody on the way is an entirely other situation. It will be women, though. They will not be saved by any men in this world, nor do they need it. We flashback to a protest, before America fell to fascist, authoritarian government. A spooky rendition of “Heart of Glass” plays while the violence breaks out, the militarised police with their guns bearing down on the innocent protesters, male and female alike. Guns start firing, then Moira and Jane finally realise the serious depths of what is happening around them. A tragic, emotional sequence as the two women run for their lives and hide. Offred’s discovered she isn’t pregnant after all. Therefore, no more special treatment, and more of that skin crawling sex with Commander Waterford (Joseph Fiennes), held down by Serena as she watches on. Yuck. And once the infertile Mrs. Waterford hears the news, it’s not pleasant. At all. Fucking horrifying, actually. The woman is mad, driven mad by her complicity in the whole debacle. Then she tells Offred: “Things can get much worse for you.” Something that’s actually hard to imagine at this point. We see that Ofglen’s been brought to a stark white facility. She finds there’s been a procedure done on her while she was unconscious. Aunt Lydia reveals her real name: Emily. She says things will be easier for the girl now. “You won‘t want what you cannot have,” Lydia tells her. Oh, man. Harsh. Like an Atwood vision of body horror. By the way, the song playing at the end is “Waiting for Something” by Jay Reatard. Great tune for a whopping moment. This was maybe my favourite episode. It gave us a window into before the fall, as well as other horrors in the new world of the authoritarian patriarchy. I can’t wait for the next episode. Very glad to have had the opportunity to preview these before the premiere! The Handmaid’s Tale – Season 1, Episode 3: “Late” Hulu's The Handmaid's Tale Season 1, Episode 3: "Late" Directed by Reed Morano…

#Alexis Bledel #Dystopian #Elisabeth Moss #Gay #Gender Traitor #Heart of Glass #Hulu #Lesbian #Margaret Atwood #Samira Wiley #Season 1 #The Handmaid&039;s Tale

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