Amber Clark

2018, and still watching? hit like ! ????. What about love movie stream voyage package. When the world seems to get too confusing, I keep listening to 80s & 90s songs. miss those days so much ?. From Iraq 2018 we love you so mach ??. This song. ?. And Austin didn't get more music. Is he alive. What about love movie streaming free. God bless. You guys wanted me to do a writeup on the psychic vampire community's reaction to the pandemic, but tbh there wasn't a lot of real drama there?just a bunch of crazy adults and edgy teenagers in their Twilight phases getting offended because people were referring to them as "extroverts" instead of "energy vampires" (thus, it being a "scuffle" post instead of an actual post. ) Also, I'm currently working on a biomed-related research project, so coronavirus is basically the only thing I hear about all day every day, and I wasn't too willing to write another whole essay about it. There is good news, though: all of my conferences have been cancelled, and I finally have time to do a writeup on something even better?the infamous Frozen/Marvel Fetish Blog Story, which made everyone ask the question "what makes a vore blog a vore blog? " There is some actual context behind this question, I promise. Innocent Beginnings The story begins in 2013. Frozen has just come out, and it's a smash hit with both kids and their very hormonal teenage siblings. While department stores and Targets around the country scramble to get enough Elsa merch on the shelves before the holiday season, Disney fans are creating new Frozen fandom content at a mile a minute. Some people are dedicated enough to migrate from their Disney blogs to completely new blogs dedicated exclusively to Frozen stuff. Overall, Tumblr is pretty obsessed, and Frozen-related fanart, fanfiction, and fan-edits are flooding everyone's dashboards. Most of the new content is pretty generic and same-y?you know: horny smut fic, icy moodboards, glittery pictures of Elsa and Anna in elaborate dresses. But there's one particular blog that stands out in this sea of sameness: constable-frozen. Constable-frozen is set apart from every other Frozen blog for two reasons: it has a ton of posts, and they're all really good. The whole thing is filled with insanely high-effort edits, most of which feature the heroines of Frozen alongside various Marvel superheroes. It's immediately obvious that whoever is behind this knows what he's doing: all of his gifs and photoshops are completely seamless, even though live-action movies and animated princesses usually don't blend well. There's one image where Anna is wearing a Captain America costume, which has been painstakingly photoshopped onto her coronation gown, complete with shading and shadows. Other pictures are similarly detailed, even the stupid joke ones that should, by all means, be low-effort shitposts. This level of attention to detail, combined with the fact that the Disney and Marvel fandoms are both huge on Tumblr, quickly led to Constable-frozen garnering a massive following. So you may be wondering at this point: what is this about? Is it a weird Frozen/Marvel crossover? Is it just clever humor, or a really elaborate parody? But the answer is none of these things. All of it is just complete and utter nonsense. Literally nothing on the entire blog makes any sense whatsoever. I guess you could read it as comedy, but there are never any obvious jokes ?more like complete randomness. But it¡Çs not lol-so-random, 2000s-middle-schooler humor, either. It¡Çs just a constant stream of super high-effort garbage that doesn¡Çt have any clear context at all. No crossover fanfiction. No meaning. Just incredibly detailed Photoshops of Elsa sitting in a Pringles can, or Princess Captain America asking Elsa for permission to marry Renn Faire cosplay Hans, or the Frozen princesses eating Merida from Brave ¡Çs hair like it¡Çs spaghetti. And, naturally, Tumblr fell in love. Fandom and surrealism: name a better duo. For a while, this was just how it went. Constable-frozen would post a super-high effort edit of something random and nonsensical, hundreds of thousands of people would reblog it, and everyone would laugh and move on. But, as per usual, nothing gold can stay. Things Get Weird(er? ) As Frozen waned in popularity, you¡Çd expect that Constable-frozen¡Çs following would decrease, too. But whoever was running the blog always managed to stay up-to-date on the latest Disney content, ranging from new movies to new TV shows and other, more obscure properties. In particular, they seemed to really like the Tangled TV show, which was convenient because Disney Tumblr also really liked the Tangled TV show. Constable-frozen started to focus less on Elsa and Anna and more on Cassandra, one of Rapunzel¡Çs friends, but its edits retained the same insane, nonsensical qualities that brought so many fans to the blog in the first place... until they didn¡Çt. And, no, I don¡Çt mean that the mod started including plot or context in his