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teagballs · 3 months

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I just read your Dennis fic, and if you were going to write a part 2 would you be able to make it that Dennis doesn’t immediately tell reader he likes her? He just starts acting really weird when she’s around?

Like maybe, Dennis Charlie and Mac are insulting Dee and reader says something like “that it’s not nice” then Dennis goes, “yeah that’s seriously not nice guys.” And everyone’s just confused cause like he was saying mean stuff too.

If it’s to much trouble or if you don’t wanna write this please just ignore this 🧍🧍

"like no one else" | dennis reynolds x reader

read part one here

authors note: ur mind anon UR MIND BROOO. this prompt was amazing and i had to do it but also it took me a month cuz i was busy. OOPS. i hope i did it justice cuz i took it and ran LMAO

requests open as always!! looking to do some charlie kelly stuff, so if u have any ideas for him lmk!!

cw: fem reader, mentions of objectification of women and the D.E.N.N.I.S system ofc, lil smoochie smoo at the end but nothing nsfw, 1.4k words

Dennis stumbled out of the restaurant, abandoning his date and this old life of promiscuity behind, seemingly. He walked down the street, pulling out his phone. He entered your name into his contacts, ready to confess everything. Ready to tell you how much you mean to him. Ready to love you. But then he stopped. His finger hovered over the call button and he thought, "what am I doing?" It was the emotion of the situation that made him act with such heedlessness. He didn't even know if you felt that way about him, if you felt the same deep connection he did. For him, it was a feeling like no other. It felt like you got him in a way no one else did. With understanding and kindness too. But to you? Dennis could just be a good friend to you. And if that was the case, what was the point in risking it all? He took a deep breath, shoving his phone back in his pocket. No, he shouldn't act so incautiously.

In the following weeks, Dennis found himself falling deeper and deeper for you. Every action you took, every word you spoke. He found himself obsessing over it. He tried not to come off as creepy - although that was hard, this was Dennis. His still kept his distance as usual, but now with a growing infatuation. He believed he was portraying this neutrality to you well, but this facade was challenged today.

"Y'know what guys, I'm really excited for this date tonight," Dee began to explain as she sat at the bar with Dennis, Charlie, Mac, and you.

"Oh shut up, Dee, nobody cares about your stupid date," Mac barked. Degrading her as usual.

It was water off a duck's back for dee, "You're just jealous I have a date Mac." She rhymed off before taking another swig of her beer.

"How'd you get this one to go out with you, Dee?" Charlie began in defence of Mac, "What'd you do? Steal his dog?"

"What? God no, what the fuck are you talking about?" Dee said.

Dennis didn't involve himself in verbally bullying his sister as he usually would. Usually, he would come in with the worst, most grating jabs. Instead, he silently observed how you scrolled on your phone, occasionally taking a sip of your drink, noticing how your brows furrowed ever so slightly in frustration.

"Even if you do go on this date, Dee, the only way you'll get him to stay is if you steal his phone or something!" Mac snarled.

"Yeah, you stupid bird!" Charlie said, which resulted in loud laughter from the men.

"God, would you just leave her alone, you two? Do you have nothing better to do?" You snapped at them finally. Dennis noticed your frustration and wanting to support and comfort you, he responded;

"Yeah, guys, leave her alone. You're both so sad." Dennis said in his usual 'I'm not wrong about anything ever and you're stupid for being wrong' tone.

Silence. Everyone, including you, turns to face Dennis. Did he just defend Dee? The sister he swore he hated?

"Dennis, what did you just say?" Mac asked cautiously and filled with confusion.

"I said leave Dee alone."

Dennis didn't really care all that much about Dee. Really, all her cared about was proving to you he did. He wanted to be on your side, always. To have your approval.

"Thank you, Dennis," you agreed. Dennis's heart swelled. 'God, what's wrong with me?' he thought. He had never felt this many emotions ever. Never mind for one person.

"That was weird, right? Earlier? When Dennis, like, stood up for Dee?" Charlie asked Mac.

"Oh yeah! For sure! I have no clue why he did that. I mean, just yesterday me, you, Frank, and Dennis were ragging on her for being a failed actress." Mac replied, causing laughter between the pair at the thought of this previous discussion.

"So... what changed?" Charlie puzzled.

"Everyone was there, except.. except for her." Mac hypothesised that when you were there, Dennis avoided talking poorly of Dee.

"But why? What does she change?"

Mac shrugged, "Maybe he's trying to D.E.N.N.I.S her."

"Huh. Doesn't really seem like his usual type." Charlie said.

Dennis was definitely not trying to D.E.N.N.I.S you. He made that distinctly clear in his mind. He wasn't following the steps at all, going out of his way to avoid flirtation with you, actually, to avoid raising suspicions. And the final step, 'separate entirely,' was most certainly one he didn’t want to follow. He wanted to spend forever and ever with you. Why? He didn't understand it himself. He was Dennis Reynolds, the Golden God! How come he was acting so pathetic?

