I KIN THE ULYSSES OGRE

Updated tumblr banner if anyone wants it. I added in some season 3 lines, but if you prefer to DISREGARD! that season here is the old one too:

Asked after the gremlin himself, Armand, at the Interview with the Vampire season three press conference! Rolin assures us Armand is coming and we* will be pleased.

*Armand apologists

Rolin said, “May you multiply” in answer to my saying I’m an Armand apologist.

Then he said, “Give us a second to introduce a bunch of things that are going on. And then let him come in. Full Gremlin. You’ll be pleased.”

Jacob said, “why would he need an apology?” And I said, “He’s never done anything wrong in his life.”

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Full Transcript:

Host: Our showrunner and EP, Rolin Jones. Lestat himself, Sam Reid. Jacob Anderson. Eric Bogosian. And our composer this year, Daniel Hart.

Just raise your hand if you have a question, we'll bring a mic to you.

Me/Rotem Rusak: Hello! I'm Ro, I'm from Nerdist. As a self-proclaimed Armand apologist. I must ask...

Audience: Laughs

RR: Where is he?

Rolin Jones: May you multiply.

RR: We are mighty. Where is he in season three? What is he doing? And how is he feeling?

RJ: Give us a second to introduce a bunch of things going on, and then let him come in, full gremlin. You'll be pleased.

Jacob Anderson: Why would he need an apology?

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° ❀ ⋆ .ೃ

࿔* :･ да, sounds very in. ˚ ༘

⋆｡˚

I wish. ⌗ 𝄞 ⨾ 𓍢ִִ໋໋

I especially hope that people take the time to digest her penultimate paragraph:

The most troubling ethical problem with Nolan’s Odyssey concerns the decision to film part of the movie in the occupied territory of Western Sahara, thus normalising the ongoing violence against the indigenous Sahrawi people. It is particularly galling that Nolan used this land simply as a visually striking backdrop for a film that centres, aggrandises and redeems the hero of a territorial war on account of his belated and partial acknowledgment of his own guilt.

— An Uncomplicated Man by Emily Wilson (London Review of Books)

The simple act of holding a camera in my homeland of Western Sahara can be a crime. When Sahrawi film-makers and journalists attempt to document everyday life under Moroccan occupation, they can often end up in prison cells. For the Moroccan regime, a camera in the hands of a Sahrawi threatens its official narrative that Western Sahara is part of Morocco.

In contrast, when celebrated international names in the film industry wish to capture an ideal picture for an epic journey, and decide that our land is exotic enough to shoot the desired scenes, they are welcomed, escorted and granted access by the same authorities that usually deny us that right.

This is the bitter and paradoxical reality in Western Sahara, an occupied territory with many material and immaterial riches. While foreign extractors of all kinds freely plunder Western Sahara’s phosphate minerals, sand, fish, and tomatoes, and commodify our winds, sunlight and picturesque desert landscapes, we the Indigenous Sahrawis are becoming a minority in our own homeland, systematically marginalised, silenced and denied access to the land we roamed as nomads for centuries.

The latest episode of this colonial drama stars the Christopher Nolan blockbuster using parts of our occupied territory as a film set. Sahrawis are aghast that scenes from The Odyssey – an adaptation of Homer’s poem immersed in themes of displacement, family separation, betrayal, and the agonising, decades-long struggle to return home – were shot on our lands. The irony would be comical were it not so tragic: we, the Sahrawi people whose land was used to film parts of the Odyssey, have been living our own brutal odyssey for more than 50 years.

— Mohamed Sleiman Labat

Despite the MAGA overreaction to the bold casting choices in what was bound to be a relatively conservative film, it was Donald Trump that made this colonial backdrop possible:

The Odyssey is the first major Hollywood production to shoot scenes in Western Sahara. This would have been unthinkable prior to 2020, when President Donald Trump broke with decades of US foreign policy and recognized Morocco’s illegally established sovereignty over the territory. The decision was part of a quid pro quo in exchange for Morocco’s normalization of ties with Israel. Now Nolan and crew’s four-day shoot in Dakhla illustrates how quickly Hollywood studios have moved to exploit the opportunities created by Trump’s transactional diplomacy. This subsidized occupation cinema is yet another symptom of the breakdown of whatever remained of a rules-based liberal order.

For Moroccan officials, the presence of The Odyssey crew was a propaganda coup. They have made it clear they see it as just the beginning of Dakhla’s development as a base for international film productions. This is despite the fact that the wider Western Sahara remains the site of an ongoing armed conflict between the country’s military and the Sahrawi pro-independence movement, the Polisario Front. Last month, three Polisario fighters were killed in a Moroccan drone attack close to the 2,700-kilometer sand berm that separates Moroccan-controlled territory from the desert areas held by Polisario.

We clear the place out in 40 minutes or less and...be a lick big enough for us to sit back for a minute.