#you know they're the one (another special interest about to reshape your life) | Explore Tumblr Posts and Blogs

lonely--shine · 4 months

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Alnair 🌂🧠 Atlas 🍎🎯 Shell 🎓🍀 Ebis ✨🥊🎯 Marcus 🌂

Thanks for all the questions!! :D Let's see...

*Alnair

🌂 - What genre do they belong in? Fantasy! She's an Arcana game OC, so fantasy all the way in.

🧠 - What do you like most about the OC? They're the perfect mashup of self-insert to project into and character of its own to explore paths I myself would personally not walk through. I also love how she lets me rewrite canon events however I want xD

*Atlas

🍎 - What is the OC’s relationship w/their parents like? In short, pretty good! Atlas has two moms, Naith (they/them) and Irdred (she/her) (and the auntcle/biological father, Laith (she/he/they)) and loves them very much. Atlas picked many interests from them (art, gardening, etc), specially from Naith. And athough he travels far and often (he picked that from Laith), he still keeps in touch regularly and visits home once in a while.

...wow, me giving a character a perfectly healthy background/family. This is rare to happen. Quick, make a wish!

🎯 -What do they do best? All things plants. In magic? That means potions, charms, etc. In daily life? You got him gardening, cooking, brewing tea... If it involves working with plants one way or another, he has you covered.

*Shell

🎓 - How long have you had the OC? I wanna say May 2021? *goes check* Yeah, I posted about her in June 2021 for the first time, so maybe I had her for like. maybe a month before that. Which means I had her for almost three years already? And she's still so little developed? Gods. In my defence I don't choose what my brain fixates on and also my life went to shit in late 2021 and kept like that for two years, so yeah. I want to take better care of my OCs and stories now tho ^^

🍀 - What originally inspired the OC? At first I just needed someone to comfortably play Asra's and Julian's routes with because it didn't quite work with either Alnair nor Atlas. Then I started wondering if it was possible to have one character that fitted all six Arcana routes. So I gave her an angsty backstory by which her identity was stripped and to be reshaped by the route she takes, gave her the name 'Shell' solely so I could have the play on words "Shell is your name and that's what you shall become" as part of her 'curse', and ta-daa! Yet another OC for the collection was born xD

*Ebis

✨- How did you come up with the OC’s name? Okay, bear with me. Ebis is a Submachine OC, loosely based on the Player. And I say 'loosely' because there isn't really any information about Player to base Ebis on. Anyway, in one of the games you get out a padded room and there's the patient number 2183. Which, in digital clock numbers, if mirrored, kinda read like 'Ebis' if you squint hard enough. That's the logic Ebis follows to choose her name, since she wakes up without memories and it's easier to think of herself as 'Ebis' than a 4 digit number anyway.

Maybe it's a dumb way to decide for a name but if it works it works.

🥊 -What do they love to do? What do they hate to do? She loves tinkering away with computer software, which is good for her because she makes a job out of it post-canon (I have not written about that, but it exists in my head), and also numeric games for when she wants to scratch that brain itch without dealing with the inevitable bugs. She also loves gardening and not only that but needs to get her hands into the dirt and feel the sun on her face regularly for optimal mental stability. As for hating... I can only think of anything that would involve her going underground? Trauma related thing, after Submachine she's had enough underground for the rest of her life. Otherwise I don't know, I haven't given much thought to it. Oh! But she's incapable of sitting still and doing nothing, if that counts.

🎯 -What do they do best? She's very good at computers and programming... and the less socially accepted side of it as well (by which I mean she knows how to hack stuff, but she doesn't do that post-canon, and in-canon she does by necessity).

*Marcus

🌂 - What genre do they belong in? As the other Submachine OC I guess sci-fi/fantasy? Adventure? There's some post-apocalypse vibes to much of the game as well. Post-canon this would turn to the fluffy slice-of-life this poor tired man (and Ebis as well) deserves.

And that's all!! I believe I have talked enough for the day, thank you so much for the questions, they made my day :D

#shine answers #ask #ask game #I didn't proof read this so please forgive any typos #the arcana #submachine

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allaganexarch · 1 year

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omg i just realised you're in law school?? can i ask what prompted you to pursue a (i presume) 2nd degree? i am nearing 30 and considering going for a 2nd degree as well but i'm super reluctant haha, would you mind sharing something about your experience? are you doing like a master's, did you choose it to get a specific job you are aiming for?

