Shelby Fielding
@shfauthor.bsky.social
Queer, writer, and occasional connoisseur of bad jokes. 🌈
Whether it’s the way movies and TV shows are made and distributed, or even the commitment to create something authentic; they seem to slide in with that generational desire for realism in a world that is steadily becoming difficult to differentiate between real and fake.
April 16, 2025 at 2:25 PM
Whether it’s the way movies and TV shows are made and distributed, or even the commitment to create something authentic; they seem to slide in with that generational desire for realism in a world that is steadily becoming difficult to differentiate between real and fake.
Both of these projects are fantastic works, in their own right. More interesting is how they are lining up with the momentum of our lust for tangibility.
April 16, 2025 at 2:25 PM
Both of these projects are fantastic works, in their own right. More interesting is how they are lining up with the momentum of our lust for tangibility.
I think some of that is derived from a fresh face at the helm, partnered with a veteran like Garland who works to create this physical exercise of a movie meant to act as a stone in the ground. It marks an event and ignores the genre frameworks almost entirely.
April 16, 2025 at 2:25 PM
I think some of that is derived from a fresh face at the helm, partnered with a veteran like Garland who works to create this physical exercise of a movie meant to act as a stone in the ground. It marks an event and ignores the genre frameworks almost entirely.
Similarly, Alex Garland and Ray Mendoza’s WarFare is perhaps the most realistic depiction of war that I’ve ever seen in filmmaking. It's the first movie of its genre that I have ever felt terror and anxiety while watching.
April 16, 2025 at 2:25 PM
Similarly, Alex Garland and Ray Mendoza’s WarFare is perhaps the most realistic depiction of war that I’ve ever seen in filmmaking. It's the first movie of its genre that I have ever felt terror and anxiety while watching.
Part of what makes R. Scott Gemmill’s medical drama, The Pitt, stand out from the constant slush pile of television releases is its antithetical approach to the traditional medical drama.
April 16, 2025 at 2:25 PM
Part of what makes R. Scott Gemmill’s medical drama, The Pitt, stand out from the constant slush pile of television releases is its antithetical approach to the traditional medical drama.
I think it is. Not just because of physical media’s resurrection or the soft growth of the once-expired traditions of how we engage with film or television like renting or live sports on streaming services, but also how we are seeking realism from our film and television projects
April 16, 2025 at 2:25 PM
I think it is. Not just because of physical media’s resurrection or the soft growth of the once-expired traditions of how we engage with film or television like renting or live sports on streaming services, but also how we are seeking realism from our film and television projects
There’s a measurable desire to escape the computerized curation of our tastes and how we engage with the world through our technological appendages. But what if that same phenomenon was finding its way into film and television?
April 16, 2025 at 2:25 PM
There’s a measurable desire to escape the computerized curation of our tastes and how we engage with the world through our technological appendages. But what if that same phenomenon was finding its way into film and television?
It’s hard to argue that the by-product of the omnipresent digitization of our lives isn’t our collective renewed nostalgia for a time when the things we loved felt more real. Whether it’s vinyl sales or the recent adoption of vintage technologies by Gen Z.
April 16, 2025 at 2:25 PM
It’s hard to argue that the by-product of the omnipresent digitization of our lives isn’t our collective renewed nostalgia for a time when the things we loved felt more real. Whether it’s vinyl sales or the recent adoption of vintage technologies by Gen Z.
The Russo Brothers and Christopher Markus and Stephen McFeely found what works for them, and there some of the best to ever do it. Read more of this article here:
medium.com/p/b48dd48e3bc9
medium.com/p/b48dd48e3bc9
Storytellers Can Be Confined, and That’s Okay
Great storytellers shouldn’t be judged by their versatility, but their potency
medium.com
April 7, 2025 at 2:22 PM
The Russo Brothers and Christopher Markus and Stephen McFeely found what works for them, and there some of the best to ever do it. Read more of this article here:
medium.com/p/b48dd48e3bc9
medium.com/p/b48dd48e3bc9
Not all storytellers are meant to tell every story under the sun. So many of us only have one story to tell, truly. Sometimes, we know it out of the gate. Other times, it takes a career to find it.
