#quote from man chucked in prison:

[whumblr]

Meet the warden

Crossed out - Continued from ch.1 - Prologue

-

A bleak and barren interrogation room. Way to break out the clichés.

Lucas glanced around, even though there wasn’t much to look at, except himself, staring back from the two-way mirror. The only part of the room that showed that there was at least some form of advanced technology in this bleak place.

The figure staring back at him wasn’t much to look at either. While he could certainly feel the dried blood caking to his face, could feel the bruise under his eye every time he blinked, seeing his own reflection in black and blue completed the full picture. The bump on his forehead could barely be covered by some strands of black hair and was probably the cause of his massive pounding headache. The fatigue was plain to see on his face, in his eyes. And, unfortunately, didn’t overshadow the hint of resigned fear. All combined, bit of a sad look there, and he looked away.

His throat was parched and he could only hope that he was going to get a cup of water without having to give up anything in return.

But given his treatment when they’d dragged him in, sitting him down here for – what – at least an hour now without the slightest concern for his injuries, he didn’t really feel luck was on his side for that one.

Just when he thought he might as well catch some shuteye and crossed his arms to slide down on his chair, the door opened and rudely interrupted any plans of rest.

Lucas glared up, did a small double take as his eyes had to adjust a few inches higher than he’d anticipated to meet the eyes of the man filling the doorway, and his eyes widened as he recognised who it was.

Heavy footsteps of combat boots echoed against the concrete box as the man slowly entered the room, closed the door. His long black coat had been replaced by – or had just concealed – a simple white dress shirt, tucked into black slacks. His sleeves were rolled up to his elbows, accenting his toned forearms. Sharp grey eyes roamed over the bruises on Lucas’ face.

It was the man who had slammed his head into the floor and had arres— fucking dragged him to this place.

Lucas nearly snarled and looked up at the man, who stopped at the opposite side of the table. Now that he was standing directly in front of him, the man was even taller than he’d thought. Perhaps also because of how he carried himself; he stood straight as an arrow, hands behind his back, practically looming over Lucas.

Annoyance flared in Lucas’ eyes. “You didn’t have to go to the trouble to actually come all the way here to interrogate me, you know.”

The man’s lips twitched, trying to hide a smile. He pulled the chair back and sat down across. “Don’t be silly,” he said, voice deep and laced with authority, and he looked Lucas straight in the eye. “I am the warden here.”

Lucas fought the impulse to close his eyes and take a sigh, but the man took in every small twitch of body language and nothing escaped him.

“Yes,” he agreed, his eyes didn’t leave Lucas’. “You are fucked.” He folded his fingers and let his hands rest in front of him on the table.

Lucas unconsciously leaned back on his chair, as if he could gain a few inches away from the man. The warden… So he wasn’t at a police station; they’d skipped ahead a few steps and brought him straight to prison. This man’s prison. The prison he’d been looking into. What an awful coincidence. Yeah, right.

The warden slid a folder onto the table and opened it, taking his time reading through it like he had all the time in the world and all the information was new to him.

“Lucas Rafael Varga,” he read from the first page, emphasizing each word.

Lucas scoffed mentally. As if the man didn’t know his name yet. This was just a means to show what they had on him. He glanced at the little metal tag left of the man’s chest pinned to his white button-up. N Mathison was punched in it in old-fashioned block capitals. “Warden Mathison,” he responded as if in a belated greeting.

Mathison didn’t look up but his lips twitched, not enough to form a smile. He merely nodded in response.

Lucas took the time to take him in. The man was probably a bit older than him, forties maybe. Though the lines on his face could be making him look older than he actually was… He had a weathered look about him, going by his manner and posture (not to mention his physique) possibly gained from a combat role. Military? His hair only reinforced the assumption; an undercut with longer black strands of hair tinged with grey combed back, medium fading to a full grey at his temples.

Grey eyes suddenly shot up from the file and Lucas startled.

“I thought you were leading the pack of wolves?” he grumbled, trying to deflect.

“No, no. I only joined the search for you.” Mathison pushed the file an inch away and leaned forward, noticing Lucas’ discomfort. “After all, it was best to keep you out of trouble. Someone has to protect you from yourself.” The one corner of his lips turned up in a devious smirk.

“You make it a sport to hunt down civilians?”

“Depends on the catch. I do when they are looking into my business.”

So this probably was the man Lucas had been looking for. “Your business being covering up the murder of one of your inmates.”

The warden wasn’t baited and gave an almost exasperated shrug. “That’s what you are hoping to find. I think in time you’ll find yourself reassessing your theories.”

“That man was my client. At the time of his death, he shouldn’t even have been here! I got his sentence reduced to five years, and that was eight years ago.”

That did draw out a reaction. Mathison’s expression twisted, but not in shock or surprise. It was almost in disgust. A mere twitch of the one eye, a crinkle of his nose, barely visible and quickly covered again. Mathison responded calmly: “There are many factors that can add to a man’s sentence.”

Lucas reared up to argue, but thought against it and sagged in his seat. There were many factors why they’d go this far trying to stop him from looking into the matters too deeply. But he wasn’t going to get much out of this. Not now. So he switched to another argument. “You can’t keep me here. No trial, no legal base, it’s unlawful.”

It was unceremoniously slammed down. “You’ll find I don’t care.”

“So this is nothing more than a kidnapping.”

Mathison smiled wryly at that. “A kidnapping doesn’t happen in broad daylight, in public. An arrest, however…”

“An arrest,” Lucas scoffed.

“You were caught up with a client, aiding and abetting. Things escalated beyond your control. Bonus, you resisted arrest.” He nodded at the bump on Lucas’ forehead.

“What? That’s why I’m here?”

“That’s the story why you’re here.”

Lucas stared at the man in disbelief and reality fell into his stomach like a lead weight. It’s not like he had expected anything that would ensure his release that very day. He had hoped Ava could help bail him out; they’d delay things just because they could and to send a message, but ultimately they’d have to send him on his way, all this being nothing more than a warning. But it slowly dawned on him now that this was serious. That this was, literally, for the long haul. And unlike him, they had been preparing for it.

The only thing he had going for him, the tiny bright light that was currently being smothered by dark helplessness, was the fact that no one was going to believe this. Or, well, at least Ava wasn’t…

“After all, if this had been just a simple mistake,” Mathison said in a sweet voice that didn’t match his expression, “you would have simply gone along quietly. Talked your way out, threatened consequences. No. You knew we were coming. And you chose to fight because there was no other option.”

“You can’t do this,” Lucas said, but the certainty of his tone melted away by the warden’s casual confidence at breaking the law and his own voice suddenly sounded too shaky to his ears. “You can’t keep me here isolated from everything and everyone. People will ask questions, they will come for me.”

“They won’t. You’re too ashamed of your actions and refuse to meet with anyone. The trial is in a few weeks and after that everything’s done and dealt with.”

“What about my lawyer.”

“You’re a defence lawyer. You represent yourself.”

Lucas gaped at that. “I will not,” he said, too invested in this fake ass trial.

Mathison finally gave a genuine smile to that, one that wasn’t laced with a condescending cruelty. He took something from Lucas’ file and slid the paper over the table. “Your letter of representation. For your sake, I suggest you sign this now.”

Lucas glanced almost in disgust at the paper. “I will not,” he said again. “You cannot keep me locked in here forever.”

“Doesn’t need to be forever. You know very well how long proceedings can take. And then I’m saying without the delays. Just in a few months… a lot can change.”

…Like me not existing anymore.

“It’d be in your best interest to sign that paper,” the warden continued.

Lucas couldn’t hold back a humourless laugh. “What’re you gonna do? Arrest me? Put me in prison? Hm?”

Mathison just pushed his chair back and walked back to the door, signalling with a single knock that this conversation was over. “You’ll see.”

-

Continued here

Still unnamed prison whump tag list: @gala1981 @chaotic-orphan @lolrpop

#quote from man chucked in prison: #what are you gonna do put me in prison?! #whump #whump writing #prison whump #angst #emotional whump #an-ti-ci-pationnn #captured #stoic whumper #my writing #crossed out

[jackoshadows]

honestly idt show sansa is truly THAT popular but yeah she has a lot of stans for the reasons you listed. d&d even lifted from theon's reek arc to give to her! "let me die while there's still some of me left" oh i was so pissed.

Theon got massively sidelined in his own arc once they decided to replace Jeyne Poole with Sansa. In the books Jeyne Poole is a tertiary character written in for Theon's arc and characterization, Jon's arc at the wall and to keep Arya Stark involved in the North plot. Even Ramsay was a character created and written in for Theon's story.

What inspired him to create Ramsay Snow? GRRM said, and I quote, that he needed something “to bite Theon in the ass”. Ramsay was created for Theon’s storyline,  and he is first presented as a prisoner and a servant and then rises to  a high position while Theon becomes his prisoner and servant.

I think even D&D knew this, which is why they spend an entire season on just Ramsay torturing Theon - wholly unnecessary (They could have just referred to it) IMO. However, what was the point of all that when they kicked Theon out and turned it into Sansa Vs Ramsay in season 6?

I always talk about how Jon, Arya and Bran got massively sidelined for D&D's Sansa fanfiction, but yeah Theon's story arc got entirely chucked out. I am quite certain that Theon will have a big role to play in Ramsay's take down in the books, unlike in the show.

Theon’s story is harrowing and at the same time is the epitome of ‘Can a man still be brave if he's afraid?’ No one cares about poor Jeyne Poole in the story. Not the Northerners, not the Boltons, not Mance and his spearwives, not Jon Snow at the Wall. Theon knows that Jeyne is not Arya and yet risks everything to help her at the end.

And there’s a nice contrast with Theon actually managing to save Jeyne Poole and Jon Snow getting stabbed by his own men and dying and failing to rescue his ‘sister’.

And you know, the show version of Sansa even takes away from book Sansa! GRRM has given book Sansa Stark a whole arc in the Vale with her mentor Littlefinger. D&D thought Jeyne Poole's story of rape and torture would be more fitting for their favorite character because they wanted the actress, Sophie Turner, to have a more meaty role on the show. 

So many media articles were complaining about how the camera was focusing on Theon's pain instead of Sansa's ... That's because in the books the story WAS ABOUT THEON'S PAIN instead of Jeyne's. That's what happens when you replace a tertiary character with a main character. And yet Sansa fans keep stanning for this plot because it gets Sansa North and that's what they want for her.

GEORGE R. R. MARTIN: I was trying to set up Jeyne for her future role as the false Arya. The real Arya has escaped and is presumed dead. But this girl has been in Littlefinger’s control for years, and he’s been training her. She knows Winterfell, has the proper northern accent, and can pose as Arya. Who the hell knows what a little girl you met two years ago looks like? When you’re a lord visiting Winterfell, are you going to pay attention to the little kids running around? So she can pull off the impersonation. Not having Jeyne, they used Sansa for that. Is that better or worse? You can make your decision there. Oddly, I never got pushback for that in the book because nobody cared about Jeyne Poole that much. They care about Sansa.

Which is so true.

Ultimately, the show took a giant hammer to the North plot in the books and gave us a nonsensical hodgepodge of ridiculous plot lines and characterization and one can always tell which 'asoiaf expert' or bnf is a Sansa fan because they think that nonsense is what's going to happen in the books.

#asks #Theon Greyjoy #anti GOT

[bubbelpop2]

System Cypher for:

Bubbz&Co

Aka Bubbz

Aka The Council

🥳 Clown Party 🥳 || We switch easily and rapidly

😐 Void 😐 || The name I use when blurry

🍃Adam/Bubbz 🍃 || Host. "I'm just some guy." "No, I have not heard of that, would you care to enlighten me?"

🌕Atticus🌕 || A lot more manic and grandiose than Adam. Thinks he's a qualified therapist just because he's stopped a bunch of people from killing themselves/taught healthy communication/taught self love and self worth/knows how to end conflict.

🧸 Baby Bear🧸 || Agere, a good boy. He likes MLP. "I'm aboutuh stard sayen hol my sippycup when imabout'ta do sometin stupid.."

🎉Yan/Bubbz🎉 || Neurotic. Manic. BPD. "Not particularly, why?" [<- He talks like Alastor 🍃]

💋 Whore 💋 || Hypersexual. BPD. Disordered eating. Bitchy. Beautiful. Does drag. Cares about people but is still a bully. "Shut up fatso. Let's go get pizza."

⚔️Conquest ⚔️ || Protector, can insta-switch in. ("Doesn't talk much..." --🍃)

Dormant alters

VVV

🖥️ Android 🖥️ || Historian, Dormant unless needed. Gatekeeper. Switch controller. ("He periodically likes to show up to fix problems and then just. Fucks off," --🍃))

📕Alfred/Freddy 📕 || Dormant unless wanted. Introject of an ex's oc. He's a polite british librarian! Very loving. "Hullo! :)"

🌌 Jack Galaxy 🌌 || Usually dormant. Introject of an ex's oc. He has three kids and is thrice divorced. "God it hurts."

✉️ Messenger✉️ || Communication assistance, Dormant unless wanted. "Adam thought i was dead >:("

🧥 Randall Dietrich🧥 Current Partner's OC , introject. Sleazy car salesman. German immigrant. Previously involved in the Mafia in some way. Has been to prison. @addispam "Uh... Auf.. weederzen.. uh.. my host doesn't know German yet."

🖖Spock🖖 || Discipline, Control, Peace, patience. "I'm new. I'm Adam's father. And his husband."

🎬 Saul Goodman 🎬 || Internalized queerphobia, people skills, irish heritage. "Haha...! Yeah, uh, good one..."

😭 Jimmy Mcgill 😭 || Agere Saul Goodman. "Chuck... (breaks down into tears)"

🌈 Wally Darling 🌈 || Southern Baptist, predatory. A mix of bob ross, mr rogers, and my old pastor. And also cult leaders in general. "Howdy, neighbor...."

🎮 Narrator 🎮 || Artistic Expression, integrity. "Unfortunately, an ex-friend of ours also had a narrator introject... Gives us complicated feelings about it."

🪠 SUCTION CUP MAN 🪠 || ... I assume he's because of my newfound sense of self worth. I assume. But I don't even fucking know. He just randomly shouts "LOOK AT ME GO!" when we're doing productive stuff.

👔Android(🖥️) Dad 👔 || Normal dad father figure that I'm (💋🍃) not dating, unlike Spock. Also he tells me when I'm manic and need to take my meds and tells me when I'm acting weird, but he's not judgemental about it. "[Quote here]"

#shut up bubbz #system #did #fictive #factive #alter #alter list #system Guide

[theoutcastrogue]

I just binged the entirety of Better Call Saul and it was EXCELLENT.

-- Kim Wexler is now one of my favourite characters of all time. The sheer complexity, it’s got it all, shocking selfishness and boundless selflessness, passion for justice and thrill of the heist, hard work and out for a good time, rules-bound AND rules-averse, a Scoundrel and a Paladin at the same time, “the human heart in conflict with itself” in human form. I love her.

-- To quote Fleabag, this is a love story. My kind of love story.

-- I can’t imagine a bigger roast than Walter White, of all people, telling you “so you've always been like this”. And that's the whole premise of the series, isn’t it? Saul Goodman in Breaking Bad was a comically shallow character, and Better Call Saul comes to give us a backstory and basically explain how he ended up so shallow. Because nobody’s made that way, right? And then Walter White, of all people, drops this line, and ooof.

-- It’s not entirely true though. Jimmy used to be something more than a completely shallow person (who happened to truly love his brother, and Kim; there’s no contradiction there, shallow doesn’t mean emotionless). He really wanted to accomplish things beyond just making a buck and having a blast, until Chuck broke him. That’s how I interpret it, at least. The outburst “you’re not a real lawyer!” was a big hit, but at that point Jimmy was still, well, Jimmy. Once Chuck fully withdrew his love and support, Jimmy simply fell. He went to war with his own brother, and lost himself along the way. “Saul” was a mask, an alias, and a coping mechanism, but it was also a nom de guerre.

-- I loved the Time Machine thought experiment. So this is what explains Saul’s shallowness: Jimmy is so bad at self-reflection that he doesn’t have regrets. Let’s rephrase that: Jimmy’s so good at bullshitting himself that he doesn’t have regrets. Let’s give it another go: Jimmy can’t change the past so what’s the point of regrets, he might as well go full Saul. And in hindsight after the bittersweet finale: Jimmy can’t change the past but he CAN change the future. And in the end, when all’s said and done, isn’t that more useful than regrets?

-- The hairshirt (excellent simile, Jimmy) that Kim made to punish herself and keep others safe, that normal, boring, decisionless, domestic life, was truly HORRIFIC. I was like “no no no no no no!!!” the whole episode, holy shit. Worse than prison, worse than death, aaaah. *shivers*

-- Mike’s backstory was superb, and his descent as Gustavo's man was... bumpy. It went from “I'll work for this criminal boss, he kills people, but under conditions” to “the criminal boss I work for kills people that get in his way, like everyone else”. And Mike, who had just said “hey, my son’s dead, I’ve provided for my granddaughter, I don’t care if I live or die any more” just does the thing. You know the thing: I’ll go along with those deeply immoral actions, but I’ll pout the whole time! (Many such cases.) And you just can’t help but pout with him. Terrific character.

-- Nacho’s whole deal was just perfect.

-- Nitpick time! Lalo’s antiques kinda broke my suspension of disbelief. He single-handedly defeated a bunch of professional killers who caught him unprepared, okay. He successfully faked his death, fine. Then he went solo to find proof that Fring was behind it, with no backup, and no apparent source of information, money, or papers. Hmmm. And then he goes to Germany? And successfully tracks down the engineer’s crew, and retrieves all the info? Without speaking German? What else did he do, open a Walmart branch while he was at it? Come on.

On the whole: great show, fantastic acting from the entire cast, brilliant finale, and a wonderful example of Rogues in Fiction. Recommended!

#Better Call Saul #rogues in fiction #trs #analysis #better call saul spoilers

[nikadd]

the “he’s in love. with humanity.” moment is probably one of my all time favorite moments on the entire show. yeah, yeah, yeah, baiting or whatever, but consider the in-universe, watsonian reasons why he did that. yes, metatron said “humanity” in 9x22, and i think it is impossible to take that quote separately from his speech in 9x23.

metatron carefully picks his words! the entirety of 9x18 (a Brilliant episode that even those who dislike s9 have to admit is really good) is about the power of text and who gets to wield it. both the 9x22 and 9x23 speeches are not something he says in a rush. he revels in the words, he makes pauses, he makes his own acting choices. his words, his pauses, his inflections have purpose.

metatron - the character obsessed with stories, tropes, archetypes, monologues - deems what cas had done an act of love.

“so? well, that's an old writer's trick - flipping the script. you start by building up a seemingly unbeatable enemy, like the death star, or a rival angel with a bigger army. that way, i look like the underdog. but then, oh, no! the competition gets greedy. he starts pushing things too much. with the help of my combustible double agents. and then, after a rousing speech, his true weakness is revealed. he is in love. with humanity.”

and he says that to the audience, represented by gadreel. why humanity? because gadreel doesn’t actually care about dean and cas’s interpersonal relationship. gadreel spent thousands of years in heaven’s prison, his understanding of individual humans is only understood through the lens of humanity as a whole. metatron, as the fan-gone-writer-gone-character, simply picked the most appropriate word-choice for the audience.

but then metatron speaks to cas himself, saying that it was all to save one human, dean winchester.

“ah. so gadreel bites the dust. and the angel tablet - arguably the most powerful instrument in the history of the universe - is in pieces, and for what again? oh, that's right - to save dean winchester. that was your goal, right? i mean, you draped yourself in the flag of heaven, but ultimately, it was all about saving one human, right? well, guess what. he's dead, too. and you're sitting in my chair.”

in that case it is obvious that the line about humanity would not have “worked” on cas, as it, while technically correct, is not the representation of what is actually going on. with gadreel, it was a point of one angel speaking to another angel. with cas, it was one human-adjacent celestial talking to another human-adjacent celestial. we can’t forget that metatron loves humanity as well! he loves the way humans took stories to where they are. speaking to cas about humanity would not have worked because that would have put them on the same level. no, the point of that speech was to give metatron a higher ground. he points out that cas loves dean not in the way angels are intended to love humans, because the intended way would have not come in front of an angel’s loyalty to heaven. instead, metatron rubs cas’s feelings in his face to point out the inherent betrayal, the inherent imbalance of picking one man over the entire host of heaven. if metatron blamed cas for picking humans as a whole over angels, it would not have struck the way it did.

finally, i have to note that it’s probably one of the only times when a villain could have made it into a “saving sam AND dean” situation, but then he didn’t. metatron is a genre-savvy, Did His Fucking Reading, fourth-wall-breaking villain who knows his supernatural canon. at the same time, he’s not chuck. he’s not becky. his writing is very much cas-girled. out of all villains, he is the most familiar with cas’s character. the man who would be king is probably his favorite supernatural book. all of this makes metatron an Expert on all things cas. metatron giving that speech is literally saying “you know how we know cas is in love with dean? because he’s not in love with sam.” he could have Easily mentioned sam there. And Then He Didn’t. he simply didn’t! he chooses everything he says very carefully. that was not an accident. nothing he ever said ever was.

