Watch Joker (2019)

In Greek mythology, Achilles was the greatest warrior. He even acted like a superstar in his day, holding out on Agamemnon for a max contract.
Of course, Achilles had one fatal flaw. When his mother Thetis dipped him into the river Styx to give him invulnerability, she held him by the heel. Because of that, his heel was still susceptible to injury. That weak spot allowed him to get upset in the Trojan War by a lower-seed named Paris. And thus, we get the term "Achilles heel."
Every great player and every great team has an Achilles heel or two. So with that in mind, let's take a look at the top contenders (listed according to the best title odds on bovada) and determine their potential fatal flaws.
Los Angeles Lakers (+240)
The Los Angeles Lakers are one of the most complete teams we've seen in several years. Not only do they have elite top-end talent, but they'd bolstered the depth chart around them. At this time last year, we may have called their bench or depth their weakness; they responded to that by adding the winner of Sixth Man of the Year (Montrezl Harrell) and the player who finished second for Sixth Man (Dennis Schroder.) Their defense was already elite, and then they added former Defensive Player of the Year Marc Gasol to boot. As in life, the rich get richer.
So does this team have any weakness left? Perhaps. I'd suggest that perimeter shooting is still their biggest wild card. They've been shooting well this season, nailing 38% from beyond the arc as a team (good for 5th best.) At the same time, that's likely to regress. LeBron James is shooting a blistering 41.0% from three (career 34.6). Kentavious Caldwell-Pope is shooting 46.8% from three (career 35.3). Kyle Kuzma is shooting 39.3% from three (career 33.5). Having James and Anthony Davis does allow their supporting cast to get open looks, but we'd still expect these numbers to come down to some degree. If that does, then the fact that the team doesn't shoot many threes (28th most) may be more pronounced.
Overall, you can make the argument that the Lakers lack sharpshooters. Maybe they don't need Steph Curry or even Seth Curry, but they could still use a reliable shooting specialist off the bench to break out in case of emergency. J.J. Redick may be available via trade/buyout. Kyle Korver and Allen Crabbe are available on the waiver wire. These shooters may be negative defenders, but the Lakers are SO good defensively that they should be able to withstand a slight hit in that regard. What may be harder to overcome is a cold stretch from three in a key series.
Brooklyn Nets (+375)
The Brooklyn Nets are an incredible collection of superstar talent, with two of the greatest scorers we've ever seen in Kevin Durant and James Harden and one of the greatest enigmas we've ever experienced in Kyrie Irving. Coupled with Joe Harris, shooting/offense is clearly NOT the problem here.
It doesn't take a basketball expert or even a dumb redditor like me to realize the bigger concern is the defensive end. The Nets' defense is softer than Charmin. Right now, the team ranks 27th in defensive rating, and that number doesn't show many signs of slowing down. Capable defensive-minded forwards are needed here, desperately, especially when the team matches up with some elite SF-PF talent in the playoffs. This post details the situation and potential fixes with more detail, but some potential defenders available include Rondae Hollis-Jefferson, Andre Roberson, Noah Vonleh, Dewayne Dedmon, or potential trade/buyout guys like Tony Snell and Trevor Ariza.
Los Angeles Clippers (+550)
The Los Angeles Clippers have one of the best rosters in the NBA. Of course, that was also true last season. Last year's team had an abundance of talent, which tends to happen when you add two stars to a team that had gone 48-34 the year before. They looked and acted the part of a title contender as well -- finishing in the top 5 in offense and defense and roaring to a 3-1 lead over Denver. Unfortunately for them, it's best of seven.
A lot of the problems that plagued last year's disappointment were related to chemistry issues on and off the court. Lou Williams and Montrezl Harrell had developed a great rhythm as to-go scorers, and now they were forced to take a step back. Worse yet, their skill set wasn't suited to being 3+D sidekicks. Harrell may be gone, but the "fit" issues with Lou Williams remain. He's still a good scorer, but he's a liability if he doesn't have the ball in his hands. He's off to an even rockier start to this season, logging a - 3.0 box plus/minus so far. Now at age 34, there's a real concern that he's trending towards being a net negative player, especially in this current role. The team should float offers for him now before he lingers too long on the roster and starts to resent his place in the hierarchy.
Milwaukee Bucks (+700)
The Milwaukee Bucks followed up a disappointing postseason with a spectacular offseason. They not only re-signed superstar Giannis Antetokounmpo, but they brought in some extra help for him with Jrue Holiday and Bogdan Bogdanovic and --
Wait, what was that? The Bogdanovic signing got blocked? Oh right.
It feels like ages ago, and some may think it was meaningless in hindsight. Bogdanovic hasn't lit the world on fire in Atlanta, and the Bucks will eventually get back to a 1 or 2 seed no matter what. Still, the limited depth at the wing will be an issue for Milwaukee at some point or another.
That issue is most likely to rear its head in the playoffs, because the Bucks tend to play a slightly different way in the postseason. Over the last few seasons, Giannis has played limited minutes as a smallball center in the regular season -- 7%, 27%, 23%, 4% this year (according to basketball-reference.) In the postseason, that tends to expand -- he was at 43% and 35% the last two years. And if you're ultimately playing Giannis "up" as a smallball 5 often, then that means you need to surround him with talented wing players. Pat Connaughton and Donte DiVincenzo have played well, but they're not proven yet. If the plan is to keep Giannis at the 4 more often (with Bobby Portis in tow), then that's a formula that hasn't been proven yet in the postseason yet either. The Bucks may have to figure out answers on the fly, which makes it crucial that Coach Mike Budenholzer is able to adjust accordingly.
