Feelings summed up about the scene with Nux when the wives tie him up:

Saturday, July 11th, 2015



“You can tell like… that’s been in their minds for so long. Joe’s culture, the war and the consumption, and the greed. That’s what’s killed the world and even standing on the corpse of it these people ARE STILL DOING IT.

And Nux goes “But it wasn’t us! We’re born after it died!”
And the answer is just “IT’S PEOPLE LIKE YOU! It’s ALWAYS been people like you!” – wasteland-scraps just said it like it IS!

Late night chatting in the WITNESS skype group

#fuck this scene is so good#it’s too good to be true#Can we just get Miller to give every director and script writer in Hollywood a fucking movie writing lesson??#because I need more movies to go by these high AF standards and I know I ain’t getting them during my life time

I have such intense feelings about this movie and the cooperation and the finding allies and being within and part of and working against a toxic culture.

There were posts last night crossing my dash about “why are people making such a big deal over the war boys?” and the thing is you can’t just run. It’s not just about the wives because the wives wouldn’t be the wives without Immortan Joe (they would be women, they would be sisters) and Immortan Joe would not have the power base he does without the war boys.

This is not an ‘isolated’ story about running away but about a communal story of how to fight back, and you can’t create a story without defining the opponent.

And I say ‘opponent’ instead of ‘enemy’ because it’s not that black and white. While there are Joe’s in the world and Slits in the world, there are also Nux’s in the world. And you wonder, what if it’d been Slit who’d been exposed to the wives and put in a place to understand, to overhear, and to (in a place with enough room) reconceptualize what and who people are?

And I say ‘opponent’ instead of enemy because We Are War Boys. That, because of living in patriarchal society, because of surviving, most likely we’ve stopped being cinnamon rolls and lived to become a problematic fave. Just by living in society it’s so easy to pick up unconscious unknowing -isms. And how do you get around that?

Because you can’t by simply making smaller and smaller societies and being isolationist. You can’t by running away. You can’t by not making allies.

Granted, probably still needs to be pushed off the war rig if they’re being a problematic asshole.

(that same problematic asshole might be able to get the war rig out of the mud tho)

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lucerei: Saw Mad Max: Fury Road an hour ago and I still can’t comprehend what I just witnessed

Saturday, July 11th, 2015


Saw Mad Max: Fury Road an hour ago and I still can’t comprehend what I just witnessed

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The only reason I’m not reblogging flamethrowing-hurdy-gurdy‘s powerful and amazing painting of…

Saturday, July 11th, 2015

The only reason I’m not reblogging flamethrowing-hurdy-gurdy‘s powerful and amazing painting of Morsov is that I’m sensitive to the idea that I might have followers who’d be squicked out by it. But if you’re fine with images of violence as they appeared (briefly) in Fury Road, I encourage you to check it out.

Because it’s great.

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ourfuriosa: Also I just rewatched that scene and something occurred to me that I’d never actually…

Saturday, July 11th, 2015


Also I just rewatched that scene and something occurred to me that I’d never actually realized before

Nux is still hiding in the lookout when Cheedo tries to run back to the Immortan. That means that he probably heard that entire exchange.

I just

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Because I am nothing if not an Enabler: Nuxable.

Thursday, July 9th, 2015

001 | send me a ship and I will tell you:

  • when I started shipping it if I did: the moment that Capable touched Nux’s lips. like that moment when she lies down and reaches out to him like… just fuck me up.
  • my thoughts: 
  • What makes me happy about them: i love how soft and tender and subtle their relationship is. I love that it’s never sexual, that it’s not intense and in your face. I love that it’s a kiss on the cheek and never leaving his side; that it’s sleeping curled up next to him and trusting him despite what he should symbolize to Capable. I love that it’s her opening his heart and showing him a different way of seeing the world and of living; that it’s her turning to him when they’re deciding to go back to Citadel instead of crossing the salt, that it’s him keeping her scarf and wrapping it around his wrist. I love that it’s her helping him grow and him helping her heal, and it’s not the one thing out there that doesn’t have to hurt. i love that she just understands him and he understands her, and they don’t need words for that. I love that it’s her giving him a new destiny, and it’s one he accepts completely, just as she accepts him completely. 
  • What makes me sad about them: that last scene of theirs. When Capable is the last one out of the rig and she looks at Nux and he tells her he’ll follow… Like she knows he’s not gonna follow. She knows he’s gonna die. You can see it in her eyes. And she doesn’t want to leave him and he doesn’t want to leave her, but they have to. And the way he fucking says “witness me” to her and the way she reaches out and pulls her hand close to her like what the Vuvalini did when Furiosa said her mom was dead… Like Capable was calling his soul to her and then he fucking dies and it’s horrible and he did it for her, he saved her and the others. he sacrificed himself. she was his fucking manifest destiny, his manifest destiny was to die to save them and it fucks me up so much.
  • things done in fanfic that annoys me: Sex? I mean, that’s pretty much a given tho. But like i haven’t actually read very many fics. I went through the tag on Ao3 but there were only 19 fics and I only read like a couple. 
  • things I look for in fanfic: Ace!Nux and Ace!Capable. Not treating the fact that they’re both survivors of different kinds of abuse as meaning their “broken”. Fics that are happy and cute.
  • Who I’d be comfortable them ending up with, if not each other: No.
  • My happily ever after for them: Nux doesn’t die, they get to return to the Citadel together and help rebuild the world. 
  • who is the big spoon/little spoon: Big spoon is Nux, lil spoon is Capable
  • what is their favorite non-sexual activity: i think it’d be star gazing cause it reminds them of when they first met, sleeping cuddled together in the rig with the stars above them. also i bet capable would learn all about cars and shit, so she could work on stuff with Nux cause he’s her precious revvhead. 