#it's valeriia talking #he's in love. with humanity. is the hill you can kill me on #wings bees halo #bi baby pie #destiel #metatron #gadreel #spn #spn s9 #spn 9x22 #spn 9x23 #mine

[thetrap]

why i think deancas just might go canon

i’ve been wanting to write this for a bit, but i haven’t really had the time until now. basically this is just a super unorganized collection of thoughts i have on why i think that dean and castiel actually have a fairly decent shot of becoming canon (and by decent shot i mean like.....a solid 5% chance. and that’s being generous). this is based off of the show itself (obviously), quotes from andrew dabb, and other things.

1. andrew dabb is deancas positive

i made a post a while back that never made it out of the drafts, but it was basically a summation of all the good deancas shit dabb has given us as a writer. here are the bullet points:

- the hug/"i'm not leaving here without you!" moment in purgatory (8x02) 

- "don't lose it over one man"

- "he's in love.....with humanity"

- cas/colette parallel ("dean. stop.") in 10x22

- just the fight scene from the prisoner in general like......wow

- sam/jess and dean/cas parallel in 12x23

- "we've lost everything......and now, you're gonna bring him back" + dean's just generally overwhelming grief in 13x01

- "and how is it that you lost dean? i thought the two of you were joined at the.....you know, everything"

and these are just the big moments.

also notable is the fact that an activist sent dabb (and some of the other producers of spn i think) a book about dean and cas and why the fans want it/why it would be a good thing for the show. a few years later, meghan fitzmartin (who wrote the most recent episode!) was hired as dabb’s assistant, went into his office and posted a tweet a with pictures of the book, saying something along the lines of “doing some reading for work!”

the fact that dabb actually kept a fanmade deancas book for years.....the fact that he’s consistently written episodes with really strong subtext for years.....the fact that the dean and castiel romantic tension has only picked up since he took over as showrunner (mixtape, lily sunder, cas’s death, dean’s grief arc, the entirety of season fifteen, etc.)......idk i just think it’s really interesting that there has been such a marked shift since he was put in charge.

2. the mixtape

i know this was a few seasons ago, but it’s still relevant because like. a mixtape is not platonic. this scene was not platonic. full-stop.

and it’s not even the act by itself; it’s also the dialogue!! “it was a gift. you keep those.” this is more than likely a direct callback to aragorn and arwen in lord of the rings (that’s the first thing i thought of, at least).

the fact that dabb let this slide, like......he knows what this looks like. berens and glynn, who wrote this episode, know what it looks like. they knew precisely how this would be perceived, and then wrote and aired the scene anyways.

and that’s not even getting into the camerawork. like what?? was this shot???

yeah so. definitely not platonic.

3. the trap

honestly i thought about just posting this part of this overlong essay thing, because to me, this is the episode where i went okay, so this might actually happen.

there are SO many things in this episode that made me go insane the first time i watched it (”i left, but you didn’t stop me”) but the thing that stuck out to me the most was dean’s reaction to castiel saying, “you don’t have to say it. i heard your prayer,” when dean tries to tell him something.

like?????? he does not look relieved!! nor does he look particularly happy!!

hell, if you go back and watch the video you can literally see him swallow his words down like....jensen ackles is the master of micro expressions and that shit is Not Accidental. this moment 100% gives the vibe that there is something that is not being said. the camera following dean as he gives cas a lingering look is really interesting too.

3. dabb’s comments about dean and cas in season 15

this part is actually sort of related to the point above, since a lot of dabb’s comments are in reference to “the trap.” here are some interesting ones that i want to point out:

But the Leviathan won’t be the focal point of the purgatory story. Rather, it’s about what Dean and Castiel are going through. “They’re not going to resolve the emotional stuff, but it allows them to redefine their friendship a little bit in light of what’s happened especially earlier this season,” Dabb says. (x)

the key thing here is that dabb said that, in 15x09, dean and cas are “not going to resolve the emotional stuff.”

now. i don’t know about you, but dean falling to his knees, praying to cas and weeping feels a lot like emotional resolution to me. like, sure, things will probably be awkward between them for a while, but surely this is the peak moment of their emotional vulnerability with each other, right? surely this is the moment where they’ve resolved the issue between them? like how the fuck does it get more intensely emotional than this??

yet dabb seems to be implying that it will, which leaves us with the million dollar question: what is left about dean and cas’ relationship to resolve?

keep in mind that as of 15x16, there hasn’t been much forward movement on that front; that is, we’ve had some cute moments between them, but in terms of serious conversation about their relationship, there’s been basically nothing. so we can assume that this development, whatever it is, will occur in 15x18, since dean and cas will be separated for most of 15x17, as cas will be off with sam.

aka the episode where cas will likely get yanked away by the empty. aka the episode with the teary (!!!) conversation we saw in the promo between dean and cas.

also notable from the above quote is dabb saying that dean and cas are redefining their friendship. like....redefining how? to what?? that wording is just really interesting to me.

another quote from dabb re “the trap”:

(x)

it forces them to “start that process.” indicating yet again that the prayer scene between dean and cas is not the moment where whatever is between them is resolved. yet, from where we are right now, dean and cas seem mostly fine. which means that whatever they have yet to work out doesn’t necessarily have anything to do with their fight.

lastly:

a really significant chunk of what happens to dean in 15x09 is him confronting his issues with cas. don’t get me wrong - there are other important things that happen in the episode - but the fact that an episode where so much time/emotional energy is given to dean and cas’ dynamic is considered a turning point for dean is very notable and, to me, speaks to the importance of their relationship for the rest of the season.

4. dean/cas and sam/eileen being set up as units

i’m of the opinion that sam and dean will (by choice) go their separate ways at the end of the show. i think this for a variety of reasons that i wrote about here, and to add onto this, i think that dean/cas and sam/eileen are, in a way, being set up as two units.

this theory comes from two points:

1. the fact that eileen got brought back at all

this isn’t to say that eileen isn’t an interesting character all on her own/outside of her romance with sam, but the fact that they brought her back and then proceeded to set her up in this romance feels really significant to me. what’s especially interesting is how, even after she leaves in 15x09, we get a continuation of their romance in 15x14. i don’t necessarily think that she’s sam’s endgame in the sense that the final episode will show sam going to her or whatever, but i do think that part of the reason she was brought back was so that sam would have someone who he loves/someone he could potentially build a life with after he and dean defeat chuck.

2. the way the two couples were portrayed in “the trap”

like....just watch the future scenes in the bunker. there’s very much a sense that these are two couples living together. and “ever since the mark made cas go crazy, ever since i had to bury him in a ma’lak box.” note the use of i, not we. and then dean/cas and sam/eileen are directly paralleled when dean tells sam he needs to give it up after eileen’s death, comparing it to how dean has given it up after having to bury cas in the ma’lak box.

5. dean does not do Well without cas

this is probably an understatement. there have been a couple of notable instances in this season where the viewer is given a glimpse of what happens to dean when cas dies/is in danger of death/is separated from dean (in case the whole ass widower arc in s13 wasn’t enough).

two of these are from “the trap”:

1. dean freaking out/crying/praying when he’s separated from cas in purgatory

2. dean giving up on life/hunting after burying cas in the ma’lak box in the future world

3. dean’s reaction to cas temporarily going to the empty in 15x13

the one i want to spend the most time on is number two, in large part because sam was witness to it and i think that this might get brought up in 15x17.

part of my spec for that episode is that cas will tell sam about his deal/sam will find out somehow, and in reaction sam might tell cas about how dean reacted to his death in s13 - a conversation that was notably absent from the show when cas finally returned in 13x05. i also think that he might mention no. 2 above, basically telling cas that if he dies, dean is done. that he won’t be able to handle it/move past it. the show has been telling us this over and over for a while now, and it’s only been emphasized more in season 15. i think that 15x17 is the episode where this will finally be verbally expressed.

to me, all of this emphasis on dean giving up when cas is gone isn’t for nothing. in my opinion, it’s being done very purposefully to set up an endgame where dean and cas are together in some sense of the word. and a lot of what i’ve said above is what makes me think it’ll be a Romantic together.

5. bobo berens’ three part deancas saga

so we all know that berens is pretty much spn’s foremost deancas warrior, and what i want to point out here is how this season has been utilizing him as a writer.

this season, berens has three solo episodes (he wrote “galaxy brain” with meredith glynn):

1. the rupture

2. the trap

3. despair (formerly known as “the truth”)

so far, these first two episodes have had major deancas moments. you could even label them as:

1. the rupture (the breakup)

2. the trap (the reconciliation)

3. depair (???)

keep in mind also that berens wrote 14x18, where the dean and cas sort of had a preliminary breakup. he’s been in charge of this arc for a while, and the fact that so much of his writing this season has been deancas focused.......i don’t know, i just think it’s significant in part because, while berens has always been deancas positive, he also writes plenty of episodes that aren’t focused on dean and cas. but now, in the final season, the dean and cas emotional arc has been handed to him, and it’s been the primary focus on his writing.

(sidenote: berens was promoted to executive producer for this final season)

to me, this is all leading to a big moment between dean and cas in 15x18 - and the fact that it was at one point called “the truth,” only to be switched back to despair - makes me think that there will be some sort of confession involved. my money is on cas being the one to say it (especially since this would line up with the leak), especially given the glimpse we saw of (what might be) this moment in the promo. which leads me to...

6. cas does not cry

i saved this for last because the promo where we see teary-eyed cas is actually what pulled me back into this shitshow.

cas does not cry. like. ever. he got a little teary in 15x15, when jack told him of his plan to sacrifice himself, but we have never - never - seen him shed actual tears. and in the promo, particularly that shot where cas says “you have fought for this whole world,” it 100% looks like cas is about to cry cry.

cas has seen his son die. he has seen dean die. he died himself, over and over and over. and we have never seen him cry.

yet for some reason, in this moment of vulnerability with dean, he’s crying. i find it highly unlikely that cas would cry because of his impending death, for a number of reasons (for one, he wouldn’t want to upset dean more than he has to). so, assuming he’s not crying because of his own death, then what is making cas so emotional that he is genuinely crying for the first time in the twelve seasons he has been on the show?

my guys.....i can only think of one thing.

#THIS IS SO FUCKING LONG OH MY GOD #i'm so sorry for this i just have SO many thoughts about this and had to get them all down #disclaimer: i still think it's highly unlikely we'll get confirmed romantic deancas #but i do think there's a chance #and this is why #deancas #destiel #s15 spoilers #spec

[verobatto]

Destiel Chronicles

Vol. CII

It was a love story from the very beginning.

The Bad Joke and The Scoobynatural

(13x14/13x15)

Hello there!!! This time I'm gonna talk about one of the most OOC episodes ever and one of our favs episodes Scoobynatural. I put them together bc one was so bad I needed some fresh air. Hehehehe.

Let's start!

So OOC that hurts...

Episode 13x15 "A Most Holly Man" was written by Dabb but also by Robert Singer.

This episode was odd, with easy bad jokes, and OOC. It also had Wincest subtext, and it was very messy.

If you rewatch the entire season, this episode seems to be out of context. If they've wouldn't put the search for the element they needed for the spell, it could have been passed as an episode from another show.

I could write more criticism, but let's just talk about little pieces of dialogue that worked as clues, I'm very sure it were put by Dabb (even if I dislike his writing) more than Singer.

The three elements the gangsters wanted to get were:

Incense: Is used by christian rituals to elevate prayers and gifts from the parishioners to God. This could be speaking of Chuck coming in the next season.

Chalice: The chalice represents sacrifice for christianity. The Holt Blood of Jesus Christ that have his life for humanity. So, is talking about a future huge sacrifice. It could be taken for Dean and his Mal'ak box or Castiel in 15x18.

Skull: it's related to death, and it could be speaking of Mary Winchester death in season 14.

Another little take from this episode was this little piece of dialogue:

MARGARET: Oh, don’t thank me yet. Greenstreet has all the trappings of a gentleman, but… I would advise caution.

Okay subtle, but not that much. The last name is a combination of two words GREEN and STREET, it's obviously related to Dean, and the quote after this 'has all the trappings is a gentleman, but... I would advise caution." It's obviously talking about AUMichael!Dean.

A brief comment about the Wincest subtext... We had Sam flirting with Margaret and Dean showing signs of jealousy, it could be taken as annoyance, but, because is Singer involved, I would say it was intentionally written to be Wincest subtext. And after this we had Dean flirting... Super out of character, with a brunette... With a lame excuse... Unnecessary. But it worked to make this time Sam the jealous one. Connecting the drops, my dears...

Dean has faith again and the distracting rubbing lips...

In this episode we can also rescue another good points as Dean declaring he has faith. Remember at the beginning of the season he was lost and faithless, I ask myself what could happen to make Dean to recover his faith???

Oh yes, Cas is back.

Then the rubbing lips... We had the same gesture from Cas in the previous episode, so, I wrote two entire metas about how Dabb team used the hands to show foreshadow. So I truly thought Dean and Cas would kiss... Hehehehe. It could fit perfectly, but nah.

This episode also talked about how a priest, a righteous, a saint man, was trying to get the most precious thing for his community.

Trying to get back the most important thing he had, willing to make any sacrifice for it, it's the same would lead Dean to say 'yes' to Michael. When Lucifer kidnaps Sam and Jack.

(This could be just nice because family, and because Dean raised Sam, so Sam represents a son and such, but, because is Singer... Wincest again.)

Another piece of dialogue I found is the following...

FATHER LUCCA: (...)And what your brother’s doing, it’s a good thing.

DEAN: Yeah, or a stupid thing.

FATHER LUCCA: Or both. Many times, they can be the same.

This is telling Castiel's name, Because Dean is always asking him not to do stupid things.

Another foreshadow was Father Lucca talking about Lying is wrong, is a sin. This was the preamble to one of the most revealing episode that will bring Chuck back. The episode in which Jack erase the ability of telling lies in the whole world population.

Dean's cave meaning and visual narrative.

Episode 13x16 was full of symbolism, and is one of my fav episodes.

At first, we had Dean fighting against a huge green dinosaur, practically a monster in green. Just like the Squirrel/Godzilla in one t-shirt we'll see in episode 14x04, is representing DEAN, his inner photography of himself. He sees himself as a monster.

Everytime we see SCOOBY-DOO in Supernatural, it's related to Dean's innocence and purity. Those qualities on him will be the key to release him from his emotional prison in season 14.

Visual Narrative in Dean's cave

Let's talk about the Dean's cave. When Dean says to Sam "Be like Elsa, let it be," he's referring here to the most deepest feelings and fears. Elsa released what she had tried to repress her entire life, her powers. And once she accepted what she really was, she was really free.

This will happen to Dean too, the process had just started. Now that he got Cas back, and now that deep inside he had accepted he can't live without the angel, he will slowly be able to embrace his bisexuality, to accept who he really is. The climax of this metamorphosis it's gonna be describer through the whole season 14. It's the birth of Healing!Dean.

Dean's cave represents that. First of all I want you to know that the Dean's cave had been made to watch movies with Castiel. It's subtextually displayed by the location of the two couches and the color of the lights in front of them: RED AND BLUE. Those are Dean and Castiel's places. That place had been built to share time with his angel.

Gif credit @out-in-the-open

Fred and Daphne were Dean's bisexuality representation.

Mostly than Dean having a crush over the two characters (openly with Daphne and repressed over Fred) both characters were representing Dean's bisexuality (just like Pamela and himself in Rocky's bar and his friend and the waitress in 15x07).

When they had to team up (just like in 14x04) we had Sam and Vilma represented the insight, the intelligence. (Just like Sam and Sam). Castiel pairing up with Yaggy and Scooby, the innocence and the talking dog, the most precious thing for Dean. (Remember Dean would take a bullet for that dog, that's why Cas was compared several times in season 12 with a dog, and that's why Dean follows him anywhere to keep him safe after suffering his lost).

Gif set credit @gentleman-demon

Finally, the bisexual team Dean with Fred and Daphne. In one opportunity Dean asks Daphne what does she sees in a man. Without mentioning she loves ascots, what this symbolically represents is Dean asking to his female side what she really likes to see in man. And we have Fred related to blue color, as a switch mirror with Castiel. Also because Daphne describes the perfect man as STRONG AND HONEST. Which are characteristics related to Castiel.

Castiel's entrance a la 4x01 and the dinosaur in love

Castiel enters in the mansion the same way he did in 4x01, stormy, mysteriously, and bright.

Immediately after his entrance, we had this weird dialogue...

DEAN: It's a book we're writing. Yeah, about...killer stuffed dinosaurs. It's called...

CASTIEL: "The Killer Stuffed Dinosaur in Love."

FRED: Huh. Great title.

SCOOBY: Yeah. Great title.

"It's a book we are writing " this is very meaningful Because, the book they're writing despite the one Chuck is writing, is Team Free Will, but... We are talking about DESTIEL. Dean and Cas are writing their own story... Why? Because when they mention the title of that book is... The KILLER (Do you remember REGARDING DEAN? another brief appearence of Scooby Doo and Dean's innocence? In which Rowena told him he was a killer? So yes, Dean sees himself as a killer, that's why the image of a monster, a green DINOSAUR, and huge Godzilla Squirrel... But this KILLER GREEN DINOSAUR has a very important characteristic HE IS IN LOVE. DEAN IS IN LOVE, as he confessed in 14x12.

Do I have to explain how writers connect d Castiel's first entrance in 4x01 with this book they're writing as they go? The book is named DESTIEL.

Jealous!Castiel and the little scared ghost boy

I loved the scene in which Daphne freshly confesses Dean grabbed the ghost by the thigh and immediately Cas shows his jealousy over that.

Gif set credit @tearsofgrace

But There's another almost at the end of the episode in which Dean mentions his affair with the Cartwright Twins and Cas asks about that, and Dean's face is priceless. Because if CAS would just represent a friend to him, he were absolutely explaining to him what happened with those twins, but he didn't. Why? Because Castiel is not just a friend. Castiel is Dean's love interest. So... Better not to talk about it.

Gif set credit @sssssssim

But let's jump over the symbolism of the trapped child ghost.

BOY: I'm not. I never wanted to hurt anyone. But the bad man, he makes me.

CASTIEL: The bad man?

BOY: His name is Jay.

I want to point here we are inside of Dean's head as you've noticed so far, so... Velma is Dean's intelligence and reason, and is linked with Sam (just like in episode 14x04 in which we had the scooby-doo box opening the locked door). Yaggy and Scooby are the innocence and love, part of Dean and linked to Castiel. And Daphne and Fred are Dean's bisexuality. But There's another huge character inside of him THE MONSTER. The monster, the one he has to defeat, is represented by JOHN WINCHESTER'S TOXIC HERITAGE AND AUMICHAEL, they're part of his toxicity, his rage, his violence. The little ghost here is all the good inside of Dean, his childhood, his innocence, but the bad man who obligates him to kill, it's his inner monster. So this is a war between TOXIC!DEAN and HEALING!DEAN as we will see in season 14.

BOY: When I died, my soul was tied to a pocketknife. My dad gave it to me. It meant everything. When Jay found me, he used me to...Sometimes, I get so angry I break things, hurt people.

John Winchester's toxic heritage implies the GUILT. So, Dean's soul is tied to that GUILT. Jay represents AUMichael here, when AUMichael finds this tool, the guilt, he uses it against Dean to control him. The boy says he gets angry, he breaks things and hurts people. He's describing perfectly Dean's toxicity. His violence. We will see it in this season but also, at the end of season 14.

To Conclude:

In episode 13x15 we had a very OOC bad episode, but with a few clues for foreshadows.

Episode 13x16 was a travel through Dean's innocence, inner thoughts and repressed feelings. It's a preamble to Healing!Dean season and how Dean will be able to break free from his emotional prison, defeating his inner monster.

Hope you liked this meta, see you in the next one!

Tagging @magnificent-winged-beast @emblue-sparks @weird-dorky-little-d @michyribeiro @whyjm @legendary-destiel @a-bit-of-influence @thatwitchydestielfan @misha-moose-dean-burger-lover @lykanyouko @evvvissticante @savannadarkbaby @dea-stiel @poorreputation @bre95611 @thewolfathedoor @charlottemanchmal @neii3n @deathswaywardson @followyourenergy @dean-is-bi-till-i-die @hekatelilith-blog @avidbkwrm @anarchiana @dickpuncher365 @vampyrosa @authorsararayne @mybonsai1976 @love-neve-dies @dustythewind @wayward-winchester67 @angelwithashotgunandtrenchcoat @trashblackrainbow @deeutdutdutdoh @destiel-shipper-11 @larrem88 @charmedbycastiel @ran-savant @little-crazy-misha-minion @samoosetheshipper

@shadows-and-padlocked-hearts @mishtho @dancingtuesdaymorning @nerditoutwithbooks @mikennacac73 @justmeand-myinsight @idontwantpeopletoknowmyname @teddybeardoctor @pepevons @helevetica @isthisdestiel @dizzypinwheel @jawnlockwinchester @horsez2 @qanelyytha

@destielle @spnsmile @shippsblog @robot-feels @superlock-in-the-tardis @superduckbatrebel @2musiclover2 @madronasky @anon-non2 @cea1996 @lisafu02 @asphodelesauvage @destiels-canonahhhhhhhhhh

If you want to be added or removed from this list just let me know.