Philadelphia 76ers (+1700)
Doc Rivers and his top-notch assistant coaches have done a great job unlocking the potential of the Philadelphia 76ers. They're unleashing Joel Embiid (29.3 PPG) like a kaiju, watching with glee as he smashes through the undersized world of the modern NBA.
That formula -- Embiid surrounded by improved shooting -- clearly works well. It may be enough to power through the playoffs and make the Finals. Still, I wonder if the Sixers need to develop a counter-punch. They don't have a proven Plan B. Right now, their backups at center are traditional big man Dwight Howard and young Tony Bradley, who's decent but not a spacer himself. They haven't been playing much "smallball" right now, with Tobias Harris and Mike Scott both logging only about 4-5% of their minutes at center.
We've seen in the playoffs that "one trick ponies" -- like arguably Giannis on Milwaukee and James Harden on Houston -- can be gameplanned against in the postseason. It's helpful if you have a few more tricks in your bag a la Felix the Cat. Going forward, it may be worth experimenting more with smallball lineups, either for the postseason or in the event of an Embiid injury.
Boston Celtics (+1800)
Coach Brad Stevens is a fan favorite and a media darling. And no doubt about it, he's a legitimately great coach. That said, there may be a false impression about him. Whenever you have a young coach, there's a natural inclination to presume he's some type of offensive mastermind. In reality, he tends to be more defensive minded and disciplined and doesn't run as much of a run-and-gun offense as some of his peers. In the Brad Stevens era, the Celtics' offense has ranked: 18th, 10th, 8th, 18th, 10th, 4th, 9th (for an average of about 11th.) They haven't finished in the top 10 in terms of pace since 2015-16. This isn't anything new for Stevens, whose success at Butler University also came about from good defensive teams. Oftentimes, his offense can stagnate and fall into iso-ball.
Given that, it's going to be a challenge for the Celtics' offense to hum back into the top 5 range that they'd need to win a title. Great players can manufacture offense on their own, but there's been a talent drain over the last few years here in Boston. Jayson Tatum and Jaylen Brown are great, but they can't do it alone. The Celtics lack a third star. Ideally, someone who can get his own shot, but also run a good functional halfcourt offense.
Of course, that was supposed to be Kemba Walker. He's the type of guard who can get his own shot a la Kyrie Irving and Isaiah Thomas before him. But with the Celtics, Walker has never looked 100%. He hasn't been distributing like a top end PG. He's the third banana that's not quite ripe yet. From the Celtics' POV, they have to ask: is this issue going to get better? Or worse? If Walker rounds into form, great. But if he continues to decline into his 30s, then they may need to proactively find someone to replace him. Bradley Beal will be on the market soon, C.J. McCollum may be "gettable." The Celtics have enough big contracts and enough prospects to be in the mix for some of these trade targets; Danny Ainge needs to determine whether he needs to cash in some chips sooner than later.
Utah Jazz (+1800)
The Utah Jazz had a bumpy ride last year, from Mike Conley's slump, to Bojan Bogdanovic's injury, to all the drama about Rudy Gobert and COVID. This year, it's been a completely different story; the team's been red hot all season long. Consider this: Donovan Mitchell, Mike Conley, Bojan Bogdanovic, Joe Ingles, and Royce O'Neal are ALL hitting over 40% from three, and Jordan Clarkson isn't far behind them at 39.2%. If their shots keep falling like this, then perhaps they can sustain their top 5 offense and their overall top seed.
Still, the Utah Jazz can call upon their Mormon/christian roots and emphasize charity. That is, the charity stripe. The Jazz don't get to the line often enough. For a high volume scorer, Donovan Mitchell doesn't draw a huge amount of contact (getting 4.4 FTA per game.) For his part, Jordan Clarkson is borderline allergic to the line (1.6 FTA per game despite hitting 97% of them.) The fact that the Jazz don't generate "easy" points at the free throw line makes them more reliant on shot-making. They've been able to do that this season. So far, so good.
Of course, "good" is not the goal -- we're going for "great" here. For Donovan Mitchell to truly take an MVP leap, he needs to be getting to the line at least 7-8 times a game. It won't necessarily be easy, either. He's not a big wing, so it's harder for him to bully his way through traffic and absorb contact. He also has a true center in Rudy Gobert who can clog the paint at times. That said, it'd still be helpful if Quin Snyder and company can encourage him and Clarkson to get to the line a little more often.
Denver Nuggets (+2200)
Although the Denver Nuggets are only 12-10, Nikola Jokic is getting his due as a legitimate MVP candidate right now. As long as the team has a superstar like the Joker and a fire breather like Jamal Murray, they have a puncher's chance of winning a round or two in the playoffs.
That said, the supporting cast still leaves something to be desired. In particular, Gary Harris may not be good enough. He had a great reputation early on as a 3+D guy, but he hasn't backed that up over the last few years. He's shooting 33.3% from three right now, which marks the third season in a row that he's been below 34%. He's not a good rebounder, he's not a great playmaker, and he may be overrated as a defender.
Coach Mike Malone continues to have faith in Harris, trotting him out for 30+ minutes a night. And to his credit, he's playing a little better than he did last year. Still, when push comes to shove in the postseason, this team needs its supporting cast to excel in order to beat teams like the Lakers and Clippers. The Nuggets probably could have put a package together to get Victor Oladipo, and they may be able to get Bradley Beal. It's about time the team started to think about those big swings.