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“If you are telling a story with fully realized characters, in a fully realized universe, with…”

Monday, July 6th, 2015

“If you are telling a story with fully realized characters, in a fully realized universe, with honesty and a clarity of intent this sharp…of course coincidences of resonant story telling are going to happen.  They’re going to happen all over the place.  The important thing isn’t whether or not the director intended each and every one of them – the important thing is that they are a symptom of, evidence of, a mercilessly honest story set in an internally consistent universe, populated by realistically complex characters.”

Anonymous asked: Can you explain your fractal turtles tag? by redshoesnblueskies

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The absolutely untrue story of who got the remaining Land Rover on Fury Road

Monday, July 6th, 2015





The chorus of swear words (led by John Seale), that erupted when someone pointed out that the edge-arm crane had been mounted on the *wrong* Land Rover, finally subsided. Tom had never even heard some of the obscenities before, he wasn’t sure if they originated from Australia, South Africa, or New Zealand – it was hard to tell with this crew.

“You should have the car George. Tom can get to location in the Rig with everyone else.” Charlize commented – always the one to offer an opinion when others decided silence was safer.

The first evening driving back, Tom tried to join in with the group dynamic. He’d missed the mental space a solitary drive used to allow him each morning, but this shoot…you just had to adapt. As they bumped over the dusty terrain, the rumbling of the truck was accompanied by the quiet click of knitting needles from Zoe, Riley, Abbey, Nick, and Courtney.

Tom started another attempt at the strange useless craft that was allegedly relaxing. (It made no sense, he could buy a whole scarf from Marks & Sparks for less than the price of a ball of wool.)

“You dropped a  stitch.” Charlize never took her eyes off the road.

“Fucking didn’t.” Tom argued, looking at the small patch of loops in his paws.

“If you say so…” Charlize smirked, and then muttered something that was probably an insult in Afrikaans because (as she put it) if you’re going to be obnoxious, you might as well go all out.

Tom ignored the hole that appeared in the next role.

“Charlize can teach you how to pick the stitch up next row if you want.” Courtney offered helpfully.

Tom’s head bent lower. “’s fine!”

The next few kilometres were blissfully silent. That is, until the truck lurched over a particularly large bump with a pained groan.

Charlize rapidly switched down gears. “Bit rough for the next stretch, sorry.” Her face suggested she wasn’t *that* sorry.

Tom looked down in despair at the dozen or so loops that had slid off one of his needles during the Rig’s unscheduled flight. He started to gingerly put them back, trying not to pull out the last row of stitches.

“You twisted one.”

Tom just glared at her. Again, she hadn’t taken her eyes off the “road” in front of them.

“Yeah you have,” confirmed Nick, tall enough to peer over Tom’s shoulder, accomplished enough to still be knitting without even looking. “That’s okay, I can show you how to untwist it when you reach it next row.”

Tom ignored him, clutching his knitting closer to his chest like it was a puppy that someone had been rude enough to point out had lopsided ears. “I can do it myself.”

Charlize tugged down the beanie that covered her shorn hair. Nick had made it for her. It was perfect – of course it fucking was! “It’s your knitting.”

Clearly she actually meant “It’s your life.”

Tom had never been so relieved to see the lights of Swakopmund come into view.

Fortunately George was still lingering in the yard, Tom walked up to him.

“We need to take the Land Rover on alternate days George.”

“Oh?” George looked up at him mildly.

“She’s a fucking nightmare!” Specifying which “she” Tom meant wasn’t necessary.

Back in his room, Tom shoved the tangle of needles and yarn into the back of a drawer. He fished out a bag of embroidery thread in its place. Bracelets – he was good at bracelets.

I pray to all skies and gods and v8 engines that somehow, the above-mentioned parties find this post.