If you wanna read the previous metas from season 13 here you have the links...

Vol. XCIII, XCIV, XCV, XCVI, XCVII, XCVIII, XCIX, C, CI.

Buenos Aires, February 28 2020, 2:23 PM

#destiel chronicles #destiel #destiel meta #Supernatural meta #season 13 meta #13x15 meta #13x16 meta #Scoobynatural #Scoobynatural meta #Castiel #Dean is bi #Dean Winchester #Sam Winchester

[theyearoftheking]

Book Seventy-Nine: If It Bleeds

“There’s an underlying truth in it which I believe you will grasp even at your current age Films are ephemeral, while books- the good ones- are eternal, or close to it. You have read me many good ones, but others are waiting to be written.” 

This is it... the second to last book in the challenge. I’m really dragging my feet reading Later (although it is a spectacular book). But this challenge is over, and I don’t know what I’m going to do. I have a ton of books on my shelves and Kindle to read, and writing that needs to be done (characters are all but screaming for me to come back to them); but this project really gave me purpose in a rudderless time. 

I had started this project as a fun conversation piece, but quickly turned into something bigger. During quarantine, this challenge gave me a purpose. I’d challenge myself to read one hundred pages a day, and remind myself to drink water between chapters. Sometimes writing these posts dragged me out of bed. In winter months I’m extremely agoraphobic, and it’s tough for me to leave the house some days. And other days it’s all I can do to wash and brush my hair. Mental health is a bitch, sometimes. But I didn’t mean to make this about me... although I’m sure some of my readers can relate, a lot of us took a hit to the mental health during 2020. While I will look back on quarantine fondly (it gave me excuses not to leave the house, or change out of my pajamas), my mental health will not. But just as it’s time to leave the house, I suppose it’s also time to start focusing on new projects once this one is complete. I have no idea what that will look like. Maybe I’ll start with Steve’s movies. Maybe I’ll re-read Joe Hill. Who knows. But I do know I’m going to indulge in some trashy fiction reading. 

Ok! 

If It Bleeds is a collection of three novellas, and a Holly Gibney story. I shouldn’t discount the other three stories: they’re extremely well written, and thought provoking. But the real star of the book is the Holly story. 

The first story, Mr. Harrigan’s Phone turns grief on it’s ear. A lot of people call their loved one’s cellphones after they pass... they want that experience of hearing their voice just one more time. But what happens when the phone is buried with your loved one and continues to ring? And what if you get a text from them after their death? It’s a sweet story, with your typical Steve twist. 

The second story, The Life of Chuck is told backwards, and “contains multitudes”. It also has a post-apocalyptic vibes, with California falling into the ocean, and the Midwest burning. It also has college kids storming the White House looking for answers, which is just another example of Steve predicting the future. 

Steve was inspired by a random billboard that read, “Thanks Chuck!” along with a guys picture and “39 Great Years”. Again, something mundane with a great Steve twist. He’s proven this is his sweet spot. 

The third story is If It Bleeds, which picks up almost immediately where The Outsider left off. There’s a tragic bombing that takes place inside an elementary school, and Holly can’t stop watching the television news reports. There’s something tickling at her brain, and she can’t figure out what it is. 

Eventually we find out there are more monsters like the one Holly killed in The Outsider. Jerome makes the best comparison, and says evil is like a bird that randomly flies from person to person, infecting them as it goes. There’s one section of the book when a character refers to the monster as, “It”. So it makes you wonder if this is one big tie-in, where we find out Holly is killing pieces of the monster that plagued Derry for so long. 

The mystery itself is secondary to Holly’s larger-than-life character. She is dealing with family issues; her Trump-supporting mom needs Holly’s help putting her uncle in a care facility, and Holly is struggling to cut herself out of the co-dependent relationship she has with her mother. But Holly has grown. She knows her worth, and she doesn’t let people talk down to her anymore. Her evolution is best described as, “Holly would do well to remember...who she is. Not the child who nibbled Mr. Rabbit Trick’s ears. Not the adolescent who threw up her breakfast most days before school. She  is the woman who, along with Bill and Jerome, saved those children at the Midwest Culture and Arts Complex. She is the woman who survived Brady Hartsfield. The one who faced another monster in a Texas cave. The girl who hid in this room and never wanted to come out is gone.” 

The final story is Rat. And I’m just going to tell you... an actual rat quoting Jonathan Franzen is perfect. He’s problematic enough to be an actual rodent. Yeah, I’m going to say it. The Corrections was absolute garbage, and I don’t know why it was lauded the way it was. He’s a condescending misogynist and he’s not nearly as good a writer as he thinks he is... says the girl writing a blog on her Stephen King musings. But whatever! I own what I’m doing, and the significance of it.

I will gladly re-read all of Steve’s books again before picking up another Jonathan Franzen book. If you want to dive into all the reasons he’s disgusting, this Bustle article will explain it to you. Like, legit explain it. Not mansplain it. 

Anyway, Rat explores why it’s not a great idea to make deals with rodents during major weather events. And when you’re at your isolated cabin and a major snowstorm is on the way- heed your wife’s advice and come back to civilization. 

This collection included plenty of Constant Reader mentions:

Derry

Shawshank Prison

Castle Rock

Gunslinger

It was an excellent collection, and I can’t get enough Holly. Steve talked about how she started out as a small, minor character and her presence just grew and grew. I don’t know about the rest of the Constant Readers, but I’d totally read another Holly book. Hell, I’ll take a whole series at this point. 

So, my final book is Later. I’ve got about 100 pages left to read and then that’s it... until April. 

Total Wisconsin Mentions: 48

Total Dark Tower References: 76

Book Grade: A+

Rebecca’s Definitive Ranking of Stephen King Books

Doctor Sleep: A+

The Talisman: A+

Wizard and Glass: A+

11/22/63: A+

Mr. Mercedes: A+

End of Watch: A+

Under the Dome: A+

Needful Things: A+

On Writing: A+

The Green Mile: A+

Hearts in Atlantis: A+

Full Dark, No Stars: A+

The Outsider: A+

The Bazaar of Bad Dreams: A+

If It Bleeds: A+

Just After Sunset: A+

Rose Madder: A+

Misery: A+

Different Seasons: A+

It: A+

Four Past Midnight: A+

Stephen King Goes to the Movies: A+

The Shining: A-

The Stand: A-

Finders Keepers: A-

Bag of Bones: A-

Duma Key: A-

Black House: A-

The Institute: A-

The Wastelands: A-

The Drawing of the Three: A-

The Dark Tower: A-

Dolores Claiborne: A-

Blaze: B+

Hard Listening: B+

Revival: B+

Nightmares in the Sky: B+

The Dark Half: B+

Joyland: B+

Skeleton Crew: B+

The Dead Zone: B+

Nightmares & Dreamscapes: B+

Wolves of the Calla: B+

‘Salem’s Lot: B+

Song of Susannah: B+

Carrie: B+

Creepshow: B+

From a Buick 8: B

The Girl Who Loved Tom Gordon: B

Sleeping Beauties: B-

The Colorado Kid: B-

Storm of the Century: B-

Everything’s Eventual: B-

Cycle of the Werewolf: B-

The Wind Through the Keyhole: B-

Danse Macabre: B-

The Running Man: C+

Cell: C+

Thinner: C+

Dark Visions: C+

The Eyes of the Dragon: C+

The Long Walk: C+

The Gunslinger: C+

Pet Sematary: C+

Firestarter: C+

Rage: C

Desperation: C-

Insomnia: C-

Cujo: C-

Nightshift: C-

Faithful: D

Gerald’s Game: D

Roadwork: D

Lisey’s Story: D

Christine: D

Dreamcatcher: D

The Regulators: D

The Tommyknockers D

Until next time, Long Days & Pleasant Nights, Rebecca

#stephen king #if it bleeds #constant readers #derry #the dark tower #holly gibney #jonathan franzen #pennywise #it

[nothingunrealistic]

Hello I am the “what is billions about” anon pls share ur thoughts as well I am listening

hello!! i have many thoughts and milo covered quite a few of them in their answer (which i’m sure you checked out already but maybe someone Else reading this hasn’t yet, who’s to say) so i’m basically gonna supplement that post / give a slightly more structured Season By Season breakdown of What Is Billions, Anyway. spoilers, naturally.

first, an Overall Statement, on which i’m going to quote one of the billions showrunners, brian koppelman (here he’s also speaking for the other billions showrunner / his creative partner, david levien), on what he hopes people take away from the show:

I think that people love to watch hyper-intelligent, hyper-verbal people who are charismatic and charming, and who really love what they do, and who love being in this contest and this game.

For us, what we’re interested in, is why America is willing to substitute verbal acuity, charm, power and wealth for true qualities of character, like kindness and empathy? We hope that by watching the show and getting off on it when these characters do really bad things, it makes us all wonder why we’re rooting for them sometimes.

these characters are forever gunning to speak in the most obscure references and quickest witticisms of anyone in the room, to give the most inspirational off-the-cuff monologues, to indulge in the best meals and the most expensive luxuries — and constantly saying and doing horrible things to one another and to total strangers, because they can. so that’s a major Theme to keep in mind. (we talk about brian and david quite a bit. authorly intentions are interesting.)

season one sets up The World Of Billions and the tangled relationships between the three initial leads. bobby “axe” axelrod is a rich & successful hedge fund ceo who’s widely loved in nyc for famously surviving 9/11 and engaging in philanthropy. chuck rhoades is a ruthless us attorney in manhattan who prosecutes financial crime but has, until now, avoided going after axe and his hedge fund, axe capital, despite axe’s reputation for Shady Dealings. wendy rhoades is chuck’s wife, and axe capital’s on-call performance coach / therapist and axe’s bff. (allegedly. i’m rarely convinced that their friendship is as Real And Weird And Deep as we’re meant to believe, but we are meant to believe it.) chuck can’t deal with his wife being best friends with some other guy, let alone some guy who’s doing finance crimes, so once he resolves to Take Axe Down, he spends most of the season figuring out how, with the help of two assistant us attorneys, kate sacker and bryan connerty. axe doesn’t think he’s done anything wrong, and can’t deal with any man getting more of wendy’s attention than he does, so he spends most of the season fighting back. (let’s also note that axe has a wife, lara, who is at best uneasy about wendy’s sway over him.) 

chuck uses his power to do a lot of questionable things, up to and including stealing wendy’s notes on her axe capital patients, ostensibly in the service of justice. axe uses his wealth to do a lot of questionable things, up to and including letting one of his employees die to protect axe from prosecution when he could have extended the employee’s life, so he can keep making money. (also, we — and many, many people in nyc — find out that axe made his fortune off of 9/11 and tried to keep it buried for 14 years. he’s not so well loved after that.) the season ends with wendy deciding she’s sick of both of them, quitting her job at axe capital, and kicking chuck out of the house, followed by axe & chuck meeting face to face to yell about how much they hate each other and how they’ve both lost wendy by being so exquisitely terrible.

so this is the world that taylor mason (the most important character, as you know) walks into. rich men make their wealth of off suffering and death; powerful men abuse their public trust for personal ends; and the lives and wellbeing of everyone else turn on the whims of the rich and powerful and whatever years-long personal grudges they feel like satisfying today. (and sometimes, rich and powerful people will walk up to each other and say things like “What’s the point of having fuck you money if you never say fuck you?” and “You’re sure to become President of the Libertarian Club of Danbury Federal Prison.”)

season two introduces us to taylor and demonstrates that it’s not so easy for axe & chuck to become disentangled from wendy, or one another. early on, axe, chuck, & wendy are all under legal scrutiny due to the circumstances of chuck stealing wendy’s notes and wendy leaving axe capital. when axe is introduced to taylor by mafee, their mentor, and recognizes their brilliance, he enlists them to help attack another hedge fund ceo who wendy’s chosen to work for (and who is generally awful); chuck, who’s in danger of being fired, holds onto his job by successfully prosecuting (with the assistance of connerty and sacker) a prominent banker who’s also a friend of axe. axe decides to invest in a poor town in upstate new york, as a favor to a family friend, and puts taylor on figuring out if it’s a good deal; chuck is pushed to run for governor by his father, chuck senior, and senior sabotages a deal that would have brought a lot of money to the upstate town, which means a lot of money potentially lost for axe capital. (taylor, perhaps surprisingly, calls for stripping the town for all it’s worth to make up the loss.)

taylor gains favor with axe, gets used to a life of increasing wealth and power, finds themself on connerty’s radar, and starts to see the personal costs of doing business at axe capital. chuck & axe set their sights on one another again, which isn’t helped by axe finally managing to hire back wendy, a deal that strains chuck and wendy’s ongoing attempt to repair their marriage and hastens the crumbling of axe and lara’s marriage. (other than axe, the only person happy to see wendy back at axe capital is taylor — the two properly meet for the first time and click immediately.) chuck convinces senior to invest in a company, ice juice, that chuck’s best friend, ira schirmer, has also invested in, knowing that axe will try to ruin the company to hurt chuck and profit from its ruin — he does, and chuck gets it all on camera. wendy is again stuck in the middle, without knowing what chuck is planning, and decides to take a chunk of the profits axe is making. axe gets arrested, and wendy & chuck go home together, but only after axe sets taylor up to lead axe capital in his absence, lies about coming home to lara, and hugs wendy goodbye while chuck watches.

season three elevates taylor to more and more power, while setting axe against them — and, shockingly, on the same side as chuck — for the first time. axe is frustrated about the ice juice case and about having to give up his right to trade in order for axe capital, under taylor’s leadership and (allegedly) without axe’s input, to do business at all. (he’s also frustrated about lara deciding to divorce him, but it’s on the back burner, really.) chuck isn’t doing much better — senior and ira now hate him for using them as bait for axe; the new attorney general, jock jeffcoat, is forcing him (and sacker, who’s now his right hand attorney) to take on cases he hates in order to keep his job; and connerty, who’s supposed to be leading the ice juice case against axe, keeps finding evidence that points to chuck’s involvement. while taylor is in charge of axe cap, and with wendy advising them, they get accustomed to doing things their own way & dealing with crises, decide to hire quantitative analysts (aka quants! hello winston!) to help develop an algorithm that will change how axe capital does business, fend off / work around axe’s repeated attempts to make their decisions for them, and grow disillusioned with the culture of axe capital. (an example: taylor, and everyone at axe capital, watch a man die in an explosion on live television, and almost everyone around them starts cheering because they’ll make money off of it.)

chuck & axe are both fighting to make sure the other guy goes down over ice juice — until the news of wendy’s involvement gets out, and they have to work together to keep her safe and out of jail. (their plan to do this involves putting mafee in the line of fire, which taylor picks up on and confronts wendy about.) once the case is resolved, and chuck, axe, & wendy all get off scot-free, chuck reconciles with senior & ira and fires connerty for daring to come after him, and axe returns to axe capital and knocks taylor off their perch, back to being a regular employee. axe prepares to raise new money for axe capital, while undoing much of taylor’s work and belittling them and their requests for input and autonomy. chuck gives up his run for governor and tries to get jeffcoat out of office. but both of them are blindsided by betrayal — axe by taylor starting their own hedge fund, taylor mason capital, with the money raised for axe capital, and chuck by connerty and sacker siding with jeffcoat to get chuck fired. with chuck no longer the us attorney, he and wendy agree he’s got nothing against axe, and the three of them meet to start planning their retribution.

season four focuses on everyone’s desire for revenge against someone else, particularly axe & wendy’s separate but related desires for revenge against taylor. axe is trying to crush taylor & their company any way he can (sometimes with the assistance of his new girlfriend, rebecca cantu), and firing / threatening anyone at axe capital who gets in touch with them, because he can’t bear to let them succeed. chuck is running for state attorney general, because he needs a position of power to go after connerty, who’s now the us attorney, and jeffcoat. axe & chuck make a deal: if axe helps chuck get elected, chuck will make sure taylor is arrested. (“arrested for what?” axe doesn’t care what. just crimes.) wendy is helping both axe & chuck with their respective goals and feeling vindictive herself because she believes taylor took advantage of her empathy for them to put them in a position to start their own fund. taylor does well fending off axe’s attacks at first, with the help of mafee, their coo sara hammon, and other new employees. then their father, douglas mason, comes to visit, and three things become clear: 1) their relationship is difficult because he has almost no respect for them 2) they’re desperate for his approval 3) he’s come to see them because he wants their financial support for a personal project.

chuck wins his election, with axe’s help and with a very personal public speech. once in office, he agrees to help senior with a real estate deal; his legally questionable “help” catches the attention of connerty, sacker, and jeffcoat, who go to equally questionable lengths to prove that chuck is doing crimes. (an example: breaking into senior’s apartment to steal evidence from his biometrically locked safe.) wendy, who’s angry about her inclusion in chuck’s very personal speech, reaches out to taylor to talk. she learns that taylor is funding douglas’s personal project and, using her knowledge of their strained relationship from therapy sessions with taylor, works with axe to force taylor to kill the project. douglas walks out; taylor is devastated and wants some revenge of their own. (so does sara, who reports wendy for medical malpractice.) taylor attacks a company owned by rebecca, and axe supports her, until rebecca & taylor cut both their losses by cutting a deal. this makes axe so mad that he destroys the company instead, alienating rebecca and bankrupting taylor mason capital. chuck & senior’s real estate deal turns out to be a trap for connerty and jeffcoat (but not sacker, because she’s too smart for that), and it succeeds. however, chuck was supposed to be helping wendy keep her medical license; when she finds out that he didn’t do a thing, she walks out on him and into axe’s apartment. chuck, who was already sick of axe, “arrests” taylor and tells them that, though axe wants him to blackmail taylor into returning to axe capital, chuck wants them to go back as his operative to take axe down. taylor agrees to all sides of this deal, and returns to axe capital with their employees in tow, intending to just wait it out until axe and chuck destroy one another.

season five forces the leads to deal with the messes they made in season four, and smashes up & reforms the relationships of that season. axe, who’s feeling adrift after reaching a net worth of $10 billion and not feeling happy about it, is going in all directions at once. he decides that fellow deca-billionaire mike prince, who keeps swiping things he wants, is his new arch-nemesis; he applies for a bank charter for axe capital so he’ll never have to work again; he hires a artist, nico tanner, to paint for him on commission. the only thing he doesn’t do is run axe capital, even with the return of taylor, who he said he wanted around to help him make better plays, and their confession to him that they came back in collaboration with chuck. axe & chuck are ostensibly still allies, but chuck, with sacker behind him, is trying every angle he can think of to send axe to jail and prevent him from getting a bank charter. taylor, who’s struggling to achieve anything under the weight of appeasing both axe & chuck and the interference of other axe capital people in taylor mason capital’s work, teams up with wendy to win over investors and reinvents their fund as taylor mason carbon, focused on environmentally friendly investing. wendy and chuck get divorced, but are still entangled by shared assets and familial commitments; wendy and tanner take to one another romantically, axe finds out, and as we recall from season one, axe can’t deal with any man getting more of wendy’s attention than he does; and all of taylor’s employees are suspicious of wendy and her intentions.

season five hasn’t yet been filmed or aired in full thanks to covid, but where we’ve left off, axe has lost out on his bank charter, discovered that taylor and wendy teamed up with prince, and deliberately driven a wedge between axe & tanner, all in one night. it seems likely that wendy’s soon going to be as alienated from axe as she already is from chuck, and probable or at least possible that there’s more to taylor’s partnership with wendy than we’re led to believe. but we really have no idea what’s going to happen or even when we’re going to see it happen, and in a way that’s the best description of billions anyone could give.

#this is long. i apologize but also i should mention that even this leaves out a Lot of characters and plot details #and i am happy to answer more specific questions too because billions is simply So Much All The Time #inbox #anonymous #billions #taylor mason #bobby axelrod #chuck rhoades #wendy rhoades #lara axelrod #bryan connerty #kate sacker #jock jeffcoat #chuck rhoades senior

[you-are-crazy-beautiful]

S3 thoughts after complete rewatch

Please give me your thoughts and ideas. I’ll be blunt. Season 3 is bad. Really bad. There is absolutely no continuity between s2 and s3. I was joking that even though it’s meant to be set 6 months later, it could really be anytime after. I even would think I was watching an episode in the middle of a season if I was just shown 3x01 with no info. I feel that there is also a complete disregard to the tone of the show, despite Suzanne stating how it’s important to keep that. I do feel that Suzanne talks the talk more than she walks the walk. 

1.       When asked about the multiple POV Suzanne stated ‘those two women as the lynchpin relationship of the show. Their journeys are always at the spine of the story’. ‘all of them (new characters) have a really exciting energy, and really challenge the main characters’. I would argue completely against Eve and Villanelle and their relationship being the focus of this season. There are times and whole episodes when I feel there is almost a disconnect from each other. These two are absolutely, unhealthily addicted to each other. I think the amount of scenes they have together is perfect and almost the usual, but when they aren’t together, you know they are never normally far from each other’s mind. I would especially say I find it strange after V has finally got the kiss she has been waiting for 3 seasons, which would make her devotion go even more through the roof, she only has one Eve related moment (the cake) before phoning Eve after seeing each other at the train station in ep 7. They could have nearly sunk them!