You were starting to notice his weird behaviour. You had known Dennis for years. He was never this.. clingy? Not that you minded, really. You had always thought he was attractive, sure - charismatic too - but his general objectification of woman and lack of interest in a stable and long-term relationship certainly deterred you. Still, though, you couldn't help but feel your heart shatter every time he would talk about the girl he was planning to go out with next. You had grown tougher over the years of knowing him, accepting that he would never change, and he would never see you like that. This new attention from his was definitely appreciated, but strange.

This all came to head a couple of weeks into this behaviour. You and Dennis sat in the bar together on a slow Tuesday. You had been testing him slightly. You were saying things to provoke him - small things. Things that would usually lead to a disagreement or argument or him going on a long Dennis rant. But he didn't budge. He didn’t roar obscenities or call you an idiot or react negatively at all. He would just nod and smile. And then he would agree. You couldn't take it. Was it some cruel joke? To get your hopes up or make you look stupid? You didn't get the punchline.

"Alright, Dennis, what's with you lately."

Dennis freezes. He feared you had picked up on his feelings towards you. He feared this would be the end of it all, and he had ruined it, and you would leave and he would never see you again.

"What do you mean?" Dennis replied. He was lucky he was such a good liar. He played coy well. But you didn't back down.

"You've been acting weird. You just agree with everything I say, and you're hanging around me a lot and like you keep not making fun of Dee when I'm here. You're always looking at me too. Is it some sort of joke I don't get? Are you making fun of me? That's mean."

Dennis felt emotions, oh god. He located that he felt regret and frustration and guilt and guilt and guilt. 'Mean'. He wasn't trying to be mean. She thought it was some sort of joke, but no. This was how he really felt. He really wanted to spend all his time admiring you, he wanted to agree with you on everything, that's all he could think about for the past month. And for once in his life, Dennis was at sea for words.

"I... I didn't..." Dennis attempted. But he couldn't convey his words in a safe manner. In a manner that meant if you didn't feel the same way it would be okay and you could keep being friends.

"I think I'm in love with you." Dennis sighed.

"It was after that date. With that chick. What was her name? Candy? Karen? Doesn't matter." Dennis rambled. "It was then when I realised I never want to be with anyone else, if not you. I don't think anyone had ever understood me the way you have. And I just spiralled after then? I haven't stopped thinking about you." That would be a creepy comment if it wasn't something you had always wanted to hear from him.

It was your turn to be speechless. Instead of saying anything your eyes scanned his face for any indication of falsehood. Nothing. You saw and expression on Dennis's face that you had never seen before. One that could be equated to not knowing the answer. Clueless. Maybe afraid? You open your mouth to speak again but Dennis cuts you off and speaks first. Like he's trying to drown out a negative response. Like covering your ears to block out the sound of a gunshot; the damage would still be done.

Dennis looked at you, waiting for the gunshot.

"Dennis.. I feel the same way. Of course I do, oh my God." You finally say. Your voice is small and hoarse, like you have never used it before. Quickly, before anyone can say anything else, Dennis envelops you in a kiss. A kiss that isn't filled with lust, something Dennis isn't used to. His lips lean into yours in a desperate attempt to convey his gratefulness and love and devotion to you. You grip at his sides. You understand.

#x reader #iasip x reader #its always sunny in philidelphia x reader #dennis reynolds x reader #dennis reynolds #fanfic

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peytons-depression-land · 1 year

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With BlackBerry, Matt Johnson continues to show no other director has a better understanding of our modern, media-molded minds

For those unfamiliar, Matt Johnson is a 37-year-old Canadian indie filmmaker, whose new film BlackBerry, which he co-wrote, directed, and co-stars in, was released this past week. BlackBerry charts the rise and fall of the Canadian creators and company behind the once ubiquitous “BlackBerry” smart phone, a device that’s now a relic to the pre-iphone aughts. The film chronicles the triumphs and tribulations of the phone’s creators, underdog nerds Mike Lazaridis and Dough Fregin, and cutthroat businessman and Blackberry co-CEO Jim Balsillie, who both launched the phone to its successes and helped destroy all they created. Johnson’s previous features are The Dirties, a found footage dark comedy/drama about the lives of two film obsessed high schoolers leading up to a school shooting, and Operation Avalanche, a period thriller about low level CIA agents faking the moon landing – a film in which said agents con their way into NASA, which Johnson and his crew actually did in real life when making the low budget indie film. However, Johnson’s most iconic work, and most beloved by many, is his mockumentary comedy series, which started as a web series and was later adapted to TV, Nirvanna the Band the Show. The series details the misadventures and schemes of a fictionalized version of Johnson and his friend, musician Jay McCarrol, as they try to get their band – Nirvanna the Band – a show at the Toronto restaurant and music venue “The Rivoli.” You might know this series from the now famous "Update Day" clip in which the duo sing along to the Wii shop music. In 2021, Johnson and McCarrol even made a three-episode animated children’s spin off of Nirvanna the Band, titled Matt and Bird Break Loose. A unifying aspect of much of Johnson's work is his narrative documentary style of filmmaking, often employing real people in Sacha Baron Cohen-style moments.