*4th wall* *4th wall* *4th wall*
*breathes into paper bag*
Slightly snarky rpf loosely based on theoretically true events is a sub-specialty. But…*head desk*


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“THE BUZZARDS: Production designer Colin Gibson describes more of the theory behind the Buzzard…”

Monday, July 6th, 2015


Production designer Colin Gibson describes more of the theory behind the Buzzard tribe. “The Buzzards are basically vultures. They’re a pack of hyenas. If you build a world full of carrion, the hyena and the vulture will circle. And the difference with them is, they have much baser needs, because they were after just material, the crude mechanics, the very stuff of things. They didn’t see a Cadillac, [the Buzzards] saw metal; not man, but meat. George had the theory that they were Russian and I think maybe they were White Russian and way too white – their bodies were ravaged by impetigo and infection. They were suppurating flesh and peeling skin, held in place with Saran Wrap and bandage. It was just a little too moist in this dry and dirty place, so they hid inside the spiky vehicles. They were spiky as much to keep people away from them as for attack. The anthropomorphic treatment worked both on the front and the back, there was a sense of trying to find vehicles that had eyes, that we could add a grinning grille of mouth to, that the radiator could look like braces on an inbred mouth.


Gibson relates, “If the Buzzards are the hunters of carrion, then the Rock Riders are the hunters just pre-mortem. They have a path through which you must go, which brings you in single file, basically turns you into easy pickings. Their system of attack is obviously, if I live high, then I need to be able to move up and down. So we decided they were two-wheeled parkour artists. Certain motorbikes are built for this.

The Art of Mad Max: Fury Road (via rockatanskis)

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yeah i think you’re right about the movie not being cardboard-cutout-feminist enough. Still a lot of work to do in this department.

Sunday, July 5th, 2015

World’s evolving. People are evolving. Movies are evolving. All at a different pace though, so. Like you get stuff like finally, marriage for all in the States, and not ten seconds after it’s announced people are saying it’s not good enough. Because it isn’t! But people are all at different stages of thought about the world and how it should work. All depends on their environment, on their identity, on their needs. Huge steps are still only just steps. 

I guess that’s another reason I love the film, I feel like Miller hasn’t stood still all his life as a director, he’s evolved and his perspective has evolved and here’s the result. He’s moved past the cardboard ‘strong female character’ that still appears in many films, even though that type character was once absolutely groundbreaking. But it’s not like everything moved forward at once, sexist films are still getting made, racial representation still sucks, ableism runs rampant, every film ever made still has to reckon with how real-life societies treat certain demographics and how that will affect the interpretation of those demographics appearing in the picture, and… yeah. People who seem otherwise enlightened are gonna raise hell about dark-skinned hobbits.

I love this movie so much.

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Good Guy Ace?

Friday, July 3rd, 2015



Lately the concept of “Good Guy Ace” has come up in discussion.

The Ace is a good guy. He works hard; he is diligent, professional, and respectful. He is extremely skilled and competent (competency porn! What a great term!). He seems like the kind of man we would want to know in our own lives; he could be easily someone’s father, uncle, grandfather… The Ace is an older man secure in his strength and abilities; a man who sees people for what they can accomplish and thus does not resent a woman’s leadership, a man who lives the meritocracy he believes.

The Ace is compassionate and caring; he is concerned when Furiosa is cold to him, he bows deepest at Morsov’s death (in contrast to Slit who mocks Morsov’s sacrifice). He is intensely loyal; he shields Furiosa from Nux’s sawed-off shotgun (and Nux in turn is unwilling to shoot a fellow War Boy out of hand). And as aforementioned, the Ace is not the kind of man who would be sitting in the back of the War Rig with the other War Boys, saying, “Women drivers, amirite?” These values make him a good man in our world, and as far as we’re concerned, in any world.

But the Ace, no matter how much of a good guy he is, is still complicit in the system of the Citadel, an oppressive system with a foundation in dehumanization. He is trusted with protecting valuable commodities. The War Boys are literally giving their lives for commodities, because in this world, those things have more value than their labor or even their lives. The Ace also appears as one of the most pious; he bows his head the lowest when saluting Immortan Joe, and again when he Witnesses Morsov. 

Uncritically, the Ace has no idea that the accumulation of these actions mean that he implicitly supports an oppressive system that strips him of individuality, adulthood, self-determination, and even procreation. After all, those chastity belts are meant to hurt people on both sides of the iron. As intensely manly as the War Boys are, they are essentially eunuchs, drones, interchangeable parts no more individual that a factory-produced bolt, emasculated by a cult of toxic masculinity. Immortan Joe doesn’t just control the water and with it their lives; he controls all the means of production too, even the reproduction of human beings.