Ah, I would be happy to talk about my questionable life choices lol! For law school in the US if you want to actually practice you get what's called a Juris Doctor (JD) degree, which is a professional degree, and you have to have completed a Bachelor's to pursue it. People who want to like, specialize in something will sometimes get an LLM (Master of Law), but generally do that after the JD, even though a JD is technically "higher" than a Master's. Absurdly long story of my Journey TM under the cut lol

I tell people law school was a response to the pandemic even though that's not really true bc I don't want to get into the years-long insane series of thought processes that led me here lol. I only have a Bachelor's degree (in German/Music) and never intended to pursue anything beyond that. I'm naturally intelligent and did very well in school without trying, but I never had any particular interest in pursuing a higher education and pretty much just did it because that's what you're supposed to do. Looking back I feel quite embarrassed that I didn't fully appreciate the value of my education, even though I obviously wasn't doing it on purpose LOL. I got a lot of value out of college in general but it's frankly amazing that I did fine in my classes given my general self at the time. Fortunately I went to one of those schools where ppl hear the name and go oooOoooo woOOooOOow and don't generally care about my mediocre GPA.

I never really had a clear idea of what I wanted to do with my life, and I don't feel I'm one of those people who has a Calling TM. I'm good at and enjoy a variety of things, and I have a hard time being happy doing the same thing for a long period of time. I worked as a professional actor/singer when I graduated, and even within that field I became unhappy when I did too much of the same kind of work. Ultimately, as I grew into myself, I became frustrated and disillusioned with the industry in general, and with how I was being forced to live my life. I so rarely got to do anything I genuinely enjoyed, the work that paid best was utterly soul-sucking, and the general attitudes of the people around me esp. towards maintaining one's appearance were very unhealthy for me. They're unhealthy for everyone of course, but I was trying to recover from viewing my body in a negative light, and being around ppl with these attitudes made it pretty much impossible.

So I was already sort of looking for a new path of some sort a few years ago, but what I didn't realize at the time was that I had completely lost faith in myself and my abilities, and was selling myself incredibly short. I tried to do a bunch of dumb shit which obviously wouldn't be fulfilling in any way, tried to reshape my life into something bearable, and failed miserably several times. I was in fact halfway through discarding another failed attempt and taking up a new one when the pandemic hit. I ended up having to move back in with my mother, and what we all hoped would be a couple of months turned into Whatever This Is. So I found myself with a lot of time to think lol. And while it was a very difficult experience, I kept telling myself, whatever you do, no matter how bad it is, you need to actually think ahead for five fucking seconds and try to do something that will actually work, you know lol, because otherwise you're just going to end up in the same place again.

Law school started as a whim like any other; I was having lunch with my mom, and she mentioned offhand that she thought I should go to law school (she didn't go but she has a lot of lawyer friends). And I was feeling just insane enough that day that I was like yeah idk maybe I should. So I went home and was like okay how does one go to law school. I looked up a practice LSAT, took it knowing absolutely nothing about the LSAT, and did EXTREMELY well. So I thought, well. Huh. I need something to do w my life so I stop wanting to eat drywall, why not study for the LSAT lol, can't hurt.

And it just sort of kept going from there. Practicing for the LSAT gave me a sense of purpose, applying to law schools gave me a sense of purpose, and that sense of purpose enabled me to start slowly improving the horrible circumstances I was in. I didn't know how anything would shake out and to be honest I didn't particularly care at that point. Looking back I think I really had no hope for the future, and I was pretty crazy and didn't really feel like I'd be able to live very much longer. I didn't envision myself as a lawyer really, more as a law student lol. Schools have a lot of free resources and people who want to help you, and even as crazy as I was I felt I was in a much better place to take full advantage of those things than I had been in undergrad, in order to achieve SOMETHING. I wasn't really worried about what that might be.