·       Konstantin and Carolyn even overshadowed Eve and had more character development this season. Besides from Dasha, I would also say the new characters hardly gave anything to the plot such as Aubrey, Paul, and Geraldine. It even took me a while to remember these characters names. Paul you could take out of the season and nothing would change except that Carolyn wouldn’t have had another person to shoot in 3x08. I think Geraldine was a good character to have for Carolyn to show how she personally grieves, but why did they keep having the same scenes again and again? What the heck was that thing with Geraldine and Konstantin? I’m still unclear on how Dasha and Villanelle’s relationship came about and what happened. How old was Villanelle? How long was Dasha her mentor for? It seems like they forgot that they had Konstantin saying to V in 3x02 about Dasha doing something to her and the way Villanelle attacked Dasha upon seeing her again, that they just quickly wrote the hospital scene in 3x08. I was so confused what was happening. Did they mean Dasha shot at Villanelle because ‘she wasn’t ready’ as in emotionally or physically? Did Dasha actually manage to shoot her? Didn’t they allude to Konstantin being the one to recruit her from the prison in s1, so how did she not stay with him? How did she escape Dasha? It seemed random that Dasha just happened to die when Konstantin was there, when he said she was going to die in the hospital. I thought he had done something, but apparently not?

2. When asked what she was most excited about the audience seeing, Suzanne said Villanelle and Eve’s journey. This is her quote about Eve. ‘Similarly with Eve, we really get to see deeper layers of Eve, and her really coming to terms with the person she is now. She’s forever changed because of what happened to her and what she’s been through, and it’s really about seeing her now, this new version of herself, and her acceptance of herself, which is very exciting and really takes her into new places’. I really just have to laugh. Where is it? It is absolutely ridiculous how little Eve was developed and ignored this season. When you guys do a rewatch, I highly recommend to at least watch 2x08 before going into s3 because it really just highlights the difference and how nuts it is that they dropped Eve by so much! I really don’t understand how it’s even possible. Coming into the show there are many ways you could go wrong. However, it’s not like it’s an easy thing to cut out the lead of your show! Especially when that character had the most exciting things happen to them in the finale of s2. The things I was most excited about going into s3 was seeing how Eve was coping with knowing she has the ability to kill someone. I can’t believe they did not bring up that Eve had killed someone once in the whole of s3!!! Like @kassies​ stated, it’s like Suzanne just took one line and things she liked and disregarded everything else. Suzanne practically said in the BBC sounds podcast that she had this idea of mummy issues, which personally I don’t think there is any evidence of except the fact V is attracted to older women, like most wlw are. If anything there is more evidence she would have daddy issues with her history of castrations and the many times she comments that she finds it strange that Konstantin hasn’t tried to have sex with her. After the line ‘most of’ her family were dead she stated she could go down that route! She practically wrote the whole season just based on this. She hasn’t even taken the quote correctly, as like others have pointed out, most of her family were actually alive and it was only her dad who was dead. I loved episode 5 originally but on my rewatch with the whole season it really seemed strange. When I first watched it I thought the next episode was going to be largely devoted to Eve so I wasn’t so bothered that it was a whole V ep. However, considering Eve was hardly given anything in ep6, I really don’t see how a whole V episode was needed. The annoying thing was this season could have been the best yet. With Eve and Villanelle both discovering themselves and meeting at the end. It was that, but with hardly any Eve content and I feel they are so lucky they managed to pull it off in the last 2 eps, and that’s largely down to what s1+2 accomplished. Again, ep5 just seems like a way for Suzanne to explore her mummy issues story, as there is nothing really juicy or pivotal for the plot. Why not really show how the twelve have had their eye on V since she was little. Have the mum saying a man told her V was dead, as Konstantin did with Anna in s1? It would have added so much more to the twelve. Especially when the big thing about V this season is her wanting away from the control the twelve have on her. Why not show just how much?

I actually had no idea what Eve was thinking for most of the season and from what I do know and think is based on what I know of this character from the previous 2 seasons. Maybe this is just me not getting it, but I thought Eve was in the kitchen because she was in denial and I kept waiting for her to get a breakthrough and embrace her true self. It wasn’t until Sandra said Eve was actually showing strength by working in the kitchen, and by saying ‘no’ to working in the front, that I was like ‘oh’ that’s what it’s meant to mean. I actually feel so sad for Sandra because I can’t imagine what she must have been thinking with Eve’s treatment this season. I actually feel there are even moments in the season that delibrately stop Eve’s development. For example that lazy line of ‘lucky those tourists found you’. How? I know irl it’s a tourist attraction, but in the show they had to break into a tunnel to access it. I also don’t like the scene with Jamie. You could say it highlights the line in the finale ‘I think we all have monsters’ but I feel like it invalidates just how different Eve and Villanelle are from other people. Jamie taking his kids to the zoo when high is hardly the same as Eve hacking a man to death with an axe. 

 This is already so long, and I could go on and on, but I’m just going to point out  some issues and plot holes.

. Kenny’s death was meant to be the biggest storyline of the whole season and what got Eve back into the story. However, she only looked into his death in ep3 and never again. Carolyn didn’t even really look into his death and all we got was constant scenes with her and Geraldine. Why couldn’t we have gotten Eve and Carolyn doing real detective work like in s1 as was implied was going to happen in ep3? I don’t even feel like they actually thought through his death as it was ‘solved’ by Bear who despite apparently not thinking Kenny had commited suicide from the beginning and wanting access to his phone, apparently did not think to check a camera he had set up until weeks later?! I don’t think it’s possible Kenny fell off the roof as in ep4 when Eve chucks the cake, the wall comes up near to her chest. You could not fall off that. He also would have screamed when falling. I also don’t even know how the twelve knew Kenny was looking into the accounts. Especially if they knew Kenny was looking into it, and knew money was being taken, how did it take them so long to kill the accountant? Laura could develop this in s4, but I feel as though it was Suzanne’s job to follow through with this storyline. 

. How did Konstantin know what V looked like as a baby? Where did he see the photo? Why did they make a point to highlight that she was with someone in the photo and Konstantin really didn’t seem to want to tell her, yet the next episode he handed over her family right away? As much as I love Villanelle’s journey, on a rewatch, the family story seemed to almost come out of nowhere in ep3 and then the next episode she had the information and went home. Why not introduce the idea in ep 1?

. How would Puyter know that it was his sister? Upon immediately seeing her he knew it was Oksana. I don’t think it says how old they were, but he is younger than V, and we saw how old she was in the pics, I really don’t think he would recognise her, especially when he thinks she is dead. 

. Why is there not pictures of the dad? Even if the mum was saddened by his death as she really seemed to love him, why would she not have any photos? Also with how much she seems to be scared and despise V, why would she keep the photos of her? Did the dad die while Villanelle was still there or is she just taking he’s dead as he’s not there. I thought they were going to reveal that the dad was still alive and part of the twelve but nope.

. Why was Rhian so scared of V at the train station? I know she’s the demon with no face, but Rhian was ready to be moving into Villanelle’s shoes, and you can even see V is struggling to kill her, so why does Rhian act so scared and back herself onto the edge of the platform? That moment feels so disgenuous to me and at one point I though Rhian was acting. 

. How did Carolyn know Helene and that V was working for her? Is it a plot hole or something to be explored in s4?

. Why was Eve acting like she didn’t know Villanelle was responsible for the Catalan murder in ep4 when we know she can tell V’s kills after a sec (as seen in ep6) and even after Carolyn had shown her the photo and said it was V?

. They didn’t even seem to give much attention to Eve’s scar or wound. It was not where it was in 2x08. I know they said that they were going to move around where she had been shot, but when Suzanne was asked why the scar was different she said she wanted it to seem like Villanelle went for the kill shot, despite saying in other interviews that she doesn’t think Villanelle did try or want to kill Eve. The scar’s even so weird. I’m no expert, so that it maybe how they look, but it doesn’t even look like a bullet wound. Would the bullet not have left a round mark? 

. Why did they keep Niko around for so long? I personally loved where Emerald had taken it in 2x07 and was excited to see where Niko was. Maybe he was up for the murder of Gemma. It would have been another good opportunity to see Eve's skewed morals. A part of her being flattered that Villanelle killed Gemma as sort of revenge for stepping on Eve. Instead it got completely swept under the rug in 3x01 too by Niko saying mi6 said she killed herself. What happened? How did they find him? It doesn't even make sense now why V killed her. However, I would say there was also something symbolic about him ending up in a rehabilitation retreat because Eve and her actions has 'broken' him. It was quite powerful for his character to tell Eve he deserved better than her. Because he does. He basically told her to p*ss off there. Why make the little time Eve is being given to another ep where she chases him down, for him to get brutally attacked in a way that is so ridiculous that he would survive it borders on a soap opera. I thought the reason he survived was to give a big Eve moment of her saying her acceptance that she can't have a normal life. Instead they just had the same convo as 3x01 with him telling her to p*ss off. Then a scene with Eve looking at him and leaving. What is going on in her head? Why are you not giving her anything? We didn't even get to see her dealing with the act happening.

. This brings me onto the point of it. It could of had so much impact, yes it was cool because Eve knew it wasn't V, but there could have been so much more given to it. Such as Dasha saying to V in the lift in 3x07 about her having someone waiting for her back home, how Dasha has just destroyed the thread between the only person V cares about. It would have made V hitting her with the golf club so much more delicious.

. Villanelle saying to Konstantin that she didn't want him to die in 3x07 and looking upset. Yet in 3x08 she looks almost excited about the fact he's about to be shot?

. It also annoys me so much that Raymond was just discarded and we still know nothing about the twelve. I thought this season was really going to dive into them, but we don't know anymore about them than we did at the start of the season. After rewatching 2x08 I really wish they had explored the twelve thru Raymond. If you wanted to give Konstantin more why not have him in with the twelve and the consequences of 2x08? Raymond saying 'Some would say I'm a real somebody'. 'They will take you apart for this'. 'After today a lot of people are going to be angry'. How high was Raymond? The implications that V+E were in so much danger after killing Raymond. Then it's 6 months later and Dasha just says they've been watching V for months. Were they watching Eve? Who knows nobody cares about Eve this season😒 Why bring in new members of the twelve like Paul, make brand new stories such as Kenny's death and the money, to just kill Paul and not resolve them.

I really don't understand how the twelve haven't killed V yet. She screws up all the time from s1 onwards. I get she is amazing at her job but they have others such as Rhian. Why do they let her get away with it? It was confusing me so much this season. I thought they were going to make her dad a member of the twelve and that's how she's protected.

. The title cards and intro. By now you might all be thinking she's just tearing everything apart. Trust me, there are moments of s3 I love and that is why it's so frustrating. Laura's 3 eps are some of my fave of the show so fingers crossed that means good things for s4. I felt she grasped the original tone of the show. So speaking of staying true to the show, I don't understand why they were changing the format of the title cards. Sometimes it was funny 'p*ss off forever' and 'this is bullshit'. Yet, it also really threw me off because it's not what usually happens. I'm all for new things being tried, yet I actually find myself questioning what wasn't changed and what was kept original? The names coming up in 3x04...I can't even. This is more of a personal take as I know some people really liked them, but when it was coming up 'Eve' I was just sitting there thinking 'I know that's Eve. I've been watching her for 3 years'.

Why was there only a title sequence in 2 episodes? Suzanne got asked and said that it was only ep2 and ep7 that felt right. I mean...I'm pretty sure it could have worked in all of them. I loved the title sequences so much, and was so excited when that drop fell and they started in ep2. Then I was so confused when none of the next ones had it. Episode 7 is one of my favourite episodes of the whole show, and that title sequence is just *chef's kiss*. My point really is that it came across to me as an experiment as they only did certain things in one episode and never again, and it made me uncomfortable.

#killing eve #villaneve

[ahouseoflies]

The Best Films of 2020

I can’t tell you anything novel or insightful about this year that has been stolen from our lives. I watched zero of these films in a theater, and I watched most of them half-asleep in moments that I stole from my children. Don’t worry, there are some jokes below.

GARBAGE

93. Capone (Josh Trank)- What is the point of this dinner theater trash? It takes place in the last year of Capone's life, when he was released from prison due to failing health and suffered a stroke in his Florida home. So it covers...none of the things that make Al Capone interesting? It's not historically accurate, which I have no problem with, but if you steer away from accuracy, then do something daring and exciting. Don't give me endless scenes of "Phonse"--as if the movie is running from the very person it's about--drawing bags of money that promise intrigue, then deliver nothing in return.

That being said, best "titular character shits himself" scene since The Judge.

92. Ammonite (Francis Lee)- I would say that this is the Antz to Portrait of a Lady on Fire's A Bug's Life, but it's actually more like the Cars 3 to Portrait of a Lady on Fire's Toy Story 1.

91. Ava (Tate Taylor)- Despite the mystery and inscrutability that usually surround assassins, what if we made a hitman movie but cared a lot about her personal life? Except neither the assassin stuff nor the family stuff is interesting?

90. Wonder Woman 1984 (Patty Jenkins)- What a miscalculation of what audiences loved about the first and wanted from the sequel. WW84 is silly and weightless in all of the ways that the first was elegant and confident. If the return of Pine is just a sort of phantom representation of Diana's desires, then why can he fly a real plane? If he is taking over another man's soul, then, uh, what ends up happening to that guy? For that matter, why is it not 1984 enough for Ronald Reagan to be president, but it is 1984 enough for the president to have so many Ronald Reagan signifiers that it's confusing? Why not just make a decision?

On paper, the me-first values of the '80s lend themselves to the monkey's paw wish logic of this plot. You could actually do something with the Star Wars program or the oil crisis. But not if the setting is played for only laughs and the screenplay explains only what it feels like.

89. Babyteeth (Shannon Murphy)- In this type of movie, there has to be a period of the Ben Mendelsohn character looking around befuddled about the new arrangement and going, "What's this now--he's going to be...living with us? The guy who tried to steal our medication? This is crazy!" But that's usually ten minutes, and in this movie it's an hour. I was so worn out by the end.

88. You Should Have Left (David Koepp)- David Koepp wrote Jurassic Park, so he's never going to hell, but how dare he start caring about his own mystery at the hour mark. There's a forty-five minute version of this movie that could get an extra star from me, and there's a three-hour version of Amanda Seyfried walking around in athleisure that would get four stars from me. What we actually get? No thanks.

87. Black Is King (Beyonce, et al.)- End your association with The Lion King, Bey. It has resulted in zero bops.

  ADMIRABLE FAILURES

86. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (Cathy Yan)- There's nothing too dysfunctional in the storytelling or performances, but Birds of Prey also doesn't do a single thing well. I would prefer something alive and wild, even if it were flawed, to whatever tame belt-level formula this is.

85. The Turning (Floria Sigismondi)- This update of The Turn of the Screw pumps the age of Miles up to high school, which creates some horny creepiness that I liked. But the age of the character also prevents the ending of the novel from happening in favor of a truly terrible shrug. I began to think that all of the patience that the film showed earlier was just hesitance for its own awful ending.

I watched The Turning as a Mackenzie Davis Movie Star heat check, and while I'm not sure she has the magnetism I was looking for, she does have a great teacher voice, chastening but maternal.

84. Bloodshot (David Wilson)- A whole lot of Vin Diesel saying he's going to get revenge and kill a bunch of dudes; not a whole lot of Vin Diesel actually getting revenge and killing a bunch of dudes.

83. Downhill (Nat Faxon and Jim Rash)- I was an English major in college, which means I ended up locking myself into literary theories that, halfway through the writing of an essay, I realized were flawed. But rather than throw out the work that I had already proposed, I would just keep going and see if I could will the idea to success.

So let's say you have a theory that you can take Force Majeure by Ruben Ostlund, one of the best films of its year, and remake it so that its statement about familial anxiety could apply to Americans of the same age and class too...if it hadn't already. And maybe in the first paragraph you mess up by casting Will Ferrell and Julia Louis-Dreyfus, people we are conditioned to laugh at, when maybe this isn't that kind of comedy at all. Well, don't throw it away. You can quote more--fill up the pages that way--take an exact shot or scene from the original. Does that help? Maybe you can make the writing more vigorous and distinctive by adding a character. Is that going to make this baby stand out? Maybe you could make it more personal by adding a conclusion that is slightly more clever than the rest of the paper?

Or perhaps this is one you're just not going to get an A on.

82. Hillbilly Elegy (Ron Howard)- I watched this melodrama at my mother's encouragement, and, though I have been trying to pin down her taste for decades, I think her idea of a successful film just boils down to "a lot of stuff happens." So in that way, Ron Howard's loss is my gain, I guess.

There is no such thing as a "neutral Terminator."

81. Relic (Natalie Erika James)- The star of the film is Vanessa Cerne's set decoration, but the inert music and slow pace cancel out a house that seems neglected slowly over decades.

80. Buffaloed (Tanya Wexler)- Despite a breathless pace, Buffaloed can't quite congeal. In trying to split the difference between local color hijinks and Moneyballed treatise on debt collection, it doesn't commit enough to either one.

Especially since Zoey Deutch produced this one in addition to starring, I'm getting kind of worried about boo's taste. Lot of Two If by Seas; not enough While You Were Sleepings.

79. Like a Boss (Miguel Arteta)- I chuckled a few times at a game supporting cast that is doing heavy lifting. But Like a Boss is contrived from the premise itself--Yeah, what if people in their thirties fell out of friendship? Do y'all need a creative consultant?--to the escalation of most scenes--Why did they have to hide on the roof? Why do they have to jump into the pool?

The movie is lean, but that brevity hurts just as much as it helps. The screenplay knows which scenes are crucial to the development of the friendship, but all of those feel perfunctory, in a different gear from the setpieces.  

To pile on a bit: Studio comedies are so bare bones now that they look like Lifetime movies. Arteta brought Chuck & Buck to Sundance twenty years ago, and, shot on Mini-DV for $250,000, it was seen as a DIY call-to-bootstraps. I guarantee that has more setups and locations and shooting days than this.

78. Eurovision Song Contest: The Story of Fire Saga (David Dobkin)- Add Dan Stevens to the list of supporting players who have bodied Will Ferrell in his own movie--one that he cared enough to write himself.  

Like Downhill, Ferrell's other 2020 release, this isn't exactly bad. It's just workmanlike and, aside from the joke about Demi Lovato's "uninformed" ghost, frustratingly conventional.

77. The Traitor (Marco Bellochio)- Played with weary commitment by Pierfrancesco Favino, Tomasso Buscetta is "credited" as the first informant of La Cosa Nostra. And that sounds like an interesting subject for a "based on a true story" crime epic, right? Especially when you find out that Buscetta became a rat out of principle: He believed that the mafia to which he had pledged his life had lost its code to the point that it was a different organization altogether.  

At no point does Buscetta waver or even seem to struggle with his decision though, so what we get is less conflicted than that description might suggest. None of these Italian mob movies glorify the lifestyle, so I wasn't expecting that. But if the crime doesn't seem enticing, and snitching on the crime seems like forlorn duty, and everything is pitched with such underhanded matter-of-factness that you can't even be sure when Buscetta has flipped, then what are we left with? It was interesting seeing how Italian courts work, I guess?

76. Kajillionaire (Miranda July)- This is another movie so intent on building atmosphere and lore that it takes too long to declare what it is. When the protagonist hits a breaking point and has to act, she has only a third of a film to grow. So whispery too.

Gina Rodriguez is the one to inject life into it. As soon as her motormouth winds up, the film slips into a different gear. The atmosphere and lore that I mentioned reeks of artifice, but her character is believably specific. Beneath a basic exterior is someone who is authentically caring but still morally compromised, beholden to the world that the other characters are suspicious of.

75. Scoob! (Tony Cervone)- The first half is sometimes clever, but it hammers home the importance of friendship while separating the friends.

The second half has some positive messaging, but your kids' movie might have a problem with scale if it involves Alexander the Great unlocking the gates of the Underworld.

My daughter loved it.

74. The Lovebirds (Michael Showalter)- If I start talking too much about this perfectly fine movie, I end up in that unfair stance of reviewing the movie I wanted, not what is actually there.* As a fan of hang-out comedies, I kind of resent that any comedy being made now has to be rolled into something more "exciting," whether it's a wrongfully accused or mistaken identity thriller or some other genre. Such is the post-Game Night world. There's a purposefully anti-climactic note that I wish The Lovebirds had ended on, but of course we have another stretch of hiding behind boats and shooting guns. Nanjiani and Rae are really charming leads though.

*- As a New Orleanian, I was totally distracted by the fake aspects of the setting too. "Oh, they walked to Jefferson from downtown? Really?" You probably won't be bothered by the locations.

73. Sonic the Hedgehog (Jeff Fowler)- In some ways the storytelling is ambitious. (I'm speaking for only myself, but I'm fine with "He's a hedgehog, and he's really fast" instead of the owl mother, teleportation backstory. Not everything has to be Tolkien.) But that ambition doesn't match the lack of ambition in the comedy, which depends upon really hackneyed setups and structures. Guiding Jim Carrey to full alrighty-then mode was the best choice anyone made.

72. Malcolm & Marie (Sam Levinson)- The stars move through these long scenes with agility and charisma, but the degree of difficulty is just too high for this movie to reach what it's going for.