(Spoilers Extended) The Optimist's Gambit: Why George RR Martin Always Thinks He's Closer Than He Actually Is, Part 2: THE WINDS OF WINTER

Intro

A year after George RR Martin finished A Dance with Dragons, he updated his fans on The Winds of Winter:

THE WINDS OF WINTER. Also known as "Son of Kong." Working on it. Lots to do.

Massive and very specific update on The Winds of Winter complete, George turned to another project:

THE WORLD OF ICE AND FIRE. The concordance. Elio and Linda are my partners on this one, a compendium of the history and legends of the world of Westeros. A coffee table book, lots of gorgeous art from such talents as Ted Nasmith, Justin Sweet, and others. Making good progress on this one of late, lots of great historical stuff that I think my readers will enjoy. Never before revealed details of Aegon's Conquest, the War With the Faith, The Dance of the Dragons, the Paramours of Aegon the Unworthy, etc.

Hm. That seems much more detailed. This would become a pattern for George in the early years after A Dance with Dragons’ publication. He’d update at length on all of the imaginary history he was inventing for The World of Ice and Fire while occasionally placing a single-yet-generous breadcrumb of an update about Winds into our porridge bowl of need.
This led to fans mostly being in the dark on GRRM's progress on Winds -- with more cynical fans wondered if George was working on on the book at all.
Here’s the thing: George was working on The Winds of Winter. I can prove it. And in 2015 when he optimistically predicted he could finish the book in six months, he had good reason for his optimism. What was that good reason? Because by 2015, GRRM had completed two plot arcs and had wrapped two major POV characters for The Winds of Winter.
You are skeptical. I will convince you. Follow me into the light.