So, I vowed to myself that whatever happened, I would really try, not just in school but to build a better future for myself. I did not arrive here in a good mental state, to say the least lol. And going back to school brought back a LOT of painful memories from my previous time in school when, as I mentioned, I was infinitely crazier. As just a couple of random examples, I was sort of toying with the idea of trying to learn a new language, and realized that I was still holding onto this intense guilt about the mental breakdown I had while taking a Russian class in college. One of my professors told me that I was an amazing writer, and I realized no teacher had ever told me that before. I had these insane moments sitting in class where I would get emotional because I was just so happy to be there, in spite of absolutely everything. I stopped regretting all of my past mistakes, because I genuinely think, no matter what horrible things I've done, I would do them all again if they would bring me here. My favorite professor literally saved my life, and is probably the only person in the world who could have successfully convinced me to go to therapy. I can't really even wish I'd done any of this sooner, because I know without a doubt that I wouldn't have been ready.

There are definitely some challenges to being back in school after so long. I remember feeling especially when I was around my friends who were in grad school that if I had to, like, write a long-ass paper or something, I just wouldn't be able to do it lol, like I'd just be so pissed that I had to do some arbitrary assignment. But it should be noted that I, like, despise philosophy-type subjects and things with no practical application, and always felt like I was bullshitting my assignments to make them longer. Not only do I love law school assignments because they are about applying the law to a set of facts (which may be made up but still have real-world relevance), but I always have a LOT to say, and am always struggling to make my papers SHORT enough rather than dragging out my dumbass takes to meet the minimum lol. It's a lot of work, but generally it's work I actually WANT to do, which makes all the difference.

I definitely also feel a bit of a disconnect from most of my fellow students. I think this is partially an age thing and partially a life experience thing. Like, for example, I had a series of hilarious conversations with ppl a few weeks back bc one of my classmates was like "where do you go?? you leave class so fast?" and i was like ?????? when class is over you get to leave that's the deal??????

And I was talking to my fave professor about this and she was like yeah that's definitely a difference of being a little older, you're probably just not in the same mindset that they are. Which is definitely true, and worth keeping in mind. It's not a big deal really but it can be very isolating if you don't feel like you can relate to your classmates on that level. I sometimes get a little :( because I don't usually have a hard time talking to people but I'll just have the most insane interactions w some of my classmates and have to talk myself down like it's okay it wasn't you the other person was the one acting weird LOL. Also, for me at least, I definitely have a little bit of a 'you can't tell me what to fucking do' attitude sometimes LOL, and will get really irritated when professors keep us over time or make us do something pointless. That may just be my sweet personality, but I think in general having been out of school for awhile and also being a bit older, I'm MUCH less tolerant of trifling bullshit than when i was younger LOL. Generally I think there's a lot LESS trifling bullshit to deal with in law school bc there's just so much that's genuinely important to learn? But something to keep in mind.

But god there are SO many benefits! Like, as I mentioned, I'm a naturally intelligent person, but it's actually terrifying how much my mind had slowed down over the past few years. I've had SO many moments here where I was like oh my god, I'm stupid, I'm just stupid and I can't understand this-- and then I was like okay sweaty :) have you considered taking a nap and maybe you'll calm down :) lol but you get my point. Learning new things in a structured environment where you literally have to do the work I think is so beneficial especially at this particular age, since most people get pretty settled into their ways around 30, and personally I don't particularly like being set in my ways and want to always be growing and improving and pushing myself. Every aspect of my life has improved noticeably since I've been here, my physical and emotional and mental health, my memory, my writing, my personal relationships--everything.

BUT that is a direct result of all the work I've put in, because I did this at the right time for myself, and at a point in my life when I'm able to truly appreciate the value of a good education and all the benefits and resources that come with that. So, I would say that if you're in the right mindset to go back to school, it's absolutely 1000% worth it. But if you feel like, 'I don't want to do this, this is a waste of time and will make me miserable,' then I'd say wait it out a little more. There might come a day when you're like, wow, I'm so ready. Or you might think, I can't believe I was gonna go to grad school for That TM that would have been insane, and want to go for something else lol. I think we're so conditioned not to listen to our intuition that we don't realize a lot of the time our gut instinct will tell us whether something is the right move or not!

Wow this was long lol, thank you so much for reaching out, friend, and I hope some of this was mildly helpful or entertaining! I wish you the best in your ventures, and of course I'm always happy to talk more!

#personal #exciting tag for answered asks #i write this as i'm actively procrastinating my work lol #but it's spring break i'm allowed #grad school nonsense

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mwolf0epsilon · 4 years

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First off, before everyone comes after my butt with their "No Fun Allowed" and "Cringe" signs, this is in no way something to be taken as gospel or insightful. It's not a prophetic enforcement of canon. It's literally a theory done for fun, and to try to piece the Bendy Crack up Comics into the general and messy lore of the BatIM franchise.