Levinson is trying to capture an epic fight between a couple, and he can harness the theatrical intensity of such a thing, but he sacrifices almost all of the nuance. In real life, these knock-down-drag-outs can be circular and indirect and sad in a way that this couple's manipulation rarely is. If that emotional truth is all this movie is trying to achieve, I feel okay about being harsh in my judgment of how well it does that.

71. Beanpole (Kantemir Balagov)- Elusive in how it refuses to declare itself, forthright in how punishing it is. The whole thing might be worth it for a late dinner scene, but I'm getting a bit old to put myself through this kind of misery.

70. The Burnt Orange Heresy (Giuseppe Capotondi)- Silly in good ways until it's silly in bad ways. Elizabeth Debicki remains 6'3".

69. Everybody’s Everything (Sebastian Jones and Ramez Silyan)- As a person who listened to Lil Peep's music, I can confidently say that this documentary is overstating his greatness. His death was a significant loss, as the interview subjects will all acknowledge, but the documentary is more useful as a portrait of a certain unfocused, rapacious segment of a generation that is high and online at all times.

68. The Witches (Robert Zemeckis)- Robert Zemeckis, Kenya Barris, and Guillermo Del Toro are the credited screenwriters, and in a fascinating way, you can see the imprint of each figure on the final product. Adapting a very European story to the old wives' tales of the American South is an interesting choice. Like the Nicolas Roeg try at this material, Zemeckis is not afraid to veer into the terrifying, and Octavia Spencer's pseudo witch doctor character only sells the supernatural. From a storytelling standpoint though, it seems as if the obstacles are overcome too easily, as if there's a whole leg of the film that has been excised. The framing device and the careful myth-making of the flashback make promises that the hotel half of the film, including the abrupt ending, can't live up to.

If nothing else, Anne Hathaway is a real contender for Most On-One Performance of the year.

67. Irresistible (Jon Stewart)- Despite a sort of imaginative ending, Jon Stewart's screenplay feels more like the declarative screenplay that would get you hired for a good movie, not a good screenplay itself. It's provocative enough, but it's clumsy in some basic ways and never evades the easy joke.

For example, the Topher Grace character is introduced as a sort of assistant, then is re-introduced an hour later as a polling expert, then is shown coaching the candidate on presentation a few scenes later. At some point, Stewart combined characters into one role, but nothing got smoothed out.

ENDEARING CURIOSITIES WITH BIG FLAWS

66. Yes, God, Yes (Karen Maine)- Most people who are Catholic, including me, are conflicted about it. Most people who make movies about being Catholic hate it and have an axe to grind. This film is capable of such knowing wit and nuance when it comes to the lived-in details of attending a high school retreat, but it's more concerned with taking aim at hypocrisy in the broad way that we've seen a million times. By the end, the film is surprisingly all-or-nothing when Christian teenagers actually contain multitudes.

Part of the problem is that Karen Maine's screenplay doesn't know how naive to make the Alice character. Sometimes she's reasonably naive for a high school senior in 2001; sometimes she's comically naive so that the plot can work; and sometimes she's stupid, which isn't the same as naive.

65. Bad Boys for Life (Adil El Arbi and Bilall Fallah)- This might be the first buddy cop movie in which the vets make peace with the tech-comm youngs who use new techniques. If that's the only novelty on display here--and it is--then maybe that's enough. I laughed maybe once. Not that the mistaken identity subplot of Bad Boys 1 is genius or anything, but this entry felt like it needed just one more layer to keep it from feeling as basic as it does. Speaking of layers though, it's almost impossible to watch any Will Smith movie now without viewing it through the meta-narrative of "What is Will Smith actually saying about his own status at this point in his career?" He's serving it up to us.

I derived an inordinate amount of pleasure from seeing the old school Simpson/Bruckheimer logo.

64. The Gentlemen (Guy Ritchie)- Look, I'm not going to be too negative on a movie whose crime slang is so byzantine that it has to be explained with subtitles. That's just me. I'm a simple man. But I can tell you that I tuned out pretty hard after seven or eight double-crosses.

The bloom is off the rose a bit for Ritchie, but he can still nail a music cue. I've been waiting for someone to hit "That's Entertainment" the way he does on the end credits.

63. Bad Hair (Justin Simien)- In Bad Hair, an African-American woman is told by her boss at a music video channel in 1989 that straightening her hair is the way to get ahead; however, her weave ends up having a murderous mind of its own. Compared to that charged, witty logline, the execution of the plot itself feels like a laborious, foregone conclusion. I'm glad that Simien, a genuinely talented writer, is making movies again though. Drop the skin-care routine, Van Der Beek!

62. Greyhound (Aaron Schneider)- "If this is the type of role that Tom Hanks writes for himself, then he understands his status as America's dad--'wise as the serpent, harmless as the dove'--even better than I thought." "America's Dad! Aye aye, sir!" "At least half of the dialogue is there for texture and authenticity, not there to be understood by the audience." "Fifty percent, Captain!" "The environment looks as fake as possible, but I eventually came around to the idea that the movie is completely devoid of subtext." "No subtext to be found, sir!"

  61. Mank (David Fincher)- About ten years ago, the Creative Screenwriting podcast spent an hour or so with James Vanderbilt, the writer of Zodiac and nothing else that comes close, as he relayed the creative paces that David Fincher pushed him through. Hundreds of drafts and years of collaborative work eventuated in the blueprint for Fincher's most exacting, personal film, which he didn't get a writing credit on only because he didn't seek one.

Something tells me that Fincher didn't ask for rewrites from his dead father. No matter what visuals and performances the director can coax from the script--and, to be clear, these are the worst visuals and performances of his career--they are limited by the muddy lightweight pages. There are plenty of pleasures, like the slippery election night montage or the shakily platonic relationship between Mank and Marion. But Fincher hadn't made a film in six years, and he came back serving someone else's master.

60. Tesla (Michael Almereyda)- "You live inside your head." "Doesn't everybody?"

As usual, Almereyda's deconstructions are invigorating. (No other moment can match the first time Eve Hewson's Anne fact-checks something with her anachronistic laptop.) But they don't add up to anything satisfying because Tesla himself is such an opaque figure. Driven by the whims of his curiosity without a clear finish line, the character gives Hawke something enigmatic to play as he reaches deep into a baritone. But he's too inward to lend himself to drama. Tesla feels of a piece with Almereyda's The Experimenter, and that's the one I would recommend.

59. Vitalina Varela (Pedro Costa)- I can't oversell how delicately beautiful this film is visually. There's a scene in which Vitalina lugs a lantern into a church, but we get several seconds of total darkness before that one light source carves through it and takes over part of the frame. Each composition is as intricate as it is overpowering, achieving a balance between stark and mannered.

That being said, most of the film is people entering or exiting doors. I felt very little of the haunting loss that I think I was supposed to.

58. The Rhythm Section (Reed Morano)- Call it the Timothy Hutton in The General's Daughter Corollary: If a name-actor isn't in the movie much but gets third billing, then, despite whom he sends the protagonist to kill, he is the Actual Bad Guy.  

Even if the movie serves up a lot of cliche, the action and sound design are visceral. I would like to see more from Morano.

57. Red, White and Blue (Steve McQueen)- Well-made and heartfelt even if it goes step-for-step where you think it will.

Here's what I want to know though: In the academy training sequence, the police cadets have to subdue a "berserker"; that is, a wildman who swings at their riot gear with a sledgehammer. Then they get him under control, and he shakes their hands, like, "Good angle you took on me there, mate." Who is that guy and where is his movie? Is this full-time work? Is he a police officer or an independent contractor? What would happen if this exercise didn't go exactly as planned?

56. Wolfwalkers (Tomm Moore and Ross Stewart)- The visuals have an unfinished quality that reminded me of The Tale of Princess Kaguya--the center of a flame is undrawn white, and fog is just negative space. There's an underlying symmetry to the film, and its color palette changes with mood.

Narratively, it's pro forma and drawn-out. Was Riley in Inside Out the last animated protagonist to get two parents? My daughter stuck with it, but she needed a lot of context for the religious atmosphere of 17th century Ireland.

55. What She Said: The Art of Pauline Kael (Rob Garver)- The film does little more than one might expect; it's limited in the way that any visual medium is when trying to sum up a woman of letters. But as far as education for Kael's partnership with Warren Beatty or the idea of The New Yorker paying her for only six months out of the year, it was useful for me.  

Although Garver isn't afraid to point to the work that made Kael divisive, it would have been nice to have one or two interview subjects who questioned her greatness, rather than the crew of Paulettes who, even when they do say something like, "Sometimes I radically disagreed with her," do it without being able to point to any specifics.

54. Beastie Boys Story (Spike Jonze)- As far as this Spike Jonze completist is concerned, this is more of a Powerpoint presentation than a movie, Beastie Boys Story still warmed my heart, making me want to fire up Paul's Boutique again and take more pictures of my buddies.

53. Tenet (Christopher Nolan)- Cool and cold, tantalizing and frustrating, loud and indistinct, Tenet comes close to Nolan self-parody, right down to the brutalist architecture and multiple characters styled like him. The setpieces grabbed me, I'll admit.

Nolan's previous film, which is maybe his best, was "about" a lot and just happened to play with time; Tenet is only about playing with time.

PRETTY GOOD MOVIES

52. Shithouse (Cooper Raiff)- "Death is ass."

There's such a thing as too naturalistic. If I wanted to hear how college freshmen really talked, I would hang out with college freshmen. But you have to take the good verisimilitude with the bad, and good verisimilitude is the mother's Pod Save America t-shirt.

There are some poignant moments (and a gonzo performance from Logan Miller) in this auspicious debut from Cooper Raiff, the writer/director/editor/star. But the second party sequence kills some of the momentum, and at a crucial point, the characters spell out some motivation that should have stayed implied.

51. Totally Under Control (Alex Gibney, Ophelia Harutyunyan, Suzanne Hillinger)- As dense and informative as any other Gibney documentary with the added flex of making it during the pandemic it is investigating.

But yeah, why am I watching this right now? I don't need more reasons to be angry with Trump, whom this film calmly eviscerates. The directors analyze Trump's narcissism first through his contradictions of medical expertise in order to protect the economy that could win him re-election. Then it takes aim at his hiring based on loyalty instead of experience. But you already knew that, which is the problem with the film, at least for now.

50. Happiest Season (Clea Duvall)- I was in the perfect mood to watch something this frothy and bouncy. Every secondary character receives a moment in the sun, and Daniel Levy gets a speech that kind of saves the film at a tipping point.

I must say though: I wanted to punch Harper in her stupid face. She is a terrible romantic partner, abandoning or betraying Abby throughout the film and dissembling her entire identity to everyone else in a way that seems absurd for a grown woman in 2020. Run away, Kristen. Perhaps with Aubrey Plaza, whom you have more chemistry with. But there I go shipping and aligning myself with characters, which only proves that this is an effective romantic comedy.

49. The Way Back (Gavin O’Connor)- Patient but misshapen, The Way Back does just enough to overcome the cliches that are sort of unavoidable considering the genre. (I can't get enough of the parent character who, for no good reason, doesn't take his son's success seriously. "Scholarship? What he's gotta do is put his nose in them books! That's why I don't go to his games. [continues moving boxes while not looking at the other character] Now if you'll excuse me while I wait four scenes before showing up at a game to prove that I'm proud of him after all...")

What the movie gets really right or really wrong in the details about coaching and addiction is a total crap-shoot. But maybe I've said too much already.

48. The Whistlers (Corneliu Porumboiu)- Porumboiu is a real artist who seems to be interpreting how much surveillance we're willing to acknowledge and accept, but I won't pretend to have understood much of the plot, the chapters or which are told out of order. Sometimes the structure works--the beguiling, contextless "high-class hooker" sequence--but I often wondered if the film was impenetrable in the way that Porumboiu wanted it to be or impenetrable in the way he didn't.

To tell you the truth, the experience kind of depressed me because I know that, in my younger days, this film is the type of thing that I would re-watch, possibly with the chronology righted, knowing that it is worth understanding fully. But I have two small children, and I'm exhausted all the time, and I kind of thought I should get some credit for still trying to catch up with Romanian crime movies in the first place.

47. Borat Subsequent Moviefilm (Jason Woliner)- I laughed too much to get overly critical, but the film is so episodic and contrived that it's kind of exhausting by the end--even though it's achieving most of its goals. Maybe Borat hasn't changed, but the way our citizens own their ugliness has.

46. First Cow (Kelly Reichardt)- Despite how little happens in the first forty minutes, First Cow is a thoughtful capitalism parable. Even though it takes about forty minutes to get going, the friendship between Cookie and King-Lu is natural and incisive. Like Reichardt's other work, the film's modest premise unfolds quite gracefully, except for in the first forty minutes, which are uneventful.

45. Les Miserables (Ladj Ly)- I loved parts of the film--the disorienting, claustrophobic opening or the quick look at the police officers' home lives, for example. But I'm not sure that it does anything very well. The needle the film tries to thread between realism and theater didn't gel for me. The ending, which is ambiguous in all of the wrong ways, chooses the theatrical. (If I'm being honest, my expectations were built up by Les Miserables' Jury Prize at Cannes, and it's a bit superficial to be in that company.)

If nothing else, it's always helpful to see how another country's worst case scenario in law enforcement would look pretty good over here.

44. Bad Education (Cory Finley)- The film feels too locked-down and small at the beginning, so intent on developing the protagonist neutrally that even the audience isn't aware of his secrets. So when he faces consequences for those secrets, there's a disconnect. Part of tragedy is seeing the doom coming, right?

When it opens up, however, it's empathetic and subtle, full of a dry irony that Finley is already specializing in after only one other feature. Geraldine Viswanathan and Allison Janney get across a lot of interiority that is not on the page.

43. The Trip to Greece (Michael Winterbottom)- By the fourth installment, you know whether you're on board with the franchise. If you're asking "Is this all there is?" to Coogan and Brydon's bickering and impressions as they're served exotic food in picturesque settings, then this one won't sway you. If you're asking "Is this all there is?" about life, like they are, then I don't need to convince you.  

I will say that The Trip to Spain seemed like an enervated inflection point, at which the squad could have packed it in. The Trip to Greece proves that they probably need to keep doing this until one of them dies, which has been the subtext all along.

42. Feels Good Man (Arthur Jones)- This documentary centers on innocent artist Matt Furie's helplessness as his Pepe the Frog character gets hijacked by the alt-right. It gets the hard things right. It's able to, quite comprehensively, trace a connection from 4Chan's use of Pepe the Frog to Donald Trump's near-assuming of Pepe's ironic deniability. Director Arthur Jones seems to understand the machinations of the alt-right, and he articulates them chillingly.

The easy thing, making us connect to Furie, is less successful. The film spends way too much time setting up his story, and it makes him look naive as it pits him against Alex Jones in the final third. Still, the film is a quick ninety-two minutes, and the highs are pretty high.

41. The Old Guard (Gina Prince-Bythewood)- Some of the world-building and backstory are handled quite elegantly. The relationships actually do feel centuries old through specific details, and the immortal conceit comes together for an innovative final action sequence.

Visually and musically though, the film feels flat in a way that Prince-Bythewood's other films do not. I blame Netflix specs. KiKi Layne, who tanked If Beale Street Could Talk for me, nearly ruins this too with the child-actory way that she stresses one word per line. Especially in relief with one of our more effortless actresses, Layne is distracting.

40. The Trial of the Chicago 7 (Aaron Sorkin)- Whenever Sacha Baron Cohen's Abbie Hoffman opens his mouth, the other defendants brace themselves for his dismissive vulgarity. Even when it's going to hurt him, he can't help but shoot off at the mouth. Of course, he reveals his passionate and intelligent depths as the trial goes on. The character is the one that Sorkin's screenplay seems the most endeared to: In the same way that Hoffman can't help but be Hoffman, Sorkin can't help but be Sorkin. Maybe we don't need a speech there; maybe we don't have to stretch past two hours; maybe a bon mot diffuses the tension. But we know exactly what to expect by now. The film is relevant, astute, witty, benevolent, and, of course, in love with itself. There are a handful of scenes here that are perfect, so I feel bad for qualifying so much.

A smaller point: Daniel Pemberton has done great work in the past (Motherless Brooklyn, King Arthur, The Man from U.N.C.L.E.), but the first sequence is especially marred by his sterile soft-rock approach.

  GOOD MOVIES

39. Time (Garrett Bradley)- The key to Time is that it provides very little context. Why the patriarch of this family is serving sixty years in prison is sort of besides the point philosophically. His wife and sons have to move on without him, and the tragedy baked into that fact eclipses any notion of what he "deserved." Feeling the weight of time as we switch back and forth between a kid talking about his first day of kindergarten and that same kid graduating from dentistry school is all the context we need. Time's presentation can be quite sumptuous: The drone shot of Angola makes its buildings look like crosses. Or is it X's?

At the same time, I need some context. When director Garrett Bradley withholds the reason Robert's in prison, and when she really withholds that Fox took a plea and served twelve years, you start to see the strings a bit. You could argue that knowing so little about why, all of a sudden, Robert can be on parole puts you into the same confused shoes as the family, but it feels manipulative to me. The film is preaching to the choir as far as criminal justice goes, which is fine, but I want it to have the confidence to tell its story above board.

38. Bloody Nose, Empty Pockets (Turner Ross and Bill Ross IV)- I have a barfly friend whom I see maybe once a year. When we first set up a time to meet, I kind of dread it and wonder what we'll have to talk about. Once we do get together, we trip on each other's words a bit, fumbling around with the rhythm of conversation that we mastered decades ago. He makes some kind of joke that could have been appropriate then but isn't now.

By the end of the day, hours later, we're hugging and maybe crying as we promise each other that we won't wait as long next time.

That's the exact same journey that I went on with this film.

37. Underwater (William Eubank)- Underwater is a story that you've seen before, but it's told with great confidence and economy. I looked up at twelve minutes and couldn't believe the whole table had been set. Kristen plays Ripley and projects a smart, benevolent poise.

36. The Lodge (Veronika Franz and Severin Fiala)- I prefer the grounded, manicured first half to the more fantastic second half. The craziness of the latter is only possible through the hard work of the former though. As with Fiala and Franz's previous feature, the visual rhymes and motifs get incorporated into the soup so carefully that you don't realize it until they overwhelm you in their bleak glory.

Small note: Alicia Silverstone, the male lead's first wife, and Riley Keough, his new partner, look sort of similar. I always think that's a nice note: "I could see how he would go for her."

35. Miss Americana (Lana Wilson)- I liked it when I saw it as a portrait of a person whose life is largely decided for her but is trying to carve out personal spaces within that hamster wheel. I loved it when I realized that describes most successful people in their twenties.

34. Sound of Metal (Darius Marder)- Riz Ahmed is showing up on all of the best performances of the year lists, but Sound of Metal isn't in anyone's top ten films of the year. That's about right. Ahmed's is a quiet, stubborn performance that I wish was in service of more than the straight line that we've seen before.

In two big scenes, there's this trick that Ahmed does, a piecing together of consequences with his eyes, as if he's moving through a flow chart in real time. In both cases, the character seems locked out and a little slower than he should be, which is, of course, why he's facing the consequences in the first place. To be charitable to a film that was a bit of a grind, it did make me notice a thing a guy did with his eyes.

33. Pieces of a Woman (Kornel Mundruczo)- Usually when I leave acting showcases like this, I imagine the film without the Oscar-baiting speeches, but this is a movie that specializes in speeches. Pieces of a Woman is being judged, deservedly so, by the harrowing twenty-minute take that opens the film, which is as indulgent as it is necessary. But if the unbroken take provides the "what," then the speeches provide the "why."

This is a film about reclaiming one's body when it rebels against you and when other people seek ownership of it. Without the Ellen Burstyn "lift your head" speech or the Vanessa Kirby show-stopper in the courtroom, I'm not sure any of that comes across.

I do think the film lets us off the hook a bit with the LaBoeuf character, in the sense that it gives us reasons to dislike him when it would be more compelling if he had done nothing wrong. Does his half-remembering of the White Stripes count as a speech?

32. Ma Rainey’s Black Bottom (George C. Wolfe)- This is such a play, not only in the locked-down location but also through nearly every storytelling convention: "Where are the two most interesting characters? Oh, running late? They'll enter separately in animated fashion?" But, to use the type of phrase that the characters might, "Don't hate the player; hate the game."

Perhaps the most theatrical note in this treatise on the commodification of expression is the way that, two or three times, the proceedings stop in their tracks for the piece to declare loudly what it's about. In one of those clear-outs, Boseman, who looks distractingly sick, delivers an unforgettable monologue that transports the audience into his character's fragile, haunted mind. He and Viola Davis are so good that the film sort of buckles under their weight, unsure of how to transition out of those spotlight moments and pretend that the story can start back up. Whatever they're doing is more interesting than what's being achieved overall.

31. Another Round (Thomas Vinterberg)- It's definitely the film that Vinterberg wanted to make, but despite what I think is a quietly shattering performance from Mikkelsen, Another Round moves in a bit too much of a straight line to grab me fully. The joyous final minutes hint at where it could have gone, as do pockets of Vinterberg's filmography, which seems newly tethered to realism in a way that I don't like. The best sequences are the wildest ones, like the uproarious trip to the grocery store for fresh cod, so I don't know why so much of it takes place in tiny hallways at magic hour. I give the inevitable American remake* permission to use these notes.

