SURROUNDED BY ARMED BASTARDS @philiponmycracker - Tumblr Blog

Cracker's Life on Mars original posts

Hiya babes, I'm finally done tagging all of my original LoM posts, as promised.

LoM graphics

LoM simple gif sets/quotes/screen caps/interviews

LoM extras/silliness

Crossovers (LoM/DW/Ashes ecc)

(...and a litttle extra: some Mad Dogs original posts)

Thank you all in advance and hope you enjoy your stay *huuuuugs* Love you lots!

#Cracker blah blah #life on mars #love you all so much!!!#mad dogs #master post #my stuff #Life On Mars #Life on mars uk #Lom #Life on Mars bbc #gene hunt #sam tyler #john simm #philip glenister #philiponmycracker

anistarrose

my only religious belief is that there is no afterlife except for the ublock origin team who are going to heaven and the youtube anti-adblock team who are going to hell

monsterpotion

another underappreciated tumblr feature that you dont get on other sites is the queue. i love it when something i thought was funny six months ago and then forgot about a week later crawlts its way out of the processing vortex and i get to see it all over again.

monsterpotion

you should queue this post it would be funny and grant me immortality

monsterpotion

you motherfuckers put me in the processing vortex

THE TIME LOOP

awawa meets awebo

Okay, we got a new one, boys.

#isaac asimov

digitaldiscipline

unfuck google drive by shooting gemini

Hey folks! Google is fucking you via sneaky enshittification again!

Want the shit in your google drive to load instantly again, instead of taking for-fucking-ever?

Open your gdrive (web OR app) Settings > Manage Apps

Gemini was checked "use as default" (and i sure the fuck didn't set it that way, this was a silent push)

Nuke that, and suddenly, folders that took up to a minute to populate and sort do so in a fraction of a second.

#Psa #Fuck ai

parkchanwoohoo

thatnordicguy

kaijuno

itsmeimcathy

March: *starts*

Tumblr:

chatgateau

I’ve seen that many people are talking about the series, and it seemed only right to make a post about it. I’ll start right away by saying what almost everyone I’ve spoken to has thought: this series is terrible. There’s no need to compare it to the stage version (which, incidentally, for a whole series of reasons I find far less interesting than the film) or to the cinematic version in order to criticize the directorial choices or the writing of this series. Setting aside the first episode, which is literally a stitched-together sequence of TikToks that I don’t even want to dwell on, the remaining episodes are extremely redundant, and this is reflected heavily in the structure: a party at the beginning, an episode that follows stereotypical (aesthetic and narrative) conventions of a different genre each time, which fail to guarantee any linear coherence of the plot, and Salieri at the end swearing hatred and revenge, without ever deeply developing a psychology or providing any context for his motivations.

The inclusion of his elderly figure is entirely negligible, and the authors know this very well too, since they keep forgetting about it. Beyond the evident technical and writing problems that many people have complained about, I would like to point out that the very soul of the story has not been understood at all. The declared intention behind the form of this series is to expand areas left in shadow by the film, perhaps in order not to step on toes or to avoid repeating what has already been written, which can be commendable—except that it must be done with a methodological criterion that takes into account the meaning of the scenes and the psychology of the characters within them.

It seems to me that the "original directions" in which the series has developed in this sense are mainly two: Salieri’s schemes and Mozart’s three-dimensionality. While in the first branch everything is accessory (it essentially provides more screen time and a slight whodunit flavor, but adds nothing to what we already know about the character), the second issue is far more complex. First of all, there is an important premise to be made: the protagonist of Amadeus is not Mozart, but Salieri. This has always been clear from 1830 onward. I’ve heard many people complain about the lack of three-dimensionality in Mozart’s character. It is necessary that Mozart is not developed for a very simple reason, namely that the narrator (Salieri) has no interest whatsoever in portraying him in any other way. Quite the opposite, I daresay. It works entirely in favor of his argument that Mozart is indeed presented to the interlocutor as an underdeveloped being. Moreover, he himself has never been interested in the man behind his own projection.

What makes the Requiem scene so memorable in the film stems precisely from this: the idea he had formed is inconsistent, but by then it is too late to fix it. For this reason, attributing a more complex psychology to Mozart in the series, in my view, completely shifts the focus: this was never an equal story, and it should not be. As a review published in 1985 wrote, Salieri’s true work of genius lies in his story, because it is told, and through words he is composing the music of his own posterity (David Thomson. Salieri, Psycho in Film Comment, January-February 1985, Vol. 21, No. 1 (January-February 1985), pp. 70-75: "If you can stand a minute of his floating disdain, it could go on forever. Talk is his music, and he knows he has no equal. It is like listening to the hilarious accounts by some old theatrical queen of all his disasters and humiliations. The longer he goes on about his own bitter pills, the more celebrated he becomes."). One could then discuss the fairly predictable and banal reasons why Mozart feels “uneasy” with his own talent (paternal trauma, how clever), but I’ll perhaps leave that to a more technical comment I’ll make later.

A Mozart who renounces music and places himself in the position of the tormented genius is nothing more than a character who accepts Salieri’s conditions of existence, namely the dichotomy between genius and mediocrity. The lesson that Forman’s Amadeus sought to give us was precisely not to trust Salieri’s idea, to free ourselves from this romantic-taste vision that sees torment in the genius and banality in the mediocre, because Salieri is not, quite simply, mediocre. He is never depicted as such, and his words are entirely inconsistent with what the camera shows us. If this imbalance in the psychological depth of the two characters—which is what makes the story compelling—is removed, then what remains is no longer Amadeus.

I understand—though I do not share—the rush to expand fictional worlds, because we are all curious to know what Mozart thinks, what his take on these issues is. Does he know about Salieri? What is his relationship with Leopold? What does he really think about his creative process? But since we are introduced to the story through Salieri, we must unfortunately abandon these speculations and simply enjoy the work as it is presented to us. Doing the opposite is, as this series has shown, an experiment doomed to fail.

#Thank you so much for this review #Before if i had contemplated briefly of the possibility #Now i am certain i have no reason to see it at all #amadeus 1984 #amadeus 2025 #Why did they evem bother to make this series and call it Amadeus