So how do we know for sure that the Ace is complicit in the system? After all in a fiercely male-dominated, patriarchal world, he trusts Furioa and she trusts him in return. It is obvious they have experience working side-by-side. They move as a well-rehearsed team and know each other’s minds. But when Furiosa betrays their system, the Ace takes her by the throat. This is not the action of a man who is good in the context of our world; this is the brutal action of a man who is good in the context of their world. A man who is protecting the assets at the cost of friendship and mutual respect, profit above all else. Even though we know the Ace doesn’t necessarily think “profit before friends”, by attacking Furiosa and doing what he thinks is responsible, he is supporting that toxic worldview.

As much as we love the Ace, the Ace is sick like the rest of the War Boys, not only physically, and unable to see it. He has not had his eyes opened by the Splendid Angharad as Furiosa and the other Wives had. He’s carved out a little bit of goodness in an ugly world, but the Ace, like everyone else, is a product of his environment and the system they live in. It doesn’t stop him from being a good guy; it’s just that in their world, no one’s hands are clean. Everyone is complicit, no matter how good they are and how much one wants to like them. This best example is the Keeper of the Seeds, whose last planted seed is an Anti-Seed, a rifle bullet, in Furiosa’s assailant’s eye. Even she whose mission is to give life to the wasteland is a killer, many times over, and mostly unapologetic about that, though her seeds are a chance to redeem herself.

It is important to judge characters and people by the context of their world and their society, not ours.

So in sum: Ace is a good guy. Hell, even a great guy, in the context of his world.  We still love him. But one may not want him over for dinner.

I agree with…most of this. But as a former soldier, I’d like to slap down some ethos here, and, in fact, as an interrogator, I have to say, you probably wouldn’t want to have ME over for dinner, either.  ^_^

I’d like to point out that it’s clear the Furiosa is ALSO complicit in this system?  She likely didn’t get her rank by being nice or even rebellious. She got Joe’s trust by, uh, playing the game. In fact, if you take it that she knowingly played the game in order to serve her own ends, it makes her, in a sense, morally WORSE than Ace or any of the War Boys, because she knowingly used/manipulated them. She claims agency and her first act of agency is betrayal.  And that she must have done things she did not quite square with either. He might have a misguided or misaimed honor, but she is seriously crippled in the integrity department. 

I’d like to also point out that fighting in an army does not mean 100000000% supporting the ideology of that army.  A little research into the ‘comitatus’ would probably do some good here–military units coalesce around a homosocial code, so you tend to fight for your guys, rather than for that abstract idea. In other words, when I was in a firefight, I wasn’t like YO BALD EAGLES FREEEEDDDDDOOOM, or even YAY PRESIDENT, I was like, SHIT they’ve got Smitty pinned down. When someone betrays you in that system, FUCK YEAH you take it personally. Ask Bowe Bergdahl’s old unit how they feel about him. Be prepared for profanity. 

When you live close to death (which most people who can fart around on Tumblr probably don’t) you DESPERATELY want meaning. You desperately want to believe that there’s some sense or logic–if not in a sort of ‘magical thinking’ ritual you follow, then at least in the sense that when you do lose your buddies, you want to believe that it was…for something, or that they went some place other than a plastic bag. Because if you can’t…it crushes you. 

Think how much death Ace has seen. That might explain his faith. 

Ace is really clearly the very common war movie trope called the ‘Immortal Sergeant’. You see this type in just about every war movie/novel ever, all the way from Kat in All Quiet on the Western Front. The Immortal Sergeant is good at combat. He’s at home there. He can’t quite fit in anywhere else, and he knows that. Because war is uncivilized, and once you get really good at crossing that line, you can’t really come back.  Unlike a character like Rambo, the IS is not an isolated loner who can’t function in any society: he can function in his structured society. Why do most vets today try to make other vet friends?

I like both Furiosa and Ace, but I like them because they’re flawed. I think it’s a good reminder to everyone that hey YOU TOO are complicit in a system whose values might be systemically destructive of your agency, freedom, and self determination, which likewise ALSO participates in the oppression of other groups.  YOUR SOCIETY TOO views you as less than human–your boss views you as a source of labor, and the drive in education toward ‘workforce development’ additionally institutionalizes the shift from ‘free human’ to ‘worker’ as the primary focus of education, your society too seeks to police and limit your sexuality and self-expression, (even tumblr where  you MUST FIT INTO ONE OF THESE LABELS or else), and every place that takes your money views you as a mere consumer. 

Saying that this is just something in his world, or that he’s doing the same damn thing you probably are…somehow makes him bad?  WOW that’s really dangerous.  That’s alterity to the point of self-annihilation.

Sorry for the posthumanist theory rant there at the end. Not really.

Thanks to both of you for offering interesting perspectives.