*- Just spitballing here. Martin: Will Ferrell, Nikolaj (Nick): Ben Stiller, Tommy: Owen Wilson, Peter: Craig Robinson

30. The Invisible Man (Leigh Whannell)- Exactly what I wanted. Exactly what I needed.

I think a less conclusive finale would have been better, but what a model of high-concept escalation. This is the movie people convinced me Whannell's Upgrade was.

29. On the Rocks (Sofia Coppola)- Slight until the Mexican sojourn, which expands the scope and makes the film even more psychosexual than before. At times it feels as if Coppola is actively simplifying, rather than diving into the race and privilege questions that the Murray character all but demands.

As for Murray, is the film 50% worse without him? 70%? I don't know if you can run in supporting categories if you're the whole reason the film exists.

28. Mangrove (Steve McQueen)- The first part of the film seemed repetitive and broad to me. But once it settled in as a courtroom drama, the characterization became more shaded, and the filmmaking itself seemed more fluid. I ended up being quite outraged and inspired.

27. Shirley (Josephine Decker)- Josephine Decker emerges as a real stylist here, changing her foggy, impressionistic approach not one bit with a little more budget. Period piece and established actors be damned--this is still as much of a reeling fever dream as Madeline's Madeline. Both pieces are a bit too repetitive and nasty for my taste, but I respect the technique.

Here's my mandatory "Elisabeth Moss is the best" paragraph. While watching her performance as Shirley Jackson, I thought about her most famous role as Peggy on Mad Men, whose inertia and need to prove herself tied her into confidence knots. Shirley is almost the opposite: paralyzed by her worldview, certain of her talent, rejecting any empathy. If Moss can inhabit both characters so convincingly, she can do anything.

26. An American Pickle (Brandon Trost)- An American Pickle is the rare comedy that could actually use five or ten extra minutes, but it's a surprisingly heartfelt and wholesome stretch for Rogen, who is earnest in the lead roles.

25. The King of Staten Island (Judd Apatow)- At two hours and fifteen minutes, The King of Staten Island is probably the first Judd Apatow film that feels like the exact right length. For example, the baggy date scene between a gracious Bill Burr and a faux-dowdy Marisa Tomei is essential, the sort of widening of perspective that something like Trainwreck was missing.

It's Pete Davidson's movie, however, and though he has never been my cup of tea, I think he's actually quite powerful in his quiet moments. The movie probes some rare territory--a mentally ill man's suspicion that he is unlovable, a family's strategic myth-making out of respect for the dead. And when Davidson shows up at the firehouse an hour and fifteen minutes in, it feels as if we've built to a last resort.

24. Swallow (Carlo Mirabella-Davis)- The tricky part of this film is communicating Hunter's despair, letting her isolation mount, but still keeping her opaque. It takes a lot of visual discipline to do that, and Claudio Mirabella-Davis is up to the task. This ends up being a much more sympathetic, expressive movie than the plot description might suggest.

(In the tie dispute, Hunter and Richie are both wrong. That type of silk--I couldn't tell how pebbled it was, but it's probably a barathea weave-- shouldn't be ironed directly, but it doesn't have to be steamed. On a low setting, you could iron the back of the tie and be fine.)

23. The Vast of Night (Andrew Patterson)- I wanted a bit more "there" there; The film goes exactly where I thought it would, and there isn't enough humor for my taste. (The predictability might be a feature, not a bug, since the film is positioned as an episode of a well-worn Twilight Zone-esque show.)

But from a directorial standpoint, this is quite a promising debut. Patterson knows when to lock down or use silence--he even cuts to black to force us to listen more closely to a monologue. But he also knows when to fill the silence. There's a minute or so when Everett is spooling tape, and he and Fay make small talk about their hopes for the future, developing the characters' personalities in what could have been just mechanics. It's also a refreshingly earnest film. No one is winking at the '50s setting.

I'm tempted to write, "If Andrew Patterson can make this with $1 million, just imagine what he can do with $30 million." But maybe people like Shane Carruth have taught us that Patterson is better off pinching pennies in Texas and following his own muse.

22. Martin Eden (Pietro Marcello)- At first this film, adapted from a picaresque novel by Jack London, seemed as if it was hitting the marks of the genre. "He's going from job to job and meeting dudes who are shaping his worldview now." But the film, shot in lustrous Super 16, won me over as it owned the trappings of this type of story, forming a character who is a product of his environment even as he transcends it. By the end, I really felt the weight of time.

You want to talk about something that works better in novels than films though? When a passionate, independent protagonist insists that a woman is the love of his life, despite the fact that she's whatever Italians call a wet blanket. She's rich, but Martin doesn't care about her money. He hates her family and friends, and she refuses to accept him or his life pursuits. She's pretty but not even as pretty as the waitress they discuss. Tell me what I'm missing here. There's archetype, and there's incoherence.

21. Bacurau (Kleber Mendonca Filho and Juliano Dornelles)- Certain images from this adventurous film will stick with me, but I got worn out after the hard reset halfway through. As entranced as I was by the mystery of the first half, I think this blood-soaked ensemble is better at asking questions than it is at answering them.

20. Let Them All Talk (Steven Soderbergh)- The initial appeal of this movie might be "Look at these wonderful actresses in their seventies getting a movie all to themselves." And the film is an interesting portrait of ladies taking stock of relationships that have spanned decades. But Soderbergh and Eisenberg handle the twentysomething Lucas Hedges character with the same openness and empathy. His early reasoning for going on the trip is that he wants to learn from older women, and Hedges nails the puppy-dog quality of a young man who would believe that. Especially in the scenes of aspirational romance, he's sweet and earnest as he brushes his hair out of his face.

Streep plays Alice Hughes, a serious author of literary fiction, and she crosses paths with Kelvin Kranz, a grinder of airport thrillers. In all of the right ways, Let Them All Talk toes the line between those two stances as an entertaining, jaunty experiment that also shoulders subtextual weight. If nothing else, it's easy to see why a cruise ship's counterfeit opulence, its straight lines at a lean, would be visually engaging to Soderbergh. You can't have a return to form if your form is constantly evolving.

19. Dick Johnson Is Dead (Kirsten Johnson)- Understandably, I don't find the subject as interesting as his own daughter does, and large swaths of this film are unsure of what they're trying to say. But that's sort of the point, and the active wrestling that the film engages in with death ultimately pays off in a transcendent moment. The jaw-dropping ending is something that only non-fiction film can achieve, and Johnson's whole career is about the search for that sort of serendipity.

18. Da 5 Bloods (Spike Lee)- Delroy Lindo is a live-wire, but his character is the only one of the principals who is examined with the psychological depth I was hoping for. The first half, with all of its present-tense flourishes, promises more than the gunfights of the second half can deliver. When the film is cooking though, it's chock full of surprises, provocations, and pride.

17. Never Rarely Sometimes Always (Eliza Hittmann)- Very quickly, Eliza Hittmann has established herself as an astute, empathetic director with an eye for discovering new talent. I hope that she gets to make fifty more movies in which she objectively follows laconic young people. But I wanted to like this one more than I did. The approach is so neutral that it's almost flat to me, lacking the arc and catharsis of her previous film, Beach Rats. I still appreciate her restraint though.

GREAT MOVIES

16. Young Ahmed (Jean-Pierre Dardenne and Luc Dardenne)- I don't think the Dardennes have made a bad movie yet, and I'm glad they turned away from the slight genre dipping of The Unknown Girl, the closest to bad that they got. Young Ahmed is a lean, daring return to form.

Instead of following an average person, as they normally do, the Dardenne Brothers follow an extremist, and the objectivity that usually generates pathos now serves to present ambiguity. Ahmed says that he is changing, that he regrets his actions, but we never know how much of his stance is a put-on. I found myself wanting him to reform, more involved than I usually am in these slices of life. Part of it is that Idir Ben Addi looks like such a normal, young kid, and the Ahmed character has most of the qualities that we say we want in young people: principles, commitment, self-worth, reflection. So it's that much more destructive when those qualities are used against him and against his fellow man.

15. World of Tomorrow Episode Three: The Absent Destinations of David Prime (Don Hertzfeldt)- My dad, a man whom I love but will never understand, has dismissed modern music before by claiming that there are only so many combinations of chords. To him, it's almost impossible to do something new. Of course, this is the type of thing that an uncreative person would say--a person not only incapable of hearing the chords that combine notes but also unwilling to hear the space between the notes. (And obviously, that's the take of a person who doesn't understand that, originality be damned, some people just have to create.)

  Anyway, that attitude creeps into my own thinking more than I would like, but then I watch something as wholly original as World of Tomorrow Episode Three. The series has always been a way to pile sci-fi ideas on top of each other to prove the essential truths of being and loving. And this one, even though it achieves less of a sense of yearning than its predecessor, offers even more devices to chew on. Take, for example, the idea that Emily sends her message from the future, so David's primitive technology can barely handle it. In order to move forward with its sophistication, he has to delete any extraneous skills for the sake of computer memory. So out of trust for this person who loves him, he has to weigh whether his own breathing or walking can be uninstalled as a sacrifice for her. I thought that we might have been done describing love, but there it is, a new metaphor. Mixing futurism with stick figures to get at the most pure drive possible gave us something new. It's called art, Dad.

14. On the Record (Kirby Dick and Amy Ziering)- We don't call subjects of documentaries "stars" for obvious reasons, but Drew Dixon kind of is one. Her honesty and wisdom tell a complete story of the #MeToo movement. Kirby Dick and Amy Ziering take their time developing her background at first, not because we need to "gain sympathy" or "establish credibility" for a victim of sexual abuse, but because showing her talent and enthusiasm for hip-hop A&R makes it that much more tragic when her passion is extinguished. Hell, I just like the woman, so spending a half-hour on her rise was pleasurable in and of itself.

  This is a gut-wrenching, fearless entry in what is becoming Dick and Ziering's raison d'etre, but its greatest quality is Dixon's composed reflection. She helped to establish a pattern of Russell Simmons's behavior, but she explains what happened to her in ways I had never heard before.

13. David Byrne’s American Utopia (Spike Lee)- I'm often impressed by the achievements that puzzle me: How did they pull that off? But I know exactly how David Byrne pulled off the impish but direct precision of American Utopia: a lot of hard work.

I can't blame Spike Lee for stealing a page from Demme's Stop Making Sense: He denies us a close-up of any audience members until two-thirds of the way through, when we get someone in absolute rapture.

12. One Night in Miami... (Regina King)- We've all cringed when a person of color is put into the position of speaking on behalf of his or her entire race. But the characters in One Night in Miami... live in that condition all the time and are constantly negotiating it. As Black public figures in 1964, they know that the consequences of their actions are different, bigger, than everyone else's. The charged conversations between Malcolm X and Sam Cooke are not about whether they can live normal lives. They're way past that. The stakes are closer to Sam Cooke arguing that his life's purpose aligns with the protection and elevation of African-Americans while Malcolm X argues that those pursuits should be the same thing. Late in the movie, Cassius Clay leaves the other men, a private conversation, to talk to reporters, a public conversation. But the film argues that everything these men do is always already public. They're the most powerful African-Americans in the country, but their lives are not their own. Or not only their own.

It's true that the first act has the clunkiness and artifice of a TV movie, but once the film settles into the motel room location and lets the characters feed off one another, it's gripping. It's kind of unfair for a movie to get this many scenes of Leslie Odom Jr. singing, but I'll take it.

11. Saint Frances (Alex Thompson)- Rilke wrote, "Perhaps everything terrible is in its deepest being something helpless that wants help from us." The characters' behavior in Saint Frances--all of these fully formed characters' behavior--made me think of that quotation. When they lash out at one another, even at their nastiest, the viewer has a window into how they're expressing pain they can't verbalize. The film is uneven in its subtlety, but it's a real showcase for screenwriter and star Kelly O'Sullivan, who is unflinching and dynamic in one of the best performances of the year. Somebody give her some of the attention we gave to Zach Braff for God's sake.

10. Boys State (Jesse Moss and Amanda McBaine)- This documentary is kind of a miracle from a logistical standpoint. From casting interviews beforehand, lots of editing afterwards, or sly note-taking once the conference began, McBaine and Moss happened to select the four principals who mattered the most at the convention, then found them in rooms full of dudes wearing the same tucked-in t-shirt. By the way, all of the action took place over the course of one week, and by definition, the important events are carved in half.

To call Boys State a microcosm of American politics is incorrect. These guys are forming platforms and voting in elections. What they're doing is American politics, so when they make the same compromises and mistakes that active politicians do, it produces dread and disappointment. So many of the boys are mimicking the political theater that they see on TV, and that sweaty sort of performance is going to make a Billy Mitchell out of this kid Ben Feinstein, and we'll be forced to reckon with how much we allow him to evolve as a person. This film is so precise, but what it proves is undeniably messy. Luckily, some of these seventeen-year-olds usher in hope for us all.

If nothing else, the film reveals the level to which we're all speaking in code.

9. The Nest (Sean Durkin)- In the first ten minutes or so of The Nest, the only real happy minutes, father and son are playing soccer in their quaint backyard, and the father cheats to score on a children's net before sliding on the grass to rub in his victory. An hour later, the son kicks the ball around by himself near a regulation goal on the family's massive property. The contrast is stark and obvious, as is the symbolism of the dead horse, but that doesn't mean it's not visually powerful or resonant.

Like Sean Durkin's earlier film, Martha Marcy May Marlene, the whole of The Nest is told with detail of novelistic scope and an elevation of the moment. A snippet of radio that mentions Ronald Reagan sets the time period, rather than a dateline. One kid saying "Thanks, Dad" and another kid saying, "Thanks, Rory" establishes a stepchild more elegantly than any other exposition might.

But this is also a movie that does not hide what it means. Characters usually say exactly what is on their minds, and motivations are always clear. For example, Allison smokes like a chimney, so her daughter's way of acting out is leaving butts on the window sill for her mother to find. (And mother and daughter both definitely "act out" their feelings.) On the other hand, Ben, Rory's biological son, is the character least like him, so these relationships aren't too directly parallel. Regardless, Durkin uses these trajectories to cast a pall of familial doom.

8. Sorry We Missed You (Sean Durkin)- Another precisely calibrated empathy machine from Ken Loach. The overwhelmed matriarch, Abby, is a caretaker, and she has to break up a Saturday dinner to rescue one of her clients, who wet herself because no one came to help her to the bathroom. The lady is embarrassed, and Abby calms her down by saying, "You mean more to me than you know." We know enough about Abby's circumstances to realize that it's sort of a lie, but it's a beautiful lie, told by a person who cares deeply but is not cared for.

Loach's central point is that the health of a family, something we think of as immutable and timeless, is directly dependent upon the modern industry that we use to destroy ourselves. He doesn't have to be "proven" relevant, and he didn't plan for Covid-19 to point to the fragility of the gig economy, but when you're right, you're right.

7. Lovers Rock (Steve McQueen)- swear to you I thought: "This is an impeccable depiction of a great house party. The only thing it's missing is the volatile dude who scares away all the girls." And then the volatile dude who scares away all the girls shows up.

In a year short on magic, there are two or three transcendent moments, but none of them can equal the whole crowd singing along to "Silly Games" way after the song has ended. Nothing else crystallizes the film's note of celebration: of music, of community, of safe spaces, of Black skin. I remember moments like that at house parties, and like all celebrations, they eventually make me sad.

6. Crip Camp: A Disability Revolution (Nicole Newnham and James Lebrecht)- I held off on this movie because I thought that I knew what it was. The setup was what I expected: A summer camp for the disabled in the late '60s takes on the spirit of the time and becomes a haven for people who have not felt agency, self-worth, or community anywhere else. But that's the right-place-right-time start of a story that takes these figures into the '80s as they fight for their rights.

If you're anything like my dumb ass, you know about 504 accommodations from the line on a college syllabus that promises equal treatment. If 2020 has taught us anything though, it's that rights are seized, not given, and this is the inspiring story of people who unified to demand what they deserved. Judy Heumann is a civil rights giant, but I'm ashamed to say I didn't know who she was before this film. If it were just a history lesson that wasn't taught in school, Crip Camp would still be valuable, but it's way more than that.

5. Palm Springs (Max Barbakow)- When explaining what is happening to them, Andy Samberg's Nyles twirls his hand at Cristin Milioti's Sara and says, "It's one of those infinite time-loop scenarios." Yeah, one of those. Armed with only a handful of fictional examples, she and the audience know exactly what he means, and the continually inventive screenplay by Andy Siara doesn't have to do any more explaining. In record time, the film accelerates into its premise, involves her, and sets up the conflict while avoiding the claustrophobia of even Groundhog Day. That economy is the strength that allows it to be as funny as it is. By being thrifty with the setup, the savings can go to, say, the couple crashing a plane into a fiery heap with no consequences.

In some accidental ways, this is, of course, a quarantine romance as well. Nyles and Sara frustratingly navigate the tedious wedding as if they are play-acting--which they sort of are--then they push through that sameness to grow for each other, realizing that dependency is not weakness. The best relationships are doing the same thing right now.

  Although pointedly superficial--part of the point of why the couple is such a match--and secular--I think the notion of an afterlife would come up at least once--Palm Springs earns the sincerity that it gets around to. And for a movie ironic enough to have a character beg to be impaled so that he doesn't have to sit in traffic, that's no small feat.

  4. The Assistant (Kitty Green)- A wonder of Bressonian objectivity and rich observation, The Assistant is the rare film that deals exclusively with emotional depth while not once explaining any emotions. One at a time, the scrape of the Kleenex box might not be so grating, the long hallway trek to the delivery guy might not be so tiring, but this movie gets at the details of how a job can destroy you in ways that add up until you can't even explain them.

3. Promising Young Woman (Emerald Fennell)- In her most incendiary and modern role, Carey Mulligan plays Cassie, which is short for Cassandra, that figure doomed to tell truths that no one else believes. The web-belted boogeyman who ruined her life is Al, short for Alexander, another Greek who is known for his conquests. The revenge story being told here--funny in its darkest moments, dark in its funniest moments--is tight on its surface levels, but it feels as if it's telling a story more archetypal and expansive than that too.

  An exciting feature debut for its writer-director Emerald Fennell, the film goes wherever it dares. Its hero has a clear purpose, and it's not surprising that the script is willing to extinguish her anger halfway through. What is surprising is the way it renews and muddies her purpose as she comes into contact with half-a-dozen brilliant one- or two-scene performances. (Do you think Alfred Molina can pull off a lawyer who hates himself so much that he can't sleep? You would be right.)

Promising Young Woman delivers as an interrogation of double standards and rape culture, but in quiet ways it's also about our outsized trust in professionals and the notion that some trauma cannot be overcome.

INSTANT CLASSICS

2. Soul (Pete Docter)- When Pete Docter's Up came out, it represented a sort of coronation for Pixar: This was the one that adults could like unabashedly. The one with wordless sequences and dead children and Ed Asner in the lead. But watching it again this week with my daughter, I was surprised by how high-concept and cloying it could be. We choose not to remember the middle part with the goofy dog stuff.

Soul is what Up was supposed to be: honest, mature, stirring. And I don't mean to imply that a family film shouldn't make any concessions to children. But Soul, down to the title, never compromises its own ambition. Besides Coco, it's probably the most credible character study that Pixar has ever made, with all of Joe's growth earned the hard way. Besides Inside Out, it's probably the wittiest comedy that Pixar has ever made, bursting with unforced energy.

There's a twitter fascination going around about Dez, the pigeon-figured barber character whose scene has people gushing, "Crush my windpipe, king" or whatever. Maybe that's what twitter does now, but no one fantasized about any characters in Up. And I count that as progress.

1. I’m Thinking of Ending Things (Charlie Kaufman)- After hearing that our name-shifting protagonist moonlights as an artist, a no-nonsense David Thewlis offers, "I hope you're not an abstract artist." He prefers "paintings that look like photographs" over non-representational mumbo-jumbo. And as Jessie Buckley squirms to try to think of a polite way to talk back, you can tell that Charlie Kaufman has been in the crosshairs of this same conversation. This morose, scary, inscrutable, expressionist rumination is not what the Netflix description says it is at all, and it's going to bother nice people looking for a fun night in. Thank God.

The story goes that Steven Spielberg and George Lucas, when constructing Raiders of the Lost Ark, sought to craft a movie that was "only the good parts" with little of the clunky setup that distracted from action. What we have here is a Charlie Kaufman movie with only the Charlie Kaufman moments, less interested than ever before at holding one's hand. The biting humor is here, sometimes aimed at philistines like the David Thewlis character above, sometimes at the niceties that we insist upon. The lonely horror of everyday life is here, in the form of missed calls from oneself or the interruption of an inner monologue. Of course, communicating the overwhelming crush of time, both unknowable and familiar, is the raison d'etre.

A new pet motif seems to be the way that we don't even own our own knowledge. The Young Woman recites "Bonedog" by Eva H.D., which she claims/thinks she wrote, only to find Jake's book open to that page, next to a Pauline Kael book that contains a Woman Under the Influence review that she seems to have internalized later. When Jake muses about Wordsworth's "Lucy Poems," it starts as a way to pass the time, then it becomes a way to lord his education over her, then it becomes a compliment because the subject resembles her, then it becomes a way to let her know that, in the grand scheme of things, she isn't that special at all. This film jerks the viewer through a similar wintry cycle and leaves him with his own thoughts. It's not a pretty picture, but it doesn't look like anything else.