Something about me: I'm kind of a Matt Johnson obsessive. Any time I meet someone from Canada under the age of 40, I ask them if they've heard of Matt Johnson or Nirvanna the Band the Show. I have multiple back-up hard drives with the complete web series and TV seasons of Nirvanna the Band because it's impossible to get/find now in the US. Anytime I'm in a large media store that sells 2nd hand movies (like Amoeba Records), I religiously spend time searching to see if, by some small chance, they have one of the physical copies of The Dirties (the ones with the variant covers that look like Criterion Collection covers) - it's kinda my physical media holy grail. My DVD of Operation Avalanche is one of my most prized possessions. Hell, I’ve even tried my hand at replicating Johnson’s style numerous times, a short film I made while at film school abroad in France being the main example. So, suffice to say: I was very excited for Blackberry.

With BlackBerry Johnson is making significant stylistic and scale leaps from his previous works, “making it to the big leagues” as someone more confident than me with sports metaphors might say. It’s a bigger movie than he’s made before, getting a limited national release here in the US, by a major indie distributor (IFC), starring two sizeable, well-known actors (It’s Always Sunny in Philidelphia’s Glenn Howerton and comedy mainstay Jay Baruchel). All this far from the rag-tag, small scale, underground nature of his previous works, where the cast was the filmmakers and the biggest names involved were Vice (and its since defunct TV network) and Kevin Smith whose company distributed The Dirties. Stylistically, BlackBerry makes the jump from Johnson’s previous found footage/mockumentary movie (both terms sounding far more derisive to the idiosyncratic style of Johnson’s films than I’d like) to a fully “traditional” narrative feature. With both The Dirties and Operation Avalanche, as well as NTBTS, the characters are involved in the actual act of filmmaking, for one reason or another, and aware of the camera filming them, the cameramen being acknowledged entities. The footage you’re watching is filmed, edited, and staring the characters on screen. But, with BlackBerry, besides a fun visual gag from Glenn Howerton at the beginning of the film, the cameras exist as they would in any normal movie – invisible watchers of the events.

What makes BlackBerry and Johnson’s filmmaking so great though is that he doesn’t just abandon all semblance of his style and aesthetic, becoming some bland gun for hire, like so many indie directors plucked from festival success to helm the next cinematic toy line for Marvel. Instead, he finds ways to work his style into this more traditional film in compelling ways. While the camera is no longer literally in the story, it still hovers around the characters, with longtime Johnson DP Jared Raab often shooting through the obstruction of windows, from far away, and with the back of heads in the foreground. The camera zooms and focuses in and out of different characters and things in the moment, cinema verité style, Johnson describing in a Q&A for the film having been influenced by documentaries like Pennebaker and Hegedus’ The War Room. The looming, documentary-like camera works perfectly for this constantly manic story of slap dash, neurotic tech wizzes and on edge CEO sociopaths, the camera matching the characters nature. For this story of greed, corporate malignancy, and the loss of ideals, the camera’s living style also feels like what you’re watching is covert, hacked CCTV footage. It makes the viewer feel like they’re seeing what actually happened: secret footage from inside the office, fly on the wall stuff, intimate to these people and these conflicts.

True to the overarching motif in Johnson’s work of media’s permanent place in our cultural language and experience, Blackberry is filled visual references to other movies: from a non-diegetic montage of famous sci-fi technology over the opening credits, to scenes of the lovable band of “Research in Motion” nerds enjoying movie nights of Raiders of the Lost Ark and They Live, to movie posters lining the walls of the RIM offices and featured on Doug’s t-shirts. Johnson perfectly described how necessary referencing other media was to his film when he explained “Pop culture that we think of as just nerdy ephemera, I believe sincerely, winds up dictating what technologists create that will become the future.” Well timed needle drops help ground the work in its specific world of a nerds 1996, 2003, and 2007, and frequent Johnson collaborator (and aforementioned co-star of Nirvanna the Band) Jay McCarrol brings a pumping synth score, not too dissimilar to Trent Reznor’s work in The Social Network, but with a uniquely quirkier, lo-fi essence that fits perfectly with the indie feel of both the film itself and its subject matter.