Going back to the OP, I wanted to offer a slightly different take on this part:

But when Furiosa betrays their system, the Ace takes her by the throat. This is not the action of a man who is good in the context of our world; this is the brutal action of a man who is good in the context of their world.

I think the Ace’s actions toward Furiosa, and in particular his last action toward her, are more complicated than that. Someone posted about this a while back; I apologize for having lost track of who it was. A lot of this is repeating that person’s previous comment.

Ace is loyal to Furiosa. He questions her three times (about diverting from the road, continuing despite the flares from the Citadel, and taking on the Buzzards rather than running them into their backup), and each time he accepts her evasive response at face value.

It’s only the last time he questions her, when the Buzzards have been defeated and she’s continuing to drive toward the dust storm, that he escalates. “Why can’t you stop?” When Furiosa doesn’t answer Ace is left with no possible explanation but the actual one: she’s betraying Joe. He shouts at her, “What have you done?” Again she doesn’t answer.

At this point, if Ace were merely “a brutal man who is good in the context of their world”, he could have incapacitated Furiosa. He could have punched her, or attacked her with some other weapon he presumably had access to. He could also have followed Nux’s shouted instructions to get out of the way, so he (Nux) could shoot her. He didn’t do any of those things. Instead, he continued to shield her from Nux while grabbing her by the throat and repeating his question, “What have you done?”

In the context of the kind of violence we’ve seen the war rig’s crew dishing out, I don’t think this constitutes an attack. Instead, it feels like a minimal escalation of force intended to compel her to answer. Ace still is motivated by his loyalty to Furiosa. He can’t let her continue unimpeded. But neither is he willing to attack her. Instead, he uses a minimally violent means to compel her to answer, while leaving himself open to the counter-attack that she actually makes.

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I love how we’re all clear on “war boy” being a gender neutral term.

Thursday, July 2nd, 2015

During a rewatch to check something else, I almost sort of thought I saw a background character on one of the vehicles in Joe’s war party wearing clothing that could have been read as female. A button-down/V-neck top with suspenders/overalls over it? I backed up to look again and decided I was probably reading too much into things. But Furiosa proves it’s happened at least once before, so maybe?

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flamethrowing-hurdy-gurdy: sqwace: Ok, i announced that i’d post some thoughts here so i better…

Wednesday, July 1st, 2015



Ok, i announced that i’d post some thoughts here so i better keep that promise, eh?

So i was thinking about the skulls on the war rig – the first thought is of course that these are skulls of defeated enemies. BUT wouldn’t it make much more sense that it’s an incredible honour to be on the war rig after your death?

There’s two possibilities i can think of, either only the higher ranking imperators etc. get a place there or this is a way to redeem/honour war boys who ‘die soft’ because they weren’t ‘lucky enough’ to be grantd die a shiny death.

Plus, in the context of this and the cosplay references going around (with all the stuff that the war boys carry on their pants):
Do you think there would be a clean-up crew after a battle? I mean certainly for salvaging car parts but also…human parts?

So do any of you have thoughts on war boy post-mortem rituals?

I like that. I mean the ultimate death is suicide in battle, which probably doesn’t leave much to be salvaged, but is simply being killed in battle any less respected? The guys were really anxious about Morsov going chrome in his very last moments, but I don’t think it’s a dishonour to just get shot and die.

And possibly the Soft Death isn’t completely unacceptable either, if a War Boy has proved himself in battle enough times. There was a post going around (I forget whooo wroooote iiit so sorry :( ) about their black paint and how the amount used could reflect experience and acoomplishments instead of rank- the Pups are either all white or with just their eyes blackened. Nux has very little black, but he outranks Slit who’s got quite a lot- but Nux is also very worried about dying soft. Possibly because he knows he hasn’t done enough fighting to get into Valhalla.

This is just speculation, right. But I think these guys care a lot about death, I mean that’s clear, they care about everything from the manner of their death to the time of their death to whether anyone sees it- witnesses it. All of them are supposedly at the reaper’s door already, and they never know when it will open.

So the same way Witnessing is extremely important, I think anything done post-mortem would have to be very important as well. There wouldn’t be much weight placed on burial, for example, or on maintaining the same ritual every time, since that’s just impossible to guarantee- sometimes you’re gonna have someone pulverised or crushed into the desert and that has to be good enough.  But I can definitely imagine bones that were salvaged whole being given respect. 

Er…in short…yes? I think those could be honourable skulls?

All excellent points. And they make me think about Nux’s previous battle history, and how he acquits himself battle-wise in the events we see in the movie. He’s a great driver (those J-turns, for example), and the Nux car is the fastest vehicle in the war party. So my headcanon is that Nux is a top-notch mechanic and driver. But he’s not much of a fighter.