[shirtlesssammy]

10x14: The Executioner's Song

A guard checks the halls of a death row prison. Tommy, a prisoner, taunts him, while another guard watches the exchange on a monitor. The guard walks away to get coffee. The lights in the prison hall flicker, and a man walks towards Tommy’s cell.

The first guard makes it back to their monitoring station to see the man approach Tommy’s cell. The lights go dark, and then flash back on to an empty hallway.

The man is inside Tommy’s cell though —and it’s CAIN! He taunts him, and then stabs him through the abdomen. They disappear.

While driving to the prison, Dean quizzes Sam about his ridiculously good knowledge of serial killers. Oh Sam, never change. Sam then fills Dean in on the killer that went missing. A supernatural serial killer is Sam’s jam!

They check out the prison cell and talk with the warden.

The warden shows them the security footage, and through the magic of television, they zoom in  enough for Dean to recognize Cain’s profile.

Cas is busy interrogating a demon for the whereabouts of Cain. He’s been seen but low-level demons keep their distance.

For Interrogation Science:

Getting all he can from the demon, Cas stabs him dead.

Crowley, meanwhile, is bored with the bureaucratic hell he created for himself. Rowena is still poking the bear with her own little machinations.

Sam discovers that Tommy’s dad disappeared about a week prior. Dean gets a call from Cas revealing that Tommy is dead.

Dean asks where Cas is, but Cas senses something and tells him he’ll call back. Cain appears.

Cain tells Cas that he had to kill again with Abandon gunning for him. He liked how it felt, and now he’s on a mission to kill all his children.

Cain asks after Dean, and just by looking at Cas’s worried face, knows that Dean isn’t well. Cain tells Cas not to worry. “I’ll get to him in due time.” Lol, Cas draws his angel blade SO FAST, but Cain disappears.

Rowena asks her favor for Crowley to find Olivette, the leader of the Grand Coven, and Crowley realizes that Rowena was playing a long con to get in his good graces. Rowena laughs and tells him that they could have fun together —away from the doldrums of Hell. Crowley walks away.

For Profile Science:

TFW meet back at the bunker. Sam confirms that Cain is wiping out whole families —and Tommy had a son. Dean’s ready to hit the road and find the boy —to find Cain.

And when he finds him, he’ll kill him. He’s the only one that can do it. Sam worries that wielding the First Blade against Cain will destroy Dean. Dean knows.

Rowena shows Crowley her plans for abducting Olivette. Dean interrupts though and tells Crowley he needs to bring them the Blade. Cain has a kill list and Crowley is on it. Rowena continues to chortle over her revenge plans, but Crowley puts the kibosh on it, grabbing the First Blade out of a laughably easily accessed “secret” storage compartment. Rowena shames Crowley for what she sees as an utterly stupid choice: handing the blade over to Dean is surely a death sentence. 

At a farm, Team Free Will locates Cain’s next target. They go over the plan: hang out and wait until Cain arrives, and then Dean kills him! Easy peasy. Crowley appears and immediately voices his concern about the “risk to us.” 

“There is no us,” Dean retorts. GOOD lord, show. Crowley decrees that he’s going to stick around and hold onto the blade until Cain’s trapped...so it’s one big happy PARTY! 

Cut to Sam and Dean failing to watch over the basketball-playing kid while they talk about emotions. Dean’s afraid.

Cain appears at the farm ready to kill the kid, when Cas intervenes. Cas orders the kid to run while he takes on Cain. Cas gets all glowy!

But barely a lock of Cain’s magnificent hair can be budged by Cas. Chucking Cas to the side with a little bit of demon mojo, Cain heads after the kid. Sam tries to hold the barn doors closed, but Cain skips doors altogether and zaps in right next to the kid. He stabs him, but instead of a horrible death the kid explodes into purple magic. An illusion! 

Cain’s unimpressed. “The rune of amaranth,” he guesses, and Crowley confirms it. (Now, you just need to learn that, Sammy, and you can also be a witch!) Cain traces the boundaries of his devil’s trap cage, while Sam, Cas, and Crowley worriedly arm Dean with the blade. Dean implores them to take him down if he comes out shooting metaphorical black lasers out of his eyes. 

For MMHMMM Cas Science:

The staging of the actors says it all about Dean’s dark path. Also, breakups can be weird, y’all.

Dean powers up, blade in hand, and then smiles. We’re...so comforted? He heads up to confront Cain, who continues to prowl the devil’s trap. Cain insists that killing off his descendants is the best service he can do for the world. He asks Dean how it feels to hold the blade again. “It feels like a means to an end,” Dean totally lies. Dean walks into the devil’s trap and they start to fight. 

It’s not looking so good for our Dean Bean, and Cain’s disappointed. He thinks Dean’s been holding back, like that might save him from fully deep-diving into the Mark. Even as he rips the blade away, Cain identifies Dean’s biggest weakness as his bravado. (Uh, I’d say it’s his hair-trigger temper or perhaps his endless self-loathing.) Cain drinks in the power of the blade, and hurls Dean to the ground.

“Have you ever mused on the fact that you’re living my life in reverse?” Cain asks. He predicts that Dean’s story will end in his brother’s death. “First, you'd kill Crowley. There'd be some strange mixed feelings on that one, but you'd have your reason. You'd get it done, no remorse. And then you'd kill the angel, Castiel. Now, that one… That I suspect would hurt something awful. And then would come the murder you'd never survive, the one that would finally turn you into as much of a savage as it did me.” Cain starts to bring the first blade down on Dean, when Dean pulls a Darth Vader and slices off Cain’s hand. 

Dean grabs up the First Blade and looks upon Cain, seeing his sorry future. “Tell me I don’t have to do this. Tell me that you’ll stop.” Cain can promise no such thing, so Dean swallows and passes judgment on Cain...and on himself. He brings up the blade over a kneeling Cain and brings it down with an anguished cry. JENSEN ACKLES YOUR FACE IS KILLING ME. Dean walks the blade back down to his waiting friends, looking utterly lost. 

For Quit Your Damn Face Science:

After a long hesitation, Dean hands the blade to....Castiel. 

Dean reveals that he played Crowley - the demon was never on Cain’s list. Dean gets a Sam hug, and we all feel GREAT and not broken at ALL.

Crowley returns to Hell, greeted by despondent piano music and Rowena. She’s packed her bags! She tells him she was devastated to learn of his mortal death, and that she was wildly proud to find him King of Hell. She tells him that now he’s nothing but a “sad, bored wee boy on the throne” and she can’t bear to stay longer.  

Back at the bunker, Dean drinks coffee and broods. Sam tries to look on the bright side - Dean’s drinking coffee and not murdering anyone! Yay! Cas returns, revealing that he stowed the blade “somewhere safe.” WHERE, CAS? WHERE IS THE BLADE? Must I go past the series’ end and never know where your secret treasure cave is??? (Side note: That’s what Dean said.)

Dean leaves the kitchen, and bro-pats Cas on the shoulder.

Cas asks how Sam is doing and the answer is….NOT GREAT. “Dean’s in trouble,” Sam says, and we fade to black.

Mother Always Said You Would Quote My Heart:

It's called true crime, Dean. It's a hobby

Consorting with hunters!

Have you never mused upon the fact that you're living my life in reverse? My story began when I killed my brother, and that's where your story inevitably will end

#spn recap #dean winchester #sam winchester #castiel #cas #spn rewatch #spn 10x14 #the executioner's song #crowley #rowena #cain #supernatural season 10

[marvel--queen]

Hear the Music || Armitage Hux || Part One

Fandom: Star Wars

Word Count: 1,441

Warnings: few swear words, thats like it i think?

Description: (Y/N) is a grey jedi who used to train under Luke Skywalker with Ben. After surviving Ben’s attack on the temple, they lived life successfully on the run from Kylo and the First Order, until Kylo finally found them and offered them a proposition. 

Masterlist

Hear the Music Masterlist

A/N: ahhhh im alive!! happy star wars day! i love this funky man named domhnall gleeson. this has been in my notes forever and i finally got the motivation to finish it. hoping to turn this into a series but we know how well i am at finishing things(hint: not well at all) please enjoy. more interaction with hux to come next part. also i’m trying to keep it as gender neutral as i can so everyone can enjoy it :) also any feedback y'all can give would be great, what did you like about it, what can i do different, what do you think will happen? i'm a sucker for attention

THIS IS NOT MY GIF. GIF CREDITS GOES TO THE OWNER(I tried searching for whoever made this gif but I couldn’t find it! If anyone knows please let me know so I can properly give credit)

--

You loved how free your life was. Sure sneaking past the First Order checkpoints aren’t ideal to freedom but the exhilaration of almost getting caught fuels you on. It reminds you of the time you and Ben would sneak out of your huts at night to have fun and be teenagers. Many nights spent by the flowing river as you used the force to chuck a multitude of stones at Ben or after you both crafted your own lightsabers, choreographing your own fight scenes, dancing around each other's glowing blades. But those moments were short-lived.

You wish you could say you were surprised when Ben snapped but that boy had so much pent up anger, it was bound to explode one way or another. You were lucky enough to escape with a few burns and a broken arm. Unfortunately, the majority of your peers weren’t as lucky. You had limped away from the scene, clutching your arm with tears burning in your eyes as you followed Ben with only anger set on your mind. Before you could get very far, Master Skywalker stopped you. And that was when you parted from the damaged temple. 

Traveling on your own was an adjustment. Fighting for your life just to live another day, it only furthered your ideal as a Grey Jedi. Even as a kid, you had issues seeing only a good side and a bad side and to this day, you refuse to believe there is only good or only bad. But now you’re free, free from the constant preaching of goodness and the blindness of the evil. You were finally at peace. 

But peace can only last so long. You should’ve known when you felt the shift in the force, that it was time to pack up and trek on, but you were stubborn. Which made your current position much more irritating. They came into your home at night, you fought the best you could with sleep clouding your mind but there were too many of them and you were just too tired. After years of successfully avoiding the First Order and Kylo Ren, your past caught up to you and it was time to hear the music. 

So there you laid, strapped to a First Order interrogation bed. You thought you’d be angrier when the time came but you just laid there, eyes closed, calm, waiting for the little shit to arrive so you could spit in his face. You could feel him in the area, following his footsteps in your mind until it stopped, in front of your door. 

You called out to him, with your mind, smirking, “How does it feel to finally successfully kill a master, Ben?”

The door whooshed open to show the angry face of your old friend. “Get out of my mind,” He childishly yelled, pointing a threatening finger at you.

“You’d think after so many years, you would finally grow up,” You challenged him with a raised eyebrow.

“Shut up!” He glared, “When were you this,” He struggled to find his words. “Infuriating?” You picked the word from his mind and he tried to push you out, to which you only laughed. “I was always stronger in the force than you, Ben.” “It’s Kylo,” Kylo narrowed his eyes at you angrily. “And yet here I am more powerful than you could ever be.”

You rolled your eyes, “I’m not calling you that childish name.”

“Then Supreme Leader,” He crossed his arms, “Which is why I searched for you. Join me.”

You choked on air and threw your head back laughing hysterically. This only enraged him even more, “Why are you laughing?! Join me, be my enforcer, my right hand. We can rule this galaxy together.”

“I-I’m sorry,” You laughed, raising your hand to your chest to control your breathing. You had released yourself from the restraints not too long ago. “But you want me to join you on the ‘Dark Side’” You made air quotes as you said “Dark Side” sarcastically. “This is priceless, but the answer is no.” You crossed your arms.

“Then you best get comfortable,” Kylo turned to leave but you weren’t content with his last word. 

You raised your arm and yank it to the side, slamming Kylo’s body against the walls and pinned him there. “You may have more power, but I’m still stronger, Ben.” You spat out as Kylo struggled against your force. “I was living a peaceful, free life and you, yet again, ruined it”

The door to the right of you swiftly opened and you reached out your right hand, ready to attack whoever entered. A pale man entered, head down looking at the datapad resting on his arm. 

“I don’t understan- oh?“ He started speaking before looking up, surprised but also smug to see Ren’s position. “As delighted I am to see someone best him, could you please release the Supreme Leader.”

You smiled at the General, taking note of his uniform, before turning to Kylo, “Ooh, I like this one,” You nodded your head to the man, before forcing Kylo to the ground and releasing him. You turned back to the General with a flirty smile, “Got a name, General?”

“Hux,” The man, you now know as General Hux, responded, amused with the interaction he’s witnessing. Behind you, Kylo stood up and brushed the dust off of his clothes, before charging to subdue you.

“General Hux,” You tested the name, tapping your chin, “Don’t tell me your first name is General.” You casually sent Kylo flying away from you as you teased the General. 

“Armitage,” He sent a fleeting look to Kylo as he flew and slumped on the floor, groaning. 

Your smile widened, “Nice to meet you, General Armitage Hux.” You lent your hand out for a handshake, which Hux accepted, eyes locked together. To the side of you both, Kylo braced himself against the wall before readying himself for another go at you. You rolled your eyes, excused yourself, and turned to Kylo with a glare, “Will you behave?! I’m trying to have a pleasant conversation with General Hux.” You turned back to Hux with a mysterious glint in your eyes, “You’d think he’d give up after so many failures, I’m sorry you had to deal with him for so long.”

Kylo’s face flushed red from anger at your jab. “General, you’re dismissed,” He sent a glare to you, "I’ll deal with the prisoner.”

Hux sent Kylo a side look before nodding, turning to leave. 

“Don’t be a stranger, General,” You tell him, shamelessly admiring his back profile, “I got a feeling I’ll be here for a while.” Hux turned briefly, catching you checking him out, only for you to send him a wink and Kylo to glare at the man to leave immediately. You watched him leave until the door closed. “Nice man,” You turn to Kylo with a grin. 

“Are you done?” Kylo deadpanned, unamused with your behavior. 

“Never,” You teased, pinching his cheek. He retaliated by smacking your hand and gripping your wrist hard. 

“This isn’t a fucking game,” He sneered through gritted teeth as he roughly released your wrist, to which you rubbed gingerly and glared at him. 

“Relax, Ben. If I wanted to hurt you, I would’ve done more than just toss you around the room. You’re too serious.” You hopped back onto the bed and looked at your old best friend, waiting for his next move.

After a beat of nothing, you rolled your eyes, leaning back onto your hands you placed behind you. “Honestly, now I see your appeal to the ‘Dark Side’” You shifted your weight to one hand to air quote “Dark Side”. “If all the men looked like that,” You whistled, eyes focused on the door the General left through. “Too bad, I don’t believe in the Dark Side. Doesn’t mean I can’t admire,” You smirked looking at Kylo as you swung your legs.

Kylo grimaced at your comments, “Do you ever shut up?” You smirked and opened your mouth to respond but he cut you off by raising his hand, “Never mind, don’t answer that.” He moved towards the door, opening it and looking at you, “Maybe some quiet will do you some good. Think about my offer.” 

He steps out of the room and before the door closes, you shout after him, “Please tell the General, he’s free to visit anytime!” 

Kylo flipped you off as he stormed down the hall. You giggle to yourself, pleased with everything that unfolded. Maybe your break at peace wouldn’t be so bad, especially after meeting that red-headed General you’re already fond of.

#hear the music #armitage hux x reader #general hux x reader #armitage hux #general hux #kylo ren #ben solo #star wars #star wars x reader #star wars imagine #marvel--queen

[trenchcas]

episode origins p1

i was watching moriah earlier today and was wondering what the significance of the name moriah was, so i searched it up. i’ll explain it here in this. i wanted to learn which episodes have titles derived from pop culture, literature, etc. so i put together this list. it’s not complete, feel free to reblog with more!

why did i waste hours on my life on this, you ask? i don’t know. 

season 1

pilot: obviously, all the first episodes of shows are called pilots. nothing new here.

wendigo: they’re fighting a wendigo

dead in the water: the phrase means “unable to function, move”.

phantom traveler: the name of the demon they’re fighting

bloody mary: based off the legend

skin: shapeshifters, also there might be a meta about how it’s a metaphor for dean

hook man: they’re fighting a hook man

bugs: bugs

home: they go home

asylum: they go to an asylum

scarecrow: scarecrow

faith: the concept of god first comes into play here, i thought that was pretty interesting. that’s why it’s called faith, duh. dean + faith is explored.

route 666: racist truck yes

nightmare: sam’s visions

the benders: i think it’s based off of the bloody benders, a family of serial killers

shadow: meg’s stalkery?

hell house: it was literally a hell house

something wicked: originally chanted by WITCHES in shakespeare’s macbeth. the full line is “something wicked this way comes, open locks, whoever knocks”. obviously the shtriga is a witch and it refers to that.

provenance: painting provenances, it’s in the episode

dead man’s blood: they use dead man’s blood

salvation: being saved or protected, like the boys and john do with the family

devil’s trap: the devil gets them in a trap. and they built a giant devil’s trap too.

season two

in my time of dying: based off of the led zeppelin song [x]

everybody loves a clown: based off of the gary lewis song [x]

bloodlust: i think it’s for the vampires but they were also a band in the 90′s

children shouldn’t play with dead things: based off of the 1972 movie

simon said: the whole “you do what i say” thing with andy and evil andy

no exit: it’s a song by blondie and in the episode h.h. holmes captures blondes...? am i just clowning

the usual suspects: based off of the 1995 movie

crossroad blues: based off of the robert johnson song (fave!) [x]

croatoan: i like this one. okay, so you guys probably know about the whole roanoke/croatoan thing in the 1600′s. so there’s a theory that the settlers were wiped out by a disease (similar to this town). also, the town would disappear off of the map.

hunted: gordon hunted sam

playthings: dolls, but the little girl was the grandma’s sisters plaything

nightshifter: a shifter in the night

houses of the holy: based off of the led zeppelin song and album [x]

born under a bad sign: based off of this song [x] there are a bunch of others including jimi hendrix but...?

tall tales: yeah i think this one is self explanatory

roadkill: someone got killed on the road

heart: werewolf heart but also how sam gave his heart to madison aww also there’s a band called heart

hollywood babylon: based off of the book by the same name

folsom prison blues: based off of the johnny cash song!! [x]

what is and what should never be: based off of the led zeppelin song [x]

all hell breaks loose: yes it did

season three

the magnificent seven: based off of the pretty famous western go watch

the kids are alright: based off of the who song [x]

bad day at black rock: based off of the 1955 movie

sin city: there’s a bunch of songs but the city was sinning so

bedtime stories: they were bedtime stories

red sky at morning: the full phrase is “red sky at morning, sailors take warning”. with the theme of this ep it fits pretty well.

fresh blood: fresh blood yes

a very supernatural christmas: i’m not sure. i think it’s based off of a christmas album?

malleus maleficarum: a 1400′s book of witches. latin for “hammer of the witches”.

dream a little dream of me: i love this song! based off this: [x]

mystery spot: mystery spot

jus in bello: i can’t really explain it but here [x]

ghostfacers: g h o s t f a c e r s

long-distance call: long distance call

time is on my side: based off of the rolling stones song [x]

no rest for the wicked: a biblical quote that means “evildoers will face eternal punishment”. also, “one’s work never ceases”.

season four

lazarus rising: in the bible, lazarus is the righteous man, which makes dean the righteous man. and he rises. so. 

are you there, god? it’s me, dean winchester: based off of the judy blume book (maybe?), are you there, god? it’s me, margaret.

in the beginning: they go back in time

metamorphosis: with the rugaru but also sammeh

monster movie: monsters and movies

yellow fever: referring to the disease i think, but also there are a few songs

it’s the great pumpkin, sam winchester: based off of it’s the great pumpkin, charlie brown.

wishful thinking: yeah

i know what you did last summer: dean + hell, sam + ruby. is it based off of the shawn mendes song? i don’t think it is because this came out way before the song.

heaven and hell: opposite sides meet, dean’s hell experiences.

family remains: there are remains

criss angel is a douche bag: idk?

after school special: based off of the abc program? i think?

sex and violence: there was a lot of sex. and violence.

death takes a holiday: death took a holiday

on the head of a pin: i’m not sure but this article is interesting, maybe related. probably related. [x]

it’s a terrible life: based off of it’s a wonderful life? i love that movie btw

the monster at the end of this book: ughhh! yes!!! first of all there’s a sesame street book by the same title. also, chuck actually was the monster at the end of the book! that’s crazy. insane. 

jump the shark: “(of a television series or movie) reach a point at which far-fetched events are included merely for the sake of novelty, indicative of a decline in quality.“ probably the whole long lost brother thing.

the rapture: a belief that christians will rise to “meet the lord in the air”. kinda like jimmy does.

when the levee breaks: based off of the led zeppelin song [x]

lucifer rising: lucifer rose

season five

sympathy for the devil: based off of the rolling stones song [x]

good god, y’all!: cas goes to find god

free to be you and me: a marlo thomas album and the brothers split up

the end: yeah it’s the end

fallen idols: i think we get it

i believe the children are our future: a lyric from a whitney houston song

the curious case of dean winchester: based off of the short story, the curious case of benjamin button.

changing channels: channels were changed. the end.