The Leftovers

In his retrospective on A Dance with Dragons, GRRM talked about the chapters he cut to The Winds of Winter, saying:

First, my editors and I made some decisions as to where to end this book which involved shifting a few chapters back into the next volume, THE WINDS OF WINTER. With a series like A SONG OF ICE AND FIRE, there are always judgment calls to make as to where to end one book and begin the next, since you're really dealing with one long story. Does this scene work best at the end of one book or the beginning of the next? Should this character go out with a cliffhanger or with some sort of resolution (be it permanent or temporary)? And so on. And so forth.

Then he talked about the identity of the POV characters that were not in ADWD that had chapters leftover saying:

Sansa, Sam, Aeron Damphair, Arianne, and Brienne have no chapters in A DANCE WITH DRAGONS. Several of those characters had chapters written, completed, and polished that have been moved into THE WINDS OF WINTER.

In the years since 2011, we were told or been able to piece together most of the chapters cut from ADWD to TWOW. They are: Alayne (Sansa I), Mercy (Arya I), Arianne I and II and Aeron Greyjoy (The Forsaken)
In that 2010 post where he talked about cutting Damphair’s chapter from Dance to Winds, he talked about how many pages he had on hand for Winds, saying:

The good news is that I seem to have written more than a hundred pages of THE WINDS OF WINTER already.

Five chapters/100 manuscript pages. Now, let’s turn to the chapters that were moved after Damphair's in 2010. In 2011, GRRM’s editor Anne Groell talked about how two major sequences were cut from ADWD to TWOW. These two sequences are the Battle of Ice and the Battle of Meereen. Originally, these two battles were supposed to close ADWD out, but GRRM voluntarily cut one battle to TWOW, and then Anne Groell convinced him to cut the other battle.
Knowing, now, that GRRM was working on an Asha Battle of Ice chapter in 2014 but released a Theon chapter as his first TWOW sample in December 2011 (right after he finished his ADWD tour and also before he planned to embark on new writing for TWOW), we can reasonably assume that the Theon sample chapter was originally written for ADWD before George voluntarily removed it to TWOW.
Switching to deduction, we can then determine that the Battle of Meereen was the sequence GRRM's editors urged him to cut late in the process. What Battle of Meereen chapters were cut to TWOW? Here, we turn to the Cushing Library and find a display card from the “Deeper Than Swords” event indicating that George cut three chapters from ADWD to TWOW in April/May 2011.
As to who the POVs were, we can make an educated guess that one of them was a Victarion chapter and another one was a Tyrion chapter. Both chapters were read in early 2012 at conventions shortly after GRRM started writing TWOW afresh. As for the third chapter cut, I think this was Barristan’s first chapter. Thanks to zionius_, we know that George was writing Barristan II in April 2012, but in early 2013, GRRM read both Barristan chapters and indicated that the chapters were “new to you but old to me.” That third chapter was probably Barristan I.
The final two chapters we can be relatively certain were written for ADWD and cut to TWOW were a Bran chapter and an Areo Hotah chapter. We only know that Bran was cut thanks to _honeybird who discovered that it was listed among “missing chapters” originally slated as among the final chapters of the book. Additionally, we know that in 2010, Elio Garcia Jr. reported that three Dorne chapters were moved from ADWD to TWOW. Two of those Dornish chapters were Arianne chapters. The third was likely an Areo Hotah chapter.
Post-2010, GRRM cut six additional chapters to Winds. Adding in the previously-accounted-for five chapters, George had eleven leftover chapters as a springboard for Winds. Fast-forwarding to 2012, GRRM told Spanish fan-site Adria’s News that he had two hundred “really finished” manuscript pages for TWOW -- probably all of his leftover material from Dance (100 pages/5 chapters cut in 2010 + 100 pages/6 chapters cut in 2010/2011).
The identity of these chapters gives us a springboard for understanding where George was when he returned to writing Winds anew in early 2012, but it's important to note that George started Winds with a much smaller sample of leftover chapters than when he split Feast and Dance in 2005. Recall, then, that he had 542 manuscript pages/22 chapters done for ADWD.
But there's another and perhaps even more important difference: From all available evidence, George did not have complete story arcs like he did when he split AFFC/ADWD.
In 2005, George believed that the amount of material he had leftover put him over halfway complete on Dance. That was not the case for The Winds of Winter in 2012 where he only had 200 of the expected 1500 manuscript pages completed.