wacky Photoshops?I mean things abruptly got a lot more porny. During the Frozen to Rapunzel transition, fans started to notice that Rapunzel¡Çs hair being used in crazy edits was becoming more and more frequent, but they mostly dismissed it, because that¡Çs kind of the obvious joke to make when you¡Çre parodying Rapunzel. Characters being surrounded, trapped in, or tied down by miles and miles of hair became a common sight in Constable-frozen¡Çs posts, and Tumblr didn¡Çt think much of it. This went on for a few weeks and everything was fine, but then the straw that broke the camel¡Çs back was posted: a seemingly completely original piece of fanart featuring Cassandra (the aforementioned friend), wearing a BDSM-style ball gag as Rapunzel uses her hair to tie her up at the waist. Following that was another clearly sexualized post, this time with Flynn Rider in a ball gag, Rapunzel strapped onto a rack, and Cassandra stepping on a clearly-into-it guy in the background. Some of Tumblr started questioning why this seemingly innocent shitpost blog was suddenly posting original fetish art. That seems like quite a sharp transition, right? All of the previous posts were very SFW, if rediculous, and now this. But then someone started digging into Constable-frozen¡Çs post history, and they had a horrible realization: it had always been a fetish blog, and the ¡Èsurrealist humor¡É everyone was laughing at was actually kinky, bordering-on-pornographic art. Yeah. Things Get Worse People immediately descended on the fans making these accusations, because how could constable-frozen be a fetish blog? After all, every post had fully clothed characters, and nothing was overtly sexual in the way most kink is. But then people started actually looking into the archives, and they started finding things that were, in retrospect, probably less than child-friendly. There were a couple dozen doozies in there, but some of the most well-known images were: multiple Photoshops featuring Olaf making soft-serve vanilla ice cream shoot out of his body, which is shown dripping down Anna¡Çs dress and Elsa¡Çs face like... well, something else pictures where Anna and Elsa are eating ice pops in a way that, in retrospect, is pretty suggestive Rapunzel and Cassandra, painstakingly photoshopped into sexy maid costumes Various Frozen characters eating ice cream out of each other¡Çs mouths or throwing up ice cream into each other¡Çs mouths and, finally: a shit ton of art where characters are either eating each other, or shrunk down and put into in places where they conceivably could be eaten, which looks suspiciously similar to vore art. Any one of these things on its own probably would have been fine, but all of them... well, that¡Çs a lot. If it were just one or two accidental innuendos or raunchy jokes, there would be some plausible deniability there, but there were dozens of these pictures, all very suggestive and very well-made. Of course, they¡Çre all surrounded by utter nonsense?mostly random Marvel crossover stuff?which makes it harder to spot them when you¡Çre just looking at the whole archive, but once you start looking for them, the sexual nature of these images is immediately obvious. And, once you start to view these photoshops through a fetish-y lens, everything else about the blog suddenly makes sense. Why was the creator so incredibly secretive about his identity? Why did he never link to his personal blog? Why was everything so high effort despite being impossible to monetize and generally useless to the creator? If you look at it like this is a guy who makes porn for himself, well, yeah, all of it makes sense?the secrecy, the effort, all of it. Predictably, at this realization, Disney and Marvel Tumblr (and, to an extent, Disney and Marvel Twitter) erupted. Thousands of people had been following this blog and thinking they were just looking at surreal humor, but nope?it was vore all along! Many fans just laughed it off, because, hey, it¡Çs Tumblr?again, this is the same site where HIV+ cannibal mermaid fanfiction captivated hundreds of teenagers and people sometimes rob graves to use bones for magic rituals, so this sort of thing is to be expected. But others were extremely upset by this?after all, Frozen and Tangled are both kids¡Ç franchises. Sure, there¡Çs nothing inherently sexual about Disney cannibalism or people dripping ice cream on each other, but it¡Çs sort of like videos where models suggestively deepthroat Popsicles. It¡Çs not porn, but everyone knows what it¡Çs implying, and it¡Çs not something they want their kids to see. And, because this blog was very popular, there was a decent chance a child could stumble across it by accident if they googled anything related to Frozen or Tangled (or, specifically, Elsa and Cassandra, the two characters the blog focused the most on. ) Which... doesn¡Çt seem okay, does it? And, yeah, parents probably should be monitoring their kids¡Ç internet activities, but nobody