the real ghostbusters: based on the 1985 animation

abandon all hope: the full phrase is “abandon all hope, ye who enter here” and that pretty much sums up this episode.

sam, interrupted: i’m not sure?

swap meat: meats were SWAPPED.

the song remains the same: based off of the led zeppelin song [x]

my bloody valentine: based on jensen’s movie. but also the band?

dead men don’t wear plaid: based on the 1982 movie

dark side of the moon: a pink floyd album

99 problems: that one jayz song whatever

point of no return: a 1993 movie but also the poto song hehe

hammer of the gods: based off of the 1985 book i think? it’s about led zeppelin so probably yeah.

the devil you know: means that it’s better to deal with a situation you understand than one you don’t.

two minutes to midnight: this phrase is commonly used as a countdown to a global catastrophe (i.e. the fucking apocalypse)

swan song: someone’s final performance before retirement (i think this is about both brothers because it’s sam last battle and dean’s last fight before living with lisa)

season six

exile on main st.: based off of the rolling stones album [x]

two and a half men: it was a sitcom? but idk if that’s where it’s from

the third man: based off of the 1949 noir thriller? maybe? but there were also three men so idrk

weekend at bobby’s: it was a weekend at bobbys

live free or twi-hard: based off of twilight and that bruce willis movie that i watched once way back when

you can’t handle the truth: truth goddess. soulless sam gets exposed ig

family matters: based off of the 1989 sitcom? maybe

all dogs go to heaven: based off of the 1989 movie? probably

clap your hands if you believe: i think this is an original title idk

caged heat: based off of the 1974 movie i think

appointment in samarra: probably based off of the 1934 novel of the same name

like a virgin: based off of the madonna song [x]

unforgiven: sam does unforgiven things

mannequin 3: the reckoning: not sure

the french mistake: just... just read this link [x]

and then there were none: based off of the agatha christie novel of the same name

my heart will go on: y’all all know what’s up [x]

frontierland: they went to yeehaw town

mommy dearest: based on the 1981 film? maybe?

the man who would be king: based off of the 1888 novel by rudyard kipling

let it bleed: based off of the rolling stones album/song [x]

the man who knew too much: shares a name with the 1956 film

season seven

meet the new boss: they met the new boss idk

hello, cruel world: sad sam

the girl next door: there’s a 2004 romcom with the same name

defending your life: a 1991 romcom! wow!

shut up, dr. phil: sam and dean became philanthropists idk

slash fiction: hahahahaha i think we know what it means but wHY is it called that?

the mentalists: they met a bunch of magic people wow!

season 7, time for a wedding!: more like season 7, time for a slightly r*pey episode and GARTH!

how to win friends and influence monsters: based off of the 1936 book how to win friends and influence people

death’s door: they were at death’s door idk

adventures in babysitting: based off of the 1987 movie by the same name

time after time after time: based off of the cyndi lauper song? [x]

the slice girls: prolly based off of the spice girls idk

plucky pennywhistle’s magic menagerie: yeah idk

repo man: it’s a 1984 film too

out with the old: they were fucking around with antiques

the born-again identity: obviously based off of the bourne identity which i haven’t seen in forever

party on, garth: hahaha

of grave importance: it was very important

the girl with the dungeons and dragons tattoo: probably based off of the movie/book the girl with the dragon tattoo. 

reading is fundamental: reading is fundamental. go read a book.

there will be blood: there was blood

survival of the fittest: everybody fought idk

okay i’m gonna stop here for this one because i’m tired asf and i’ll do part 2 later 

[verobatto]

Destiel Chronicles

Vol. XCIX

It was a love story from the very beginning.

Dean is in love.

(13x11/13x12)

Hello my friends!!! We almost arriving to the half of the season!

I will talk mostly about episode 14x12, the episode Dean confesses he's in love, okay. Kind of. 🤣

Let's start this mess ...

Family Love

Episode 13x11 talks about family love to point us the difference with romantic love (Dean in the firsts 5 episodes).

We have Sam depressed, because he thinks they won't be able to find Mary. Now, the one that had lost his faith and hopes is Sam. And Dean will be the one keeping the hopes up, because he just got back his angel back.

The brother go to help Donna. Donna is desperate trying to find her lost niece. Her despair and her seek is a foreshadow how Sam and Mary searching for Dean in the first episode from season 14.

The vamps wear mask, (as symbolic representation of future Dean's possesion).

Another important point here is Doug breaking up with Donna once he discovers Donna hunts monsters.

This fact could be seen as a parallel to Cassie and Dean, but also, as a premonition of Dean and Cas break up.

The parallel of depression between Dean and Sam rests on the fact that Sam wasn't suicidal.

Sam had put all his hopes in Jack and now Jack is gone, so, all the words that come out from his mouth, are examples of how he feels. His speech to Donna after Doug left, it's a recalling of Dean's speech to Patience.

SAM: Let him go. Donna, when you choose this life, anyone who gets too close, eventually they get hurt. Or worse. So let him go. He’ll be safer that way.

And then, when he's alone with Dean...

DEAN: I mean, we save people, Sam.

SAM: Yeah, we also get people killed, Dean. Kaia, for instance. She helped us and she died for it.

DEAN: Hey, look, I know you’re in some sort of a—

SAM: No, no, no, no, no, no, no, don’t – don’t… You keep saying I’m in a dark place, but I’m not, Dean. Everything I’m saying is the truth. It’s our lives. And I tried to pretend it didn’t have to be. I tried to pretend we could have Mom back and Cas and – and help Jack. But we can’t. This ends one way for us, Dean. It ends bloody. It ends bad.

Sam is now where Dean had been, but not even bringing Castiel back gives Sam faith and hopes. He had a plan, and the plan failed. So he lost hopes. It points perfectly the difference with Dean. Dean recognized he was in bad shape, he recognized to Billy he wanted to die. Because the pain of loosing the love of his life was unbearable.

"I'm in love"

Episode 13x12 starts with two sister, witches, dressed in red and yellow, (Dean and Sam colors) Jennie and Jamie. Both girls want to bring their mother back from dead just like Sam and Dean want to bring their mother back from the AU.

They use a hammer to kill the first man in the episode. The hammer represents JUSTICE, and it will be seen a lot in the next season related to Dean, trying to make justice for what he lived possesed by Michael. The one killing the man is Jamie, Dean's mirror.

Let's jump now to Sam and Dean scene. And because this is a Yockey episode, we have some books to pay attention to. Don't worry, my friend @emblue-sparks did an excellent work analyzing the books that Yockey put in this episode. You can find that meta here.

All those books played their role as a premonition of AU!Michael possessing Dean experience.

Now, keeping the Family Love vs Romantic Love mirror, we switch places again in this dialogue...

SAM: I’m just saying, Dean, Jack was our way over there, obviously, so with him gone…

DEAN: Okay, well, Jack’s been gone before. We found him once. We can find him again.

Remember when Sam said this to Dean the so many times Cas was gone?

Now, just a piece in what Dean says... Shows us how much he misses his angel...

DEAN: We should probably loop Cas in at some point.

The scene with Cas and Lucifer locked in prison, and trying to escape, is another foreshadow for Dean's inner prison. But, it's interesting how we cut this scene to pass to Dean and witches sisters, with Jennie saying...

JENNIE: Doesn’t a kiss, like, usually wake up your true love?

So Dean kisses Dean's mirror... How symbolic is this? Very much...

Remember when in season 14 I was screaming all my way DEAN NEEDS TO LOVE HIMSELF BEFORE LOVE OTHERS? To ourselves is PIVOTAL for our mental health. Talking about Dean, it's fundamental to release himself from his emotional prison. Dean needs to know HE IS WORTHY. He needs to really love himself, that's the symbolism of this scene.

Now... The scene in which Dean days "I'm in love" has a tiny prelude... We need to see what Sam is doing or thinking before his brother enters joyfully confesses it...

SAM: Hey, uh… I think you might be right. I think maybe it’s time we go ahead and call Cas, because, I mean, if…if…

Why is Cas here again? Preluding Dean's quote? Simply because DEAN IS IN LOVE WITH CAS

SAM: You all right?

DEAN: Am I all right? I’m in love.

SAM: You...Oh, are you?

DEAN: I mean, I am, like, full-on twitterpated here. Seriously, I can’t wait for you to meet her, either (...)

(Gif set credit @inacatastrophicmind )

(Gif set credit @bennylafitte )

And the big SAMMY KNOWS SCENE, poor soul he thought Dean will confess his feeling for the angel to his brother, that's why he wheels enthusiastically to hear him. That's why he asks as if he didn't know. But then Dean goes 'her' and Sam shakes his head puzzled... Why? Because he's sure his brother lives Castiel, and Castiel's is a 'him'. Wrong pronoun.

That's when our insightful moose starts to suspect something is fishy.

Rowena and the fifth base

Another important scene was Rowena talking about the fifth base, which, everybody knows what it means...

ROWENA: (...) Tell me, did they get to fifth base?

DEAN: There’s no such thing as fifth base.

ROWENA: Oh, you poor, sheltered boy. [Dean gives Sam a confused look] Anyway. What’s by is by.

(Gif set credit @whoeveryoulovethemost )

Analyzing Dean's reaction to Rowena's wording in second meaning, we can Conclude he knew what was she exactly talking about. He swallows at the WHAT'S BY IS BY, and blinks flustered. Someone knows his secret hahaahahaha

Also, Rowena deceiving the boys, is Asmodeus playing Cas...

DEAN: Oh, I’m gonna say it. She played you.

SAM: [defensively] She played us.

This is a foreshadow of Dean recognizing in front of Cas that Asmodeus played him and his brother, they should see that coming. Dean will feel guilty and will confess it to his angel.

Another little but interesting scene was Jamie and Jennie killing each other, just the ending Chuck will reveal he wants for Sam and Dean in season 15.

At the end of the episode, we'll see Rowena releasing herself from her chains. As a representation of Dean releasing himself from his inner prison.

To Conclude:

These two episode keep playing with symbolism and foreshadows of season 14.

The scene of Dean kissing Dean's mirror shows us the idea of Healing!Dean in season 14.

Sammy definitely knows Dean is in love with Cas, fight me.

Hope you like this meta, see you in the next one!

Tagging @magnificent-winged-beast @emblue-sparks @weird-dorky-little-d @michyribeiro @whyjm @legendary-destiel @a-bit-of-influence @thatwitchydestielfan @misha-moose-dean-burger-lover @lykanyouko @evvvissticante @savannadarkbaby @dea-stiel @poorreputation @bre95611 @thewolfathedoor @charlottemanchmal @neii3n @deathswaywardson @followyourenergy @dean-is-bi-till-i-die @hekatelilith-blog @avidbkwrm @anarchiana @dickpuncher365 @vampyrosa @authorsararayne @mybonsai1976 @love-neve-dies @dustythewind @wayward-winchester67 @angelwithashotgunandtrenchcoat @trashblackrainbow @deeutdutdutdoh @destiel-shipper-11 @larrem88 @charmedbycastiel @ran-savant @little-crazy-misha-minion @samoosetheshipper

@shadows-and-padlocked-hearts @mishtho @dancingtuesdaymorning @nerditoutwithbooks @mikennacac73 @justmeand-myinsight @idontwantpeopletoknowmyname @teddybeardoctor @pepevons @helevetica @isthisdestiel @dizzypinwheel @jawnlockwinchester @horsez2 @qanelyytha

@destielle @spnsmile @shippsblog @robot-feels @superlock-in-the-tardis @superduckbatrebel @2musiclover2 @madronasky @anon-non2 @cea1996 @lisafu02 @asphodelesauvage @destiels-canonahhhhhhhhhh

If you wanna be added or removed from this list just let me know.

If you wanna read the previous metas from this season, here you have the links:

Vol. XCIII, XCIV, XCV, XCVI, XCVII, XCVIII.

Buenos Aires, February 7 2021 1:58 PM

#destiel #destiel chronicles #destiel meta #Supernatural meta #13x11 meta #13x12 meta #season 13 meta #castiel #lucifer #dean winchester #rowena #sam winchester

[shirtlesssammy]

6x10: Caged Heat

Then:

Meet Crowley, King of Hell

Now:

Crowley is busy torturing...himself? Nope, it’s an Alpha Shifter. He informs Crowley that when he dies, he goes to Purgatory. Crowley wants more information. 

Crowley’s holding a bunch of baby shifters for leverage on information about Purgatory’s location. The shifter won’t budge so Crowley chops his head off. 

At night, the Winchesters arrive at a factory to drop off one rugaru to a couple of demons. Dean asks about Crowley but they’re not on the Need to Know list. 

Dean and Sam head back to their hide-a-way home. Dean is done dealing with demons, but Sam points out they don’t have any other plan. Dean wonders if Sam wants his soul back. Sam points out that he’s working for Crowley. Dean walks off to get some booze and when he turns to talk to Sam some more, Sam’s gone. He pulls his gun and wanders to a side room, where he finds Sam passed out on the floor. A demon comes behind Dean and knocks him out too. 

Cut to the boys tied up and Meg walking into the room. 

She’s looking for Crowley. She holds a knife to Dean’s neck for information when Sam laughs (much to Dean’s stress) and realizes that she can’t kill them. She’s running from Crowley. Sam tells her that they’ll work with her to find Crowley but they want the first stab at him before she finishes him off. 

Once free, Dean is angry and asks Sam what the heck he’s doing making a deal with the demon that killed Ellen and Jo. Sam says they need her. Ah, soulless Sam is always the pragmatist. Sam assures Dean that they will kill Meg and her minions the first chance they get-- they’re bringing insurance. 

Later, Sam is outside, praying to Castiel. Cas doesn’t appear. He then starts describing the plot to Raiders. That Biblical artifact thirsty boy is there in a heartbeat. Sam wants Cas’s help but Cas is in the middle of things upstairs. Sam threatens to kill Cas if he doesn’t help them. 

Ahem, let’s all pause at Cas’s retort and bask in the pure BAMF energy.

“Will you...boy?”

Whew. 

Anywho. 

Sam does get Cas to come back to their place.

Dean is surprised (ok, but like dude, if you really wanted him to show, why didn’t you pray? We’ve already seen him show when you pray to him. You don’t have a profound bond for nothing.)

Cas performs a locating spell, but it doesn’t work. They head to the Campbell bunker of knowledge and Samuel finds them. Dean demands to know where Crowley is. Samuel isn’t talking. Dean then asks Cas to leave (which kinda blows my season 15 brain ---they have so much more to go through to be a real family.) Dean asks Samuel what Crowley has on him. He pulls out a picture of Mary and tells them that Crowley is going to bring her back if he helps him. Dean tells him that it’s a path he doesn’t want to go down --this is how the bad guy gets them every time….AGGHh, Chuck!!! Dean also uses the word Achilles heal again (ahem.) Also, they will find another way. Samuel kicks them out.

Later, the brothers are busy working on research while Cas indulges in his favorite pastime: watching porn TV. 

He’s very confused. Dude’s been watching humanity for eons but he’s clueless AF. Dean is appalled that he’s watching porn without him in front of them. 

Samuel arrives and is disturbed by their group activities. He has the location where they drop the monsters they’ve been collecting. The monsters never leave. 

Team Free Will meet up with Meg and her gang.

Meg hopelessly flirts with Cas. Then they get down to the business of tracking Crowley. Sam demands her knife and then proceeds to kill one of her demon buddies. He was justified though and they all know it. 

Sam loads up on weaponry, while Dean spends some quality time (awkward silences) with Cas. Cas is glum. He expresses doubt about their plan to get Sam’s soul back. Cas describes the likely situation in the cage: Lucifer and Michael have been using Sam’s soul as a toy. 

Cas projects a future of madness and trauma on an ensouled Sam. Dean chooses to glibly ignore this because he has utter faith that with Cas’s help, they can do anything. (Crying noise) In the shadows, Sam overhears everything. 

Outside Crowley’s compound, the team starts their assault. The side door is unlocked, making it laughably easy to get in. The Winchesters smell a trap! The interior is lined with cells, many of them occupied by monsters - dead or alive. A djinn from an earlier episode pleads for help. Crowley’s got some kinda reach, alright!

In the distant hallways, a hellhound snarls. The camera zooms in on poor, traumatized Dean.

Everybody runs for it, and a demon falls to the hound. Meg is 100% done with the high death rate of demons in the Winchesters’ company and tries to smoke out. She opens her mouth to no avail - Crowley’s warded the place in such a way that it keeps demons firmly attached to their meatsuits. She’s in this for the (hopefully) long haul. Sam hands her Ruby’s knife so she can kill hellhounds, but Meg turns it down. The Winchesters will need that to kill Crowley. She’s got another plan. 

But first, uh, she has ANOTHER another plan?

Meg kisses Cas, her hands sliding under his trench coat in a way that we have definitely not ever pictured doing in any way. Nope. 

He spins her around and pins Meg to the wall in a way that we have definitely not ever pictured Cas doing in any way. Nope.

“I learned it from the pizza man,” Cas tells a stunned Meg. 

Meg shakes it off and hoists Cas’s blade, purloined from his coat. (What did she do, snake her arm down his sleeve? Lol) She’ll fight off the hounds with that instead. She slashes at the hound while the others move on. 

A bright light flashes suddenly, and Cas disappears just as Samuel pulls his hand away from an angel banishing sigil. Samuel, you giant bag of dicks! He betrayed the Winchesters to resurrect Mary. Crowley and his demons swan in and gain control of Sam and Dean. 

The Winchesters are tossed into cells. Meg, injured but victorious after her fight with the hounds, gets attacked by a demon possessing Christian Campbell. 

Samuel stops by Dean’s cell to explain himself, and Dean bitterly reprimands him for his betrayal. Samuel insists that Mary’s his blood, and Dean and Sam aren’t close enough to count. “What exactly are you supposed to be to me?” Samuel asks, further cementing my hatred of his character. 

Dean looks up and his MASK OF REVENGE is clearly pulled over his face. “I’ll tell you who I am. I’m the guy you never wanna see again.” CHILLS. He promises revenge on Samuel. 

Samuel walks away from his little confessional moment, and two demons arrive to drag Dean away. 

Meg, meanwhile, has been stripped of her clothing for sOMe ReaSoN. The only things covering her up are the warded bands pinning her to a torture table. I. Just. Why? Why, show? (Excuse me while I glare directly at Robert Singer from across many, many miles.) To Meg’s credit, she looks like she’s ready to do some cool murder (I’ll help). Demon!Christian starts to torture her. 

Sam chews a hole in his own arm while he waits in his cell, which is not disturbing AT ALL. DAMN, soulless Sam! Dean arrives in Crowley’s interrogation room, and it’s full of bloody bays and intestines. SO unsanitary. The demons chuck two monsters in with him. It’s to be a cage match, I see! 

When demons arrive to grab Sam, they find that they’re trapped in his cell. Sam grins with a bloody mouth at the demon trap he scrawled on the ceiling with his own blood. I mean…GROSS but mad props all the same. 

Meg continues to get tortured when Dean creeps up and kills Demon!Christian. He frees Meg and they start operation, GET CROWLEY. Sam and Dean lure Crowley in with a fire alarm and trap him in a demon trap. (This one’s spray painted, thank goodness.) 

Sam demands his soul back from Crowley, but ye olde King of Hell refuses. He can’t get into the cage to rescue Sam’s soul. Crowley questions WHY Sam would want his soul back, after all his soft marshmallowy center is surely enduring in the pit. Dean hands Ruby’s knife to Meg and she heads into the demon trap to kill Crowley. 

Crowley proves why he’s the reigning King (or at least how he’s stayed alive for so long) by tackling Meg and flinging the demon knife up into the ceiling to split apart the devil’s trap. Things are looking bad for our heroes when Cas flaps in. “Castiel,” Crowley smiles. “Haven’t seen you all season.” Cas presents a bag of bones and informs the room that he’s found Crowley’s skeleton. 

Crowley bows to the threat and lets the Winchesters go. When he admits that he really, really can’t save Sam’s soul, Cas burns the bones. It’s…DRAMATIC.

Outside, Cas confesses that the battle in Heaven is going poorly but that there’s nothing the Winchesters can do to help.

“I wish circumstances were different. Much of the time I would rather be here,” Cas confesses. CAS! Dean forgives him and Sam gives Cas one more mission before he flaps off to Heaven: destroy the monsters locked up in Crowley’s prison. Cas flaps off (and into my spin-off show, SAD ANGEL ASSASSIN). Dean promises Sam that they’ll figure out another way to get his soul, but Sam argues against any plans at restoration. He’d rather be functioning and soulless, thank you very much. Sam walks away, leaving Dean shouting fruitlessly after him.

I Learned it from the Quote-za Man:

Remember when we used to gank demons?

Okay, officially over the foreplay. Satisfy me, or I please myself

Hugs and puppies all around

I can’t believe you fell for that. That was the plot of Raiders, idiot

If the pizza man truly loves this babysitter, why does he keep slapping her rear? 

This what you boys do, sit around watching pornos with angels?

I learned that from the pizza man

I’ll tell you who I am. I’m the guy you never wanna see again

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#spn recap #spn rewatch #spn 6x10 #caged heat #dean winchester #sam winchester #castiel #cas #crowley #meg masters #samuel campbell #supernatural season 6