He wins the scrum for the handgun magazine and gets it to Max, but he doesn’t hurt any of the wives in the process; doesn’t even try. Max knocks him out of action (for a couple of minutes) with a single punch to the solar plexus. He tries to choke Furiosa with the chain, but is immediately pulled off by the wives, and basically manhandled right out of the cab. Despite the offer to pike Furiosa in the spine (or Joe’s preferred alternative of shooting her), well, we know how that turned out. In the final run through the canyon his only contributions are (crucial and awesome) mechanical work and driving.

Bottom line: Nux occasionally talks tough (“he’s gonna shred her!”), but he’s basically nonviolent. The most physically aggressive thing he does in the whole movie is head-butt Slit for the steering wheel. All he really wants to do is fix things, drive fast, and die historic on the Fury Road.

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icarus-suraki: Background Warboys. Reblog if “Witness!”

Wednesday, July 1st, 2015


Background Warboys. Reblog if “Witness!”

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icarus-suraki: flamethrowing-hurdy-gurdy: storywonker: ooksaidthelibrarian: flamethrowing-hurdy-g…

Sunday, June 28th, 2015






Okay so in the neverending list of things that made me go ‘Oh oh oh oh!!!!’ from our favourite movie…

…the Doof Wagon.

It’s cool. That’s a given. It has the audience go ‘WTF what am I watching’. 

But the thing I really like about it is that it brings the soundtrack right into the story like no sick musical ever has. Every action sequence has to have really rad music that gets your blood pumping and your adrenaline rushing, but if you wanna think about it, the characters don’t get that score in the background as they’re running for their lives. Right?

Except here they do :P

Clearly Immortan knows how to put on a show.

But really it’s so frickin’ cool for the audience as well, because if the music is getting louder, that means Joe’s war parties are getting closer. It makes you anxious. And when the music revs up it’s not just the score, it’s what’s happening on screen. I love that!

I once wrote a homework about Fritz Lang’s M and I discovered how he, in his freaking first sound movie ever, used music and sound to create suspense and to involve the audience in the scene. Not only the leitmotiv of the murderer, but also stuff like noise that carries from one scene to the other. Go and watch it, it’s a great movie.

Anyway, ever since I have mad respect for any filmmaker who knows how to do this and who knows how to put his soundtrack and incidental music to good use. Miller does this so well in Fury Road. And the sound of the Doof Wagon getting closer is an adrenaline rush for me, like it is for Furiosa, Max and the Wives.

The other cool thing is that the Doof Wagon isn’t just there to be cool or to pump the War Boys up – it does that, but like so much else in the movie it has a clear purpose that viewers are left to piece together for themselves.

To elaborate: Max’s world does not appear to have radio. I don’t remember if we see Furiosa use and intercom in the War Rig, but every time we see long-range communication in the film, it’s using pre-radio methods: Morse Code flashes, coloured signals, etc. Those are great for long-range communication when there’s not a need for absolute split-second understanding, but in battle when two war parties collide they’re almost useless – you can’t have crews looking for signals when they should be concentrating on fighting. 

So, without widespread radio use, how does a commander communicate to the rest of his war party? The same way commanders have done since the rise of professional armies – with music signals. The Doof Wagon is the post-apocalyptic version of a drummer boy in a line regiment – he calls out formations and commands in a way that can carry over the cacophony of battle. Psyching up the warboys is an added bonus to this.

Whooaoaooooaaaaa did not even THINK of that.

Can we also talk about the Doof Wagon being a psychological weapon? It’s intimidating. It’s loud. It’s scary. And it lets you know that something big and awful is coming.

Sure, it pumps up the warboys (as one can see; they are literally bouncing around on their vehicles like the hooligans they are), but think about this too:
Joe’s got a reputation as a badass who is ready, willing, even anxious to fuck up anyone and anything that he feels like fucking up. He sticks the word “war” in front of things like Batman sticks the word “bat” in front of things, okay? That reputation precedes him.  

Literally, it precedes him: all that Doof-y wildness goes echoing out like a road in the wilderness.

The characters he pursues (the war-rig roadtrippers, as we all know) hear him coming up fast–they hear the engines and the Doof Wagon. To quote The Dag: “Angharad, is that the wind or is that a Furious Vexation?” He’s coming. He’s coming. He’s like a storm: you hear the thunder coming on.

And it reminds me of the old folktale that the Scottish Highlanders used bagpipes in the same way: they’d play these loud, raucous, squalling instruments that just howled and wailed and sounded like the tormented souls of the damned. Just an awful sound, which was supposed to terrify their enemies–all that coupled with a reputation for fucking all your shit up.

It just sounds scary as hell, and that’s a pretty effective tactic if you’re trying for intimidation and spectacle (two things it seems Joe’s big on).