Most of you get this and don't need a big wordy warning about fanon interpretation, but a lot of peculiar people tend to show up in my ask box hoping to start a fuss over my headcanons and AU ideas, so I thought to be nice and leave a polite and diplomatic "Kindly Fuck Off" sign at the door for them.

With that said, there will be mild spoilers, carry on of your own volition, down below under the cut that will definitely show up because Tumblr mobile is a functional app that's never given me trouble!!!

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[[MORE]]

The Bendy Franchise has an established issue with cohesion in its lore. We all know what I'm talking about, we all have reservations about canonical character discrepancies (game vs novel vs guidebook) and we all have been racking our brains with a few holes in the timeline, as well as how BatDR (which is neither prequel nor sequel) will fit into this, since it's connected to BatDS and that's an established prequel to BatIM.

Granted I myself am missing a lot of pieces, having to scrounge around for info since I can't really get any of the reading material myself and rely heavily on @british-hero (who owns the novel plus got her copy of the comics yesterday), a very incomplete wikie, and analysis and theories from SuperHorrorBro's Bendy videos.

Heck, I also rely on a lot of gameplay footage, because BatIM has a bit of subtle storytelling through visual design of its levels, and hints of how certain characters work through a few game mechanics.

Through this mishmash of collecting puzzle pieces for the greater picture I even have a few notes on my phone to piece together certain events in established dates, something which comes very in handy for this theory since it talks about two particular characters, the Projectionist and Brute Boris (and I guess Twisted Alice to some extent but it's more of a note on some interesting thoughts I have of her).

Without further ado, here's what this theory is all about: Why did Norman become the Projectionist, and why did Twisted Alice turn Buddy Boris into Brute Boris?

If you think about it, there's only two creatures in the studio that really seem out of place in the world of BatIM, and that's Prophet Sammy and the Projectionist. Neither are inherently similar to any of the cartoon characters, nor are they considered to be Lost Ones. They're certainly not Searchers, but while we know Sammy is unique because his method of transformation was different, we never got an explanation for Norman's. It could be that it's a process similar to BatDR's new enemy type that's larger and seems to have bits and bobs stuck to it, but then those big guys seem like the equivalent to Swollen Searchers for the Lost Ones. The Projectionist doesn't really fit the puzzle.

Or at least he didn't.

With the introduction of the Crack up Comics collection, we get three new characters that were definitely designed in the same manner that the Butcher Gang was. Beginning with a corrupt monster forms and then giving way to perfect and pristine rubberhose toon forms.

I'm talking about Miss Twisted, the Brute, and Cameraman.

The villainous trio from the Souper Boris comic strip.

To us it's obvious the artists created them in parallel to Twisted Alice, Brute Boris and the Projectionist, but to the actual canon this actually has a bit of an impact on the Projectionist's existence.

Why, you ask? Because those characters were introduced between 1936 and 1940.

Bendy Crack up Comics table of contents, showcasing the publishing dates of the strips.

For anyone who doesn't know (either from not paying attention to the Joey Drew Studios channel audio logs, or from not owning the books) the Ink Machine wasn't conceptualized or installed until 1942/1943. Putting that into perspective, the only other thing that happened in Joey Drew Studios in 1940, was the conceptualization of Bendyland (which is likely the origin of the idea for the Ink Machine itself).

This means that Cameraman existed well before the Projectionist ever came to be, and that made me think about another thing: The Ink's apparent sentience.

I'll be frank, the Ink is very hard nut to crack. I consider it a form of alchemized entity, others consider it pure black magic, and I'm pretty sure Joey Drew himself had no idea what he was dealing with when he began using it. The fact of the matter is that the Ink is alive and that it has its own agenda. One that coincides with Joey's, out of mutual interest.

In the novels it seems to want to be free, but it can't exactly do that as a formless liquid, so it tries to body-snatch people (ex: Sammy and Buddy's grandpa).

When Joey tries to use it to give life to Bendy through nothing more than using the Ink and a template (likely a character model sheet) the Ink tries to follow the model but immediately becomes a distorted humanoid version of it (which honestly rings so many fucking alarm bells on its own). Things… Escalate there on out, with Joey trying to perfect the method and only managing to succeed through Daniel Lewek (and many other nameless Boris Clones), Allison Pendle and Thomas Connor.