Early Progress on TWOW (2012)

When George began writing new material for Winds in 2012, he faced a daunting amount of new writing to finish the book. And given his track record, any old and new writing for Winds would be rewritten, revised and restructured.
So, how was it that George thought he was close enough in 2015 to get the book out before Game of Thrones, Season Six aired -- just three years after writing new material for TWOW?
We’ll start with what we know of George’s early progress on TWOW.
As we talked about above, George had about 200 new manuscript pages for the book between January and June 2012 -- work he considered to be “in rough form.” As to what specifically was contained in those 200 rough draft pages, we know that:

George reported having a partially written complementary chapter set between the finished Arianne II and the unwritten Arianne III in 2010. Link
He was working on Barristan's second TWOW chapter in April 2012. Link
He was writing about the Dothraki in May 2012. (A Daenerys chapter) Link
George sent a “batch” (3-5) of Arya TWOW chapters to Jonathan Robert, artist for The Lands of Ice and Fire to help in the creation of the map for Braavos in early 2012. Link

That’s about the extent of what we know about those 200 manuscript pages. Given the benchmark that 100 manuscript pages = ~5 chapters, he wrote rough drafts of ~10 total new chapters.
Fast-forwarding to a year later, Anne Groell reported receiving a batch of 168 manuscript pages from TWOW for a contracted payment from Random House in February 2013, and George reported being “about a quarter of the way done” on TWOW a month later. My reading is that GRRM finalized 168 of the 200 draft manuscript pages or ~9 additional chapters for TWOW.
So, by early-2013, GRRM had 368 manuscript pages and ~20 finalized chapters for TWOW complete for TWOW.
However, Anne Groell reported that the 168 manuscript pages wasn’t everything that George had written:

I currently have 168 pages that he submitted back in Feb 2013 in order to receive a contracted payment, but I know more exists, because he keeps talking about chapters he hasn't yet sent me.

This throws a wrench into things as George having 368 manuscript pages complete for Winds lines up well with his statement a month later that he was “about a quarter of the way done.” So, how to square that circle? What I'd guess is that George sent all of his finalized chapters forward to his publishers while retaining mostly-finished chapters he still wanted to polish.
To sum it up: from what we know: In 2012, George wrote ~200 manuscript pages and was specifically working on the Barristan, Daenerys and Arya chapters.
Meanwhile, GRRM was making significant progress on The World of Ice and Fire.

The Written World(book)

Let’s pause on Winds and switch over to George’s progress on The World of Ice and Fire for reasons that will become clear later on.
Shortly after returning from his ADWD tour, George began writing The World of Ice and Fire. As elio_garcia told me a few years back, George first wrote the history of Aegon’s Conquest which he sent to them in May 2012. Thereafter, GRRM wrote detailed histories of the various Targaryen monarchs, but where he really focused on was the history of the dance of the dragons.
By September 2012, Martin reported having 103 manuscript pages on the dance of the dragons. But even that was not the full extent of all he wrote on that event. In August 2013, George finished the dance of the dragons, writing 80,000 words solely on that particular Targaryen civil war.
Reasonably, many fans wondered whether The World of Ice and Fire detracted from George’s progress on The Winds of Winter. In terms of the sheer amount of time and effort it took to write the worldbook: probably, yes. However, as we’ll explore later on, George probably used his writing on The World of Ice and Fire as part of the process for writing The Winds of Winter.