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I saw the movie again today and I noticed that when Max is on the Doof Wagon and that one War Boy climbs out to shoot at him, Max moves both himself and Doof out of the way. I mean, he could have used Doof as a human shield like he did it with the People Eater but instead he swings them both to the side like “nah man, this dude is too cool” *swings Doof out of the way*

Saturday, June 27th, 2015

‘Swing away sweet summer child…there he goes…’ *man tear*

((((wtf r u talkin bout historic))))

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I am Slit in Mad Max, Stryker in X-Men, Chuckler in The Pacific, and actor/director Josh Helman in real life. AMA! • /r/IAmA

Friday, June 26th, 2015

I am Slit in Mad Max, Stryker in X-Men, Chuckler in The Pacific, and actor/director Josh Helman in real life. AMA! • /r/IAmA:



Josh “Slit” Helman did a brief AMA today. He offers a few Fury Road insights, like that his wallowing on the Interceptor hood was improvised and that he loves George, who is a “teddy bear,” but almost all of his replies are pretty comical, Max-related or otherwise.

Well I am glad I stayed up til half one AGAIN to see this cross my dash. Slit, u asshole :D


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Paper Beats Rock

Friday, June 26th, 2015




Summary: We learn from the comics that Rictus is afraid of Furiosa. I think we need more details than that.

The first time Rictus fought her (tried fighting her) she’d just been making a name for herself with the scouts. Furiosa had learned her way across every inch of her vehicle with the Repair boys and been given a trial promotion. She’d done well on the trip, they’ve just come back with a new bloodbag. She’d bolo’d them when they were running away. (She didn’t bother looking at their face.)

Rictus blocked her path from the garages.

“What’s this?” He jeered, “What’s this? Does she think she’s can do war?”

Furiosa tucked her chin down and the War Boys drifted back to the walls.

“Does she think she doesn’t belong in the breeding pens?” Rictus grinned, “I’ll move you there myself.”

He went at her fast, lifting a hand open palmed and as it swung at her face Furiosa darted both hands out and locked his wrist. Jerked it hard towards her core and pivoted with a sharp twist and brought down Rictus onto his back with a thump. Followed him with a knee to the tender of his sternum and, with her full weight behind it, slammed her elbow against his nose.

The room was silent but for her breathing, as she got up and put some distance between them. Blood ran in dribbles down her arm.

It took less than three seconds.

Keep reading

God damn you’re good at this. I keep trying to write stuff, but I get caught up in novella like writing. Time in the stuff you write is fluid but coherent, and I just… how? 

Also, I don’t even know if I saw you ever talking about how Rictus was supposed to not feel pain, and I was concerned the whole way through that he’d react in some way to pain, but aside from Maybe the groin kick, nope. You did it without him necessarily having needed to feel pain. *applause*

Haaa omg thank you. And I guess I try to just firmly stay in POV, basically as much as possible write the story as if it’s experienced.

I… Honestly forgot that fact about Rictus. I was just writing the way I thought Furiosa would react. Also felt there was barely time for pacing and the action scenes still feel weirdly mistimed, or like… It’s not happening at the speed of experience but at the speed of audience comprehension and that makes me twitchy because that means I’m guessing (and second guessing) at the audience.

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What about Gift?

Thursday, June 25th, 2015

This took so long! I’m sorry! I’m sorry it’s short too. I’m terrible honestly. but don’t let that stop the one word prompts from coming because i’ll do them. eventually. 

When Angharad becomes pregnant, Immortan Joe gives her gifts. A book about birds, a silver-backed mirror, guitar strings. She gives the book to Dag, who likes to think she can fly, and the mirror to Cheedo, who flashes messages to Toast on the ceiling, and the guitar strings to Capable, who plays a song about someone named Margaret who dies of a broken heart.

All of them pass on anything he gives them, like it draws his touch away from them, like it scratches out his name. He is generous with books but the girls thank Miss Giddy and smile at him with closed mouths. He gives them pools of water but the girls thank Miss Giddy for that too and turn away from him before he’s finished speaking.

“Little rebellions,” whispers Dag around her knuckles, and Angharad can taste their victory it’s so close.

Max gives gifts too, though no one calls them that. Like a boot or a steering wheel. Like a red skull on a map. Like blood. He comes back sometimes, while the Citadel is being remade, and he’s never empty handed. Everything he brings with him he gives to Furiosa who knows who it’s meant for. Tiny sprouts of green kept in the hollows of whatever vehicle he has, Furiosa passes those on to Dag. The stray children in rags with tyre-burnt fingers, she shuffles them on to Capable. Bullets go to Toast. Everything else goes to Cheedo and she, in turn, passes whatever-it-is on to the Wretched. Clothes and food and polished pebbles. Furiosa keeps nothing for herself. His blood was enough, she thinks.