An important thing to take from this, however, is that by trying to perfect this method Joey not only taught the Ink to reshape things into viable referenced material, but that he had to have lost control of just how many souls were being pumped through the Ink Machine for him to monitor and keep up.

Sammy started killing people when he completely turned, and it didn't seem to take long for him to cut down people in likely both the music and art departments. At this point he had no self-restraint and was completely wrapped around inky fingers and Joey's lies.

Norman is one such potential victim, and Dot and Buddy even passed by his ink-wrapped body while fleeing.

Now, the thing about trying to follow a specific guide and not having the actual means to make it exactly the same thing, is an easy enough notion to get (as shows like "Nailed It", and years of trying to perfect visual style mimicry, have taught me).

The Ink likely had the template it needed (maybe a printed copy of Souper Boris that got thrown around in the chaos), the insight of what Norman's role in the studio was, the amount of mass it needed to consume and transform his dead body, but not exactly the right sort of… Centerpiece for it...

Cameraman using his lens to light up his path.

But what's a projector besides a bigger fancier camera? Both blink, both take film, same thing right? The ink doesn't see the difference and just stitches together this humanoid bootleg cameraman with the pieces it finds that are similar enough.

Mechanical blinky head? Check.

Strange round disc near the belly? There's a speaker. That's round! Check.

Film? There we go, a nice big round reel full of film in it, let's put it near the head, that's how it works right? Check.

Lastly, no Joey to actually direct this artistic recreation of a one-off character. The Ink did it all by itself while he was off getting his hand broken by a rightfully upset Buddy Boris.

If you look at it objectively it makes sense that being the projectionist tasked with not only recording and maintaining the projectors themselves, that the entity in the Ink would pick Cameraman as a template for Norman's transformed self.

It also makes sense that the Projectionist is so off-putting in the studio. He's almost perfect, but not quite because there just weren't the right materials. He's stuck in between Twisted Alice and the Butcher Gang clones as another failed recreation.

Moving on to the next question on why Twisted Alice turn Buddy Boris into Brute Boris, when she hadn't done the same to any of the other Boris Clones.

It's hard to say really, but I think it all comes down to who Twisted Alice really is. It's very likely that, as Susie Campbell, she would have knowledge of the comic strips. A few were most likely made into cartoon shorts even (which isn't an unusual assumption to make), and maybe Susie voiced a few background characters for said shorts.

Susie may have lost her role as Alice, but before Joey came to her with his proposition for the "special project" it's very likely that she remained in the studio, forced to do the voices of characters that weren't noteworthy or that she felt completely disconnected from (talking chairs and singing hens really don't become beloved fan-favourites) . Maybe if the Souper Boris story was made into a short, she might have voiced Miss Twisted (which honestly would be personally insulting considering she once had the role of the main heroine).

Point is, Susie knows her lore, and that translates to Twisted Alice's repertoire of insightful knowledge on the abominations lurking around the studio.

She never did turn other Boris clones into brutish lackeys because at the time she didn't need to. But it doesn't mean she hadn't considered it. Henry's disruptive behaviour is just what she needed to put that plan into motion.

There was already a "Cameraman" walking about, one that could easily rip apart anything it came across, so acquiring the means to recreate the "Brute" would have been benefiting from her point of view. The Projectionist doesn't take orders and can't be reasoned with, so if she could make something just as strong that took her orders she could, theoretically, be safe from most terrors in the studio. If that didn't work, she would still likely send others to their death by simply sending them down to Level 14, or maybe lure the Projectionist to them herself (just because he doesn't take orders doesn't mean she can't use him to achieve her end goals).

Miss Twisted, the Brute and Cameraman in their evil swamp lair.

But why Buddy Boris specifically? Why couldn't she have used any of the bodies laying around? Freshness most likely. Rigor mortis is probably still a thing, even for living cartoons. Easier to work a fresh dead body than a bunch of stiff wolves.

That's at least why I think Brute Boris is a thing. Susie's knowledge of most Bendy cartoon/comic strip characters, taking inspiration from the Projectionist's presence, and honestly a very twisted sense of humor and irony. In her quest to become a Perfect Alice, the heroine of the show, she ended up becoming just as antagonistic (although more sadistic) as Miss Twisted, a Bendy comic strip villainess.