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With Harvey Weinstein finally behind bars after a nearly two-year legal process, in a lot of ways ? good ways, mind you ? it¡Çs the end of an era for the American film industry. And while Weinstein spent a good deal of the past three decades ruining young actresses¡Ç lives, his impact on Hollywood, American Independent Cinema, and the merging of the two throughout the ¡Æ90s cannot be understated. As the mastermind of Miramax, the largest indie film distributor of its time, and then later his own Weinstein Company after the turn of the century, Harvey and his brother Bob were major tastemakers in the industry ? something incredibly apparent when looking at the Academy-granted accolades that films produced by the brothers racked up during their heyday. So, with the toppling of Weinstein and one of Hollywood¡Çs dirtiest open secrets comes the end of an era not only business-and-culture-wise but also in terms of the people ? mostly men, believe it or not ? whose filmmaking careers the Weinstein¡Çs and Miramax helped launch. After all, what use is an entertainment company without its talent? And Miramax, along with the other independent production companies that popped up after its success, had no shortage of it. Look at the academy award winners of the ¡Æ00s and ¡Ç10s, and then look back at some of the young talent working in these companies during the ¡Æ90s. They the same people. Names like the Coen brothers, Soderbergh, Anderson (both of them), and Tarantino are all examples of individual filmmakers who while they achieved mainstream Hollywood successes later in their careers, all came up in the same scene of indie-films right as they began to cross over into the mainstream awareness. These were all up-and-coming, young directors, and in many cases, these unique perspectives they held are what granted them successes in the first place. Movies like Reservoir Dogs and Sex, Lies, and Videotape, were small, weird, and artsy, but fun. They captured a unique spirit of youthful energy that Hollywood was desperately lacking at the time, and tapped into it in a way that rewrote people¡Çs ideas of what a low-budget, indie movie could be. The only thing? That was thirty years ago. Tarantino was 28 years old when he made Reservoir Dogs. Now he¡Çs 56. That youthful energy, capturing the moment as he did back in ¡Ç92? Not exactly possible anymore. So, what role do these directors have now, in a rapidly changing Hollywood, both in terms of technical production, distribution, and culture of the industry as a whole? These guys were in their twenties when they built their names, in their thirties and forties when they won their awards, and now, pushing fifty and sixty, what role do they have in the industry? Are they going to ride the waves they¡Çve already made for themselves, enjoy the benefit of the doubt and their big budgets and just keep making the same prestige films they¡Çve been doing? Will some sell out? Or will some, managing to maintain the energy they built their names with, stay dynamic? Will they embrace this new vibe of Hollywood, throwing away everything they¡Çve learned in the past quarter-century in favor of new technologies and a consumer base that increasingly wants their films quick, digital-first, and free? These were the names that revolutionized the industry twenty-five years ago ? surely a few must be able to match that same energy even as they inch closer and closer to sixty. Tarantino is a perfect example of this phenomenon. He burst into the scene in ¡Ç92 with Reservoir Dogs, which even as a first feature, managed to be packed full of the type of style and directorial flair that turned industry heads. And while both the low-budget and age of Reservoir Dogs are starting to show, any Tarantino fan can go back to the film and point out quirks in the writing and directing that would continue to develop in Pulp Fiction, Inglorious Basterds, and Django Unchained ? which would be considered the highlights of his ¡Æmiddle¡Ç era. But now, that Tarantino is gone. He¡Çs in his fifties now, and while his signature style is definitely still present in his films, his past two works are a great example of a director taking the energy that made them famous and channeling it in a newer, different era with great results. Both the Hateful Eight and Once Upon a Time in Hollywood feel distinctly Tarantino ? they¡Çre long, talky, sometimes to the point of being almost boring in parts, and stylishly, disturbingly violent in others. Crammed full of references, cameos, and callbacks just like Reservoir Dogs was, these films are in a lot of ways Tarantino capitalizing the style he started developing almost three decades earlier. But while Reservoir Dogs was Tarantino trying to make something flashy, noticeable, and full of energy, these two films, specifically The Hateful Eight, seem to be utilizing his style differently. Instead of the sleekness that Tarantino¡Çs work from the ¡Ç90s seemed to ooze, The Hateful Eight feels a lot more restricted, but