April 7, 2025 at 2:22 PM
Not all storytellers are meant to tell every story under the sun. So many of us only have one story to tell, truly. Sometimes, we know it out of the gate. Other times, it takes a career to find it.
I contend that storytellers can be good at one type of story and that’s not a bad thing. I think the Russo Brothers and their screenwriting partners, Markus and McFeely are prime examples of this.
April 7, 2025 at 2:22 PM
I contend that storytellers can be good at one type of story and that’s not a bad thing. I think the Russo Brothers and their screenwriting partners, Markus and McFeely are prime examples of this.
Everyone has a vastly different interpretation of what makes a storyteller “successful.” For some, it is consistency. Filmmakers who can tell many stories while achieving a similar level of critical and/or commercial success with each project.
April 7, 2025 at 2:22 PM
Everyone has a vastly different interpretation of what makes a storyteller “successful.” For some, it is consistency. Filmmakers who can tell many stories while achieving a similar level of critical and/or commercial success with each project.
But its quality or lack thereof is not entirely the point of what I wish to interrogate here, but rather the point Fennessey makes to call them “caretakers.”
April 7, 2025 at 2:22 PM
But its quality or lack thereof is not entirely the point of what I wish to interrogate here, but rather the point Fennessey makes to call them “caretakers.”
It’s some pretty harsh language. To be fair, the movie is not incredibly successful by most metrics. Bad reviews on most platforms, mixed audience reception, and loose staying power on Netflix’s top 10.
April 7, 2025 at 2:22 PM
It’s some pretty harsh language. To be fair, the movie is not incredibly successful by most metrics. Bad reviews on most platforms, mixed audience reception, and loose staying power on Netflix’s top 10.
“It’s one of the worst movies of the year. It’s one of the worst movies of the decade….made by filmmakers who have mistaken their caretaker-dom for creativity.”
April 7, 2025 at 2:22 PM
“It’s one of the worst movies of the year. It’s one of the worst movies of the decade….made by filmmakers who have mistaken their caretaker-dom for creativity.”
If you enjoyed this thread, you can read my full review of the series thus far here:
fanfare.pub/severance-is...
fanfare.pub/severance-is...
Severance Is Just Okay, Right?
A review for Apple TV & Ben Stiller’s workplace sci-fi comedy/drama, and what it means to feel out of the loop on popular art.
fanfare.pub
April 2, 2025 at 2:08 PM
If you enjoyed this thread, you can read my full review of the series thus far here:
fanfare.pub/severance-is...
fanfare.pub/severance-is...
I am delighted that so many people love it, though. I am thrilled that it has become another vehicle for people to make their directorial debut or contribute a verse to the grand story of television. It’s always better to have more seats at the table.
a man in a suit and tie is dancing with his hands in the air
ALT: a man in a suit and tie is dancing with his hands in the air
media.tenor.com
April 2, 2025 at 2:03 PM
I am delighted that so many people love it, though. I am thrilled that it has become another vehicle for people to make their directorial debut or contribute a verse to the grand story of television. It’s always better to have more seats at the table.
And it’s a frustrating feeling, especially in our social media doom scroll modernity, to have a story that you don’t particularly enjoy constantly thwarted into your space as something you should love or at least like.
But I don’t.
But I don’t.
April 2, 2025 at 2:03 PM
And it’s a frustrating feeling, especially in our social media doom scroll modernity, to have a story that you don’t particularly enjoy constantly thwarted into your space as something you should love or at least like.
But I don’t.
But I don’t.
It’s why the standout episode of the second season (Episode 7, Chikhai Bardo; astonishingly directed by Jessica Lee Gagné in her directorial debut nonetheless) works so well for me.
April 2, 2025 at 2:03 PM
It’s why the standout episode of the second season (Episode 7, Chikhai Bardo; astonishingly directed by Jessica Lee Gagné in her directorial debut nonetheless) works so well for me.