#bendy and the ink machine #batim #bendy crack up comics #bendy spoilers #spoilers #theory #headcanons #speculation #twisted alice #the projectionist #brute boris #long post

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watching-pictures-move · 3 years

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Movie Review | Mulholland Drive (Lynch, 2001)

This review contains spoilers.

David Lynch's Mulholland Drive was released in recent years by the Criterion Collection, that great home video company that's probably the OG of boutique labels, known for putting out acclaimed, significant or otherwise interesting films in really nice packages. (For some reason I had been thinking they put this out only last year until I actually looked it up. I guess my sense of time has been a little warped as of late, and as much as I'd like to tie this review into pandemic-era life, the fact is other labels have captured my attention lately, as can be evidenced by my embarrassingly large and extremely shameful Vinegar Syndrome haul from their Halfway to Black Friday sale from a few months ago.) Now, nobody in 2021 is going into this movie truly blind, but if I happened to pick up the Criterion cover and perused the back, aside from the list of special features and disc specs, you'd see the below (which I grabbed off their website):

Blonde Betty Elms (Naomi Watts) has only just arrived in Hollywood to become a movie star when she meets an enigmatic brunette with amnesia (Laura Harring). Meanwhile, as the two set off to solve the second woman’s identity, filmmaker Adam Kesher (Justin Theroux) runs into ominous trouble while casting his latest project. David Lynch’s seductive and scary vision of Los Angeles’s dream factory is one of the true masterpieces of the new millennium, a tale of love, jealousy, and revenge like no other.

Now, this is a tough movie to evoke with only a blurb, but I'd say that does a pretty respectable job. I however do not own this release. What I do own is the barebones Universal DVD that was released a few months after the movie, back when going into the movie blind would have been far more likely. This is the description on the back:

This sexy thriller has been acclaimed as one of the year's best films. Two beautiful women are caught up in a lethally twisted mystery - and ensnared in an equally dangerous web of erotic passion. "There's nothing like this baby anywhere! This sinful pleasure is a fresh triumph for Lynch, and one of the best films of the year. Visionary daring, swooning eroticism and colors that pop like a whore's lip gloss!" says Rolling Stone's Peter Travers. "See it… then see it again!" (Time Out New York)

Now, the previous description probably couldn't fully capture the movie's essence, but this one makes it sound like an erotic thriller. (Could you imagine somebody going into this thinking this was like a Gregory Dark joint? I say this having seen none of his thrillers and only his hardcore movies, although I must admit an MTV-influenced Mulholland Drive starring, say, Lois Ayres is something I find extremely intriguing.) But you know what? Good for them. Among other things, this movie, with its two all-timer sex scenes, feels like one of the last hurrahs from an era when mainstream American movies could be unabashedly horny, before we were sentenced to an endless barrage of immaculately muscular bodies in spandex (stupid sexy Flanders) somehow drained of all sex appeal (god forbid somebody pop a boner...or ladyboner, let's be egalitarian here). I apologize if I'm coming off as a little gross, but having been able to barely leave the house for practically a year and a half, watching sexy movies like this is one of the few remaining thrills at my disposal. Please, this is all I have.

Now I suppose I should say something about the movie itself, but it might be a challenge given how elusive it is in certain respects (Lynch is notoriously cagey about offering interpretations of his movies) and, as a result, how heavily it's been scrutinized over the years. No doubt any analysis I offer as to the movie's overarching meaning will come off extremely dumbassed. What I will note however, is that for whatever reason, the scene I remembered most vividly is where Justin Theroux walks in on his wife with Billy Ray Cyrus, particularly the candy pink paint he dumps on her jewellery as revenge. We've been following Theroux, a movie director, as he's been having a terrible, horrible, no good, very bad day, having had control over casting his lead actress taken from him, which he proceeds to process by taking a golf club to a windshield of his producers' car and then reacting as above when he finds his wife with the singer of "Achy Breaky Heart".