Winds Progress (2013)

Switching back to Winds. By early 2013, George was only a quarter of the way complete on The Winds of Winter. Meanwhile, Game of Thrones was a few months away from airing the third season. So, George had to pick up the pace for the book to get ahead of the show.
The major issue in getting ahead of the show was that 2012 only had him finalizing ~10 new chapters, and in terms of completed story, he hadn’t finished writing the battles of Meereen and Ice that were supposed to close out ADWD. So, George seemingly continued work on the Battle of Meereen, writing and completing Tyrion’s second Winds chapter sometime between February and August 2013 as it wasn’t a part of the batch of chapters that Anne Groell received in February 2013, but he read the chapter at Worldcon 2013.
Meanwhile, in May 2013, George was asked point-blank by Portuguese fans what POV character he was working on, and he responded with “Arya.”.
Later in 2013, GRRM stated on his notablog that “you will definitely hear more of Jeyne Westerling.”. Given that we later learned at ComicCon 2014 that Jeyne Westerling will be seen in the Winds Prologue, we can speculatively-assume that George had written at least a draft or partial form of the Prologue by 2013.
Elsewise in 2013, we learned that GRRM requested Dothraki translations for The Winds of Winter from David J. Peterson (The creator of the Dothraki Language for Game of Thrones). This implies that George had Daenerys material written by 2013 and needed it translated from English to Dothraki.
So, again, in 2013, we see George working on the Battle of Fire, Daenerys and Arya (and also the Prologue).

The Locomotive Approaches (2014)

By 2014, two things happened. The first was that George RR Martin finished The World of Ice and Fire in March 2014. The second was that George realized that Game of Thrones was catching up to him.
First, The World of Ice and Fire. In March 2014, George RR Martin completed a chapter on the Iron Islands and finished the book. As he reported in that post, his completion of The World of Ice and Fire was late, owing to him being a slow writer but also due to him adding a lot to the book (Sound familiar?).
GRRM concluded his notablog post by saying:

And HEY, this means another monkey is off my back. Only a couple left gibbering up there now. That little joker monkey, HIGH STAKES. And... gulp… SON OF KONG.

Part of George’s nervousness about confronting the Son of Kong was based in how high of a mountain he had to climb to complete the book, but the bigger part is that he had a locomotive heading for him in the form of Game of Thrones.
In the early years after Game of Thrones premiered, GRRM wasn’t exactly dismissive of the idea that Game of Thrones would catch up to him, but he didn’t seem overly concerned.
By 2014, though, things had changed. Now about to air its fourth season, Game of Thrones was approaching the end of George’s published ASOIAF material. George, to his credit, was now cognizant of this, telling Vanity Fair in 2014:

“It’s my hope that they’ll [do two or three seasons for AFFC/ADWD] and then, long before they catch up with me, I’ll have published The Winds of Winter, which’ll give me another couple years. It might be tight on the last book, A Dream of Spring, as they juggernaut forward.”

The problem for George was that David Benioff and Dan Weiss were not interested in adapting A Feast for Crows and A Dance with Dragons into multiple seasons. Instead, they were only looking at doing these two books in one season.
In response, George transitioned most of his creative output to The Winds of Winter. Sadly, we don’t know much of this output, really only being sure that George was writing: Daenerys and Asha.
On a brief appearance on the John Oliver show, GRRM appeared from his office with the computer screen on. Years later, fans were able to figure out that George was working on an Asha Greyjoy Battle of Ice chapter.
Onto Daenerys. In September 2014, in an interview with Galaxy Magazine (link unfortunately behind a paywall or in a hard copy), George talked about his writing for Winds saying:

“I’m going back to The Winds of Winter and writing the next scene—I’ve got Dany in a particular situation. I’ve just got to worry about how does this scene resolve? How do I end this chapter? How do I phrase this sentence?”

Finally, when George released the Mercy chapter, he talked a little about his progress, saying:

So far, I have not done anywhere near as much rewriting on WINDS... but of course, it is not done yet.

Fans took this as a qualitative sign of George’s progress back in 2014. The problem was quantitative. Information about how much of The Winds of Winter was done by 2014 is sparse. However, at a November 2014 charity drive for the Wild Wolf Sanctuary, George off-handedly said:

"I'm still in the middle of [The Winds of Winter], so it'll be some time before I write the scenes in which they die."

Provided that George wasn’t using “the middle of the book” colloquially, this meant that Winds was roughly halfway complete by November 2014, or had 750 finalized manuscript pages for TWOW. George had picked up his pace in writing TWOW, but he still had a long way to go to reach the finish line -- an additional ~750 manuscript pages.

The Deep Breath Before the Plunge:

Before we venture into theory territory, we’re going to take a tactical pause and assess all of the known chapters George completed for The Winds of Winter by late 2014.