One day he comes back without anything, just himself, in worn leather and worn skin and worn bones. He stands before her with empty hands that will probably always shake, and eyes that move around the room, pulling out secrets, and fire, and blood. Furiosa knows instantly that he has come back for good, and that it’s not a gift, because people can’t be given to anyone, but she is glad to have him all the same.

“Come here,” she says, and he falls into her.

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Some trivia

Wednesday, June 24th, 2015




So, you probably know by now, I have somehow become the number one fangirl for the Ace in Fury Road.  

Found this in an interview with Miller:

“Security was also an issue, especially with so many actors and the
families of crew members who had joined the shoot. A former SAS soldier,
John Iles, headed a security team and moonlighted as a warrior named
Ace in the movie. “There were a number of burglaries and he was first
there,” Mitchell says. “John billeted himself near where the Wives were,
so if
anything happened, I had an emergency hotline to him to get down and help.”
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Omfg yes totally in my interests

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6th time thoughts: don’t be the people who missed seeing Star Wars in the theater. you’ll regret it.

Wednesday, June 24th, 2015


1. I was lucky enough to see Star Wars in the theater when it came out.  I cannot TELL you how many scifi & film fans I’ve talked to since who deeply regret never having seen it on the big screen, let alone having had the chance to see it before anyone really understood what it was, what it would do to genre film, how that effect would ripple out to mainstream cinema.  To see Star Wars before you were prepared for anything remotely like it…it wasn’t an experience that could be duplicated by watching it at home, or by watching an indie theater big screen showing years later.

Fury Road is that experience.  

Don’t miss seeing it on the big screen.  Don’t be all those people who say, ‘Damn, I can’t believe I didn’t see this game changer action art-house rock opera (say it with me now) FUCKING MOVIE…in the theater.’

2. By this point I sit in strung anticipation silencing my phone and tucking away my purse…and when the first soundtrack cues hit the speakers I slide down in my seat so that all I can see is the screen.  It feels like a friend, like a presence.  I am transported.

This is ridiculous.  No other piece of visual media has ever done this to me. A few rare and precious fics and books, but nothing on a screen.  Nothing through speakers.  

But I have surrendered.  I don’t care that it seems ridiculous.  I just don’t care.  Because it makes me so deeply deeply happy.

3. I had to get my phone fixed before I went to the theater today.  I ended up striding around the store with out flung arms describing the practical effects to the phone guys.  I think I alarmed them.  (one decided to go on that recommendation.  the other dismissed the movie as whatevs)

4. More and more I see this complete polarization in reactions to the movie, and I find myself wondering how much of it stems from visual processing differences and how much of it arises from..hmm..for want of a better term I’ll have to say film literacy (no intent to sound snobbish – some people do not gain any enjoyment for movies by saturating themselves in commentary tracks and comparisons of cinematography and such. either you’re obsessed or you’re not. those who are not probably have more peace in their souls.).

I can completely see how people who process visuals in a different way than I do, could look at the movie and see ‘motion, sand, more motion, visually full of sameness. also? sand.’

i can also see how people who haven’t spent endless fascinated hours pouring over the language of film, the intricacies of building a visual story, the subtleties of character development in acting rather than scripting, could look at this movie and say, ‘Plot? what plot?  Character differentiation?  There was none!’  They respond to a different kind of story telling, and Fury Road doesn’t hit the beats they need.

reaction A: ‘all I saw was sand’ 

reaction B: ‘UNBELIEVABLE. WORK OF ART. [say it with me now] THIS FUCKING MOVIE’

…not many reactions in between.

5. Similarly, I keep reading reviews that dismiss the ongoing obsession so many of us have with Fury Road under the heading ‘it’s all about the women for them – that’s cool, whatever.’

This is one area where I feel pretty heated – because its NOT about the presence of fully developed women in this film, or the lack of gender slurs in this film, or the absence of microagressions of any kind in this film, or the lack of male-gaze camera work in this film, or even that it passes the Bechdel test, the Mako Mori test or any other test one could care to drum up that denotes excellent representation of women in film.

I don’t love this movie because of those things – the cultural course correction of those things allow me to be completely undefended before this movie.  I don’t have to have my genre-savvy-female filter turned on.  Because the movie isn’t hurting me, I am free to see the phenomenal piece of work that it is.

I love the movie for the movie itself – for everything it is as a visual masterpiece; stripped of all distracting character inconsequentials to reveal the people themselves; a story so fundamental to accumulated millennia of human myth that it resonates for absolutely anyone – the journey, the struggle, and the return home with new wisdom.

This movie welcomes me with complete integrity, with George Miller’s delighted child-like smile, ecstatic to share the experience.  

‘Come and play!’ it says; and I do.

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