With his Dune having been notoriously tampered with by producers, I suspect there's a bit of Lynch's own experience in the scene with the producers, which plays like an entirely arbitrary set of rituals deciding the fate of his movie with no regard for his opinion or even basic logic. While I don't know how particular Dino DeLaurentiis was about his espresso, I did laugh. Now, taking the reading that the first two acts of the movie are a fantasy of Naomi Watts' character, who is revealed to be miserable and ridden with jealousy in the third act, the amount of time we spend with Theroux is maybe hard to justify. Is this perhaps her "revenge" on him, his romantic and professional success having been flushed away while he flounders in search of greater meaning to his arc? Aside from possible autobiographical interest, these scenes do play like a riff on the idea that everyone is the main character in their own story, and if the Watts and Laura Harring characters can be thought of as having merged or swap identities, then perhaps Theroux's arc is the remainder of that quotient. (Now, it's worth noting that aside from being insecure and arrogant, Theroux in this movie is a less stylish than the real Lynch. If Watts conjures the best version of herself in her dream, Lynch maybe doesn't want his dream avatar outshining him.)

Now why did the Cyrus scene stick with me all these years when other details had slipped? Mostly because I'd found it amusing, partly because of the extra specific image Lynch produces, and somewhat because of the casting of Billy Ray Cyrus. Now, I don't have any special relationship to the Cyrus' body of work, but Lynch's casting of him, with his distinct mix of bozo, dudebro and hunk, results in a very specific comedic effect. This is something Lynch does elsewhere in the movie, like when he has Robert Forster show up as a detective for a single scene. The Forster role is likely in part a leftover from the movie's origins as a TV pilot, but the effect is similar (albeit less comedic). Melissa George appears as a woman who may or may not be a replacement for Watts in some realm of reality. Other directors obviously cast actors for their screen presence and the audience's relationship to their career, but the way Lynch does it feels particularly pointed, as if he's reshaping them entirely into iconography. The effect is particularly sinister with the presence of Michael J. Anderson, with whom he worked previously on Twin Peaks, and Monty Montgomery as a mysterious cowboy who dangles the secret of the movie over Theroux's character.

Cowboys in movies are frequently heroic presences (see any number of westerns) and are otherwise innocuously stylish (I confess I've come dangerously close to ordering a Stetson hat and a pair of cowboy boots), but the presence of one here feels like a ripple in the movie's reality. A dreamy, brightly lit mystery set in Los Angeles should have no place for a cowboy. It ain't right. (It's worth noting that Lynch at one point copped to admiring Ronald Reagan for reminding him of a cowboy. Is this his expression of a changed opinion? I have no idea, but Lynch has never struck me as all that politically minded.) Neither is the hobo that appears behind the diner. Certainly hobos have made their homes behind diners, but this one's presence and the way Lynch produces him feel again like a ripple in the the movie's narrative. Jump scares are frequently knocked for being lazy and cheap devices to generate shocks, but the one here gets under your skin.

Now about the movie's look. This starts off like a noir, and the mystery plot on paper would lead you to think that's how the whole movie plays, but the cinematography is a lot brighter, with almost confection-like colours, than that would lead you to believe, at least during the daytime scenes. This is another element that likely comes from its TV origins, but it does give the movie a distinctly dreamlike, fantastical quality that a more overtly cinematic look, like the one Lynch used in Lost Highway a few years earlier, might not capture. This is one of the reasons I think this movie works better than that one, and there's also the fact that the amateur sleuthing that drives the bulk of the plot here serves as a more pleasing audience vantage point than the male anxieties that fuel the other film. I also would much rather hang out with Naomi Watts and Laura Harring than a charisma void like Balthazar Getty.

The manufactured warmth of the daytime scenes also results, like in Blue Velvet, in the nighttime scenes feeling like they're in a completely different setting, one which perhaps offers the key to unlocking the mystery, or at least revealing the phoniness of the movie's surfaces. I think of the evocative Club Silencio sequence, which comes as close as anything in the movie to laying its illusions bare. ("No hay banda.") But at times Lynch will throw in disarmingly childlike, inexplicable imagery, like the dancing couples against a purple screen in the opening, something that would seem tacky and amateurish elsewhere but feels oddly cohesive here. There are a number of directors whose work I admire for being "dreamlike", and putting them side by side they all feel quite distinct (you would never mistake a Lucio Fulci film for a Lynch), but they have the unifying idea of imbuing the tactile qualities of film with the truly irrational to really burrow into your subconscious. Other directors have made movies with some of the same elements as Mulholland Drive, but none have put them together in quite the same way.

#film #movie review #mulholland drive #david lynch

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