simultaneously mature, in its writing. The signature bits that make a Tarantino movie what it is are still there, but it seems like now he¡Çs more confident in what he¡Çs doing. He¡Çs letting his brilliant actors and big-budget production values complement his writing now, making living worlds instead of scenarios. Overall, instead of making films with the intent of being noticed, it seems like Tarantino is now taking his energy and focusing on creating something stylishly timeless. Other directors from the Miramax era were able to do very much the same thing as Tarantino, too. The Andersons ? both Wes and Paul Thomas ? capitalized on their independent successes in the ¡Æ90s and started working on gradually more and more commercial releases. While neither in any way ¡Æsold out, ¡Ç both stuck to a production-system that fell somewhere in between Hollywood and the indie scene, and as the new millennium progressed, enjoyed developing their styles in bigger-budget, higher-profile releases. The Grand Budapest Hotel and There Will be Blood could never have been made by twenty-five-year-olds in 1996, but even with their high-profile and big-budget releases, both films are distinctly products of their director¡Çs vision and style. Perhaps Alfonso Cuaron ? of Roma fame ? said it best when he compared working as an artist in Hollywood to ¡Èeating a box of cereal¡É. First, Cuaron says, you have to put in the work, eating the cereal, if you want to ¡Èenjoy the prize at the bottom of the box¡É. To Cuaron ? and surely many others ? working within the system is just a means to get passion projects made. After all, for every Roma, there has to be a Prisoner of Azkaban to secure the funding. Though, Cuaron admits, there is a secret to the whole thing that makes it all worth it to him. Speaking of his friend and director of The Shape of Water Guillermo Del Toro, ¡Èwe don¡Çt tell our mothers¡Ä we love the cereal as well! ¡É Maybe, then, ¡Æselling out¡Ç as some artistically-minded critics might call it, isn¡Çt even a bad thing. After all, a bad day working on Pacific Rim is probably better than a good day at a normal job, and if following through with the project gets you the goodwill to fund your next Oscar winner, all the better. And while some of the faces that dominated the ¡Æ90s scene have faded off (or we wish they¡Çd fade away) over the years, either into semi-retirement or the studio system, there are still a few creative filmmakers who're determined, for better or for worse, to stay with the times and not settle into a safe pattern like some of their contemporaries. The Coen brothers, then, are a great example. Both comfortably in their sixties at this point, Joel and Ethan have been some of the most dynamic and weird filmmakers for the past thirty years. Even having been operating for the majority of the 2010s in traditional Hollywood distribution circles, the Coens have managed to consistently make mainstream-ish pictures that, despite their incredibly variable subject matter ? all manage to have a distinctly ¡ÆCoen¡Ç flair. And while the brothers, especially compared to some of their contemporaries listed, such as Paul Thomas Anderson, have quite a few stinkers to their names ? Hail Caesar! comes to mind, for recent works ? no one can claim they¡Çre complacent. Each Coen brothers production has something interesting to say ? or at the very least, an interesting way to say it, something that¡Çs been a stylistic constant in their work from the late eighties all the way to today And while some of their colleagues may be happy to master their respective lanes with bigger and bigger budgets, the Coens are part of a very small group of already-established Hollywood filmmakers ? along with greats like Scorsese, Cuaron, and as we¡Çll mention later, Soderbergh - to fully embrace the digital generation. 2018¡Çs The Ballad of Buster Scruggs was the first of the Coen¡Çs films to be distributed straight-to-digital by Netflix, and combined with its anthology-style narrative, proves that the brothers are still keen on experimenting with their work ? both in terms of writing and in production. And while Buster Scruggs didn¡Çt make quite the splash of Roma or The Irishman, it was still a well-liked film by both Coen fans and by critics - and came complete with the signature Joel-and-Ethan-weirdness. Buster Scruggs proves that the Coens still have some of that indie-darling energy that made them famous with Fargo and The Big Lebowski, and that, more than anything, should indicate that wherever the hell movies are going to go in the next decade, the brothers will certainly be involved. Besides the Coens, though, one filmmaker of the ¡Æ90s indie class has proved again and again that his come-up in the industry wasn¡Çt a fluke or convenient timing, but rather that he¡Çs constantly willing to experiment with new development, distribution, and production styles to tell his stories ? a quality that has ensured S

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