Thankfully we’re not entirely deprived of Johnson’s charismatic, comedic screen presence in BlackBerry. While not the Orson Wells-style leading man both in front of and behind the camera he was in his previous works, he still features in Blackberry as the third of our main 3 characters, Doug Fregin, co-engineer/creator of the famous phone, who acts in a way as the film’s audience surrogate. Despite Doug being a “goof” as Balsillie describes him, he’s the heart of the main three characters, the moral center to which we compare Balsillie’s shrewd cunning, lies, and manipulations, and Lazaridis’s tragic moral downfall from tech idealist to bottom-line businessman. Doug is undoubtedly a character in the typical “Johnsonian mold” - a movie quoting, John Carpenter t-shirt and sweatband wearing, ninja turtle loving hyperactive who uses Star Wars references in business meetings. In fact, the character seems molded in the film more on Johnson than the real man, given that, as Johnson explained, he’s a “true cipher… has never done a taped interview,” leaving Johnson with room for interpretation.

However, while Johnson delivers a more lighthearted, comedy performance, as a director he pulls some impressive dramatic performances from Howerton and Baruchel. It’s true that the movie is, at its core, a dark comedy, so there’s some great comedy in the lead performances, Howerton delivering that trademark snark and unhinged rage his Always Sunny character has become known for and Baruchel with his awkward nerdiness. I have no doubt Howerton’s scene in which he, in a rage, screams “I’m from Waterloooooo! Where the vampires hang out!” - in a moment that must be seen to be believed - will become a quoted classic before long. But the characters aren’t just farce Social Network parodies, they have depth and drama to them, a credit to Johnson’s directing and Howerton and Baruchel’s acting. You feel Balsillie’s underlying insecurity and attraction to power that drives him. You hurt seeing Lazaridis slowly turning into what he once stood against and the tragedy of him reaching his ethical “point of no return” when he agrees to the BlackBerry touchscreen phone being manufactured overseas, in order to meet budget and deadline. We also get some delightful supporting performances from the likes of Saul Rubinek, Rich Sommer, Cary Elwes, and Michael Ironside as an imposing, rotund, bolo tie wearing, hard ass COO.

BlackBerry is a tragic tale of ambition and passion succumbing to ego and greed, and in so it’s not only a movie about the tech sector, but also about the struggle of making art. Lazaridis struggles, and ultimately fails, to maintain integrity while creating a technology he loves and believes in against a world run by people like Balsillie who only seek profit and status, quality be damned as long as it sells. Anyone who makes art, especially films, is up against the same problem. There will always be Mike Lazaridis and Matt Johnson’s, there will always be Jim Balsillie’s and David Zaslav’s, and there will always be a struggle between the two: art and commerce. The tragedy comes when the creator, like Lazaridis, loses their principles, and begins creating not for the love of it, but out of obligation and out of profit. The triumphs come when the creator finds a way to take what they love, what they’re good at, and what is meaningful to them, - their vision - and deliver it to the masses with the heart intact, as Johnson has done throughout his career, now with BlackBerry more than ever. It’s up to the creator to stand fast and endure to create their meaningful works, as oftentimes the sharks will get along either way, as we see in the end credits with Balsillie, who avoided any jail time for his stock fraud committed while co-CEO of BlackBerry.

While I don’t think they're for everybody, Matt Johnson's works capture the modern media deluged culture that we all exist in better than any other modern artist or filmmaker. His movies are always about movies, whether they narratively are or not, just as our lives have become subsumed by media consumption, regurgitation, and reinterpretation. We now live in a world where almost every movie and TV show is at our fingertips 24/7 - a religion, the upgrade to dreaming, the codex we classify our existence on - and his film-making style and characters reflect that. The characters, especially the characters Johnson portray, speak in a lingua franca of movies quotes. His camera is alive and involved in the action, often literally, just as our cameras and screens are every day. His editing blends the real world with the movie world, blurring the lines. His movies are not documentaries, but they’re certainly not just fiction, something in between, a dreamlike blend for our media-soaked minds. I’ve never been one good at the rigid definitions of “modernism” and “post modernism” in art, but I have to believe Johnson is the cutting edge of whatever “post-post-post…Modern” stage we’re at currently. The Dirties is about media’s role in the lives of a youth more connected but also alienated than ever before. Operation Avalanche takes the uniquely western art form of film and uses it to represent how governments often use media to manufacture their own fictions to control the public narrative. Nirvanna the Band the Show shows how media influences our everyday lives, friendships, personalities, and dreams. And now BlackBerry serves as a cautionary tale for the fate an artist can fall to if they let their work become a product instead of a passion and art. As we drift further into the oblivion of inevitable ecological, political, social collapse, media becoming the God of our reality, Matt Johnson is our guru, beaming our media-soaked psyche back on to the screen, creating innovative, funny, compelling stories of life through the lens of a movie-fed world.

#Matt Johnson #blackberry movie #nirvanna the band the show #glenn howerton #jay baruchel

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