Aeron Greyjoy: 1 Chapter
Asha Greyjoy: 1 Chapter
Areo Hotah: 1 Chapter
Arianne Martell: 2 Chapters
Arya Stark: 3-6 Chapters
Barristan Selmy: 2 Chapters
Bran Stark: 1 Chapter
Daenerys Targaryen: 3 Chapters
Prologue: 1 Chapter
Sansa Stark: 1 Chapter
Theon Greyjoy: 1 Chapter
Tyrion Lannister: 2 Chapters
Victarion Greyjoy: 1 Chapter

In total, that’s 19-23 completed chapters that we can be sure existed. If George was truly halfway done on Winds by 2014, that tacks on an additional ~19 chapters to bring us up to 38-42 chapters/750 manuscript pages completed for Winds by late 2014. For comparative purposes: A Storm of Swords was 1521 manuscript pages/82 chapters while ADWD was 1510 manuscript pages/72 chapters. What this means is that in a best-case scenario, George had to write or finalize an additional ~30 chapters/750 manuscript pages for the book to get to the finish line: a daunting task!
So, then why in early 2015 (four months after he said he was “in the middle”) did George RR Martin tell Entertainment Weekly that he could get the book out before Game of Thrones, Season 6?:

Having The Winds of Winter published before season 6 of Thrones airs next spring “has been important to me all along,” says the best-selling New Mexico author. “I wish it was out now. Maybe I’m being overly optimistic about how quickly I can finish. But I canceled two convention appearances, I’m turning down a lot more interviews—anything I can do to clear my decks and get this done.”

This interview was conducted in April 2015, and given what Martin later said about his publishing house setting an initial deadline of October 2015 to release the book, George thought he only had six months of work to do before the book would be done.
And that’s why I think George’s optimism about getting the book done by October 2015 was sourced to what he had already written, rather than what he had left to write. In that, I now believe George finished major storylines for The Winds of Winter by late 2014/early 2015.

The Completed Battles

Among the known completed chapters for Winds, one thing that stands out is how many of the chapters dealt with the Battle of Meereen and the Battle of Ice. From our best information, four battle chapters were removed from Dance, and George wrote at least three additional battle chapters between 2012-2014.
Let’s move into theory ground: in looking at the available evidence, it appears that when George got back to writing The Winds of Winter, he picked up where he left off: in Meereen. Completing Barristan’s second chapter in 2012 and then Tyrion’s second chapter in 2013 indicates that George’s initial forays into Winds were Meereenese-centric. But after 2013, we don’t hear about George working on Meereen.
Over to the Battle of Ice. The Asha fragment reads like the opening moves of the Battle of Ice, chronologically occurring almost immediately after the Theon sample chapter where Stannis tells Justin Massey:

“I want you gone before midday, ser. Lord Bolton could be on us any moment, and it is imperative that the banker return to Braavos. You shall accompany him across the narrow sea.”

To get speculative, it reads like George hadn’t written anything about the Battle of Ice between the Theon Winds chapter and the Asha chapter he was working on in June 2014. Yet we know that George had written additional Theon, Asha and Victarion Winds chapters by 2017.
All of this leads me to think that by the end of 2014, George had finished the Battle of Meereen, and I think it’s possible he completed the Battle of Ice as well.
That’s two major plot-points possibly complete by the end of 2014. Still, even with those story points hypothetically completed, George had only finished story arcs originally intended for ADWD.
And that’s why he wasn’t just done with the battles by 2014. He might have completed far more than that. Entire POV characters.

Daenerys Targaryen the Complete

Let’s start with an uncontroversial statement: By 2014, I believe that George RR Martin had completed what he thought was all of Daenerys Targaryen’s chapters for The Winds of Winter.
Kindly drop the rocks that have suddenly materialized in your hands. I know that is a controversial theory. It was a joke! For this particular hypothesis that George had all of Dany’s chapters done by 2014, I started with the problem of “How the fuck did George think he could finish Winds by 2015 given how little of the book seemed to be done by that point? And then my research took me to everything we knew about Daenerys in Winds and then by accident, I stumbled on the split between Feast and Dance.
That accidental stumbling led to a whole essay on this topic. In that essay, I talked about how George believed he had Daenerys' and Tyrion’s ADWD story arcs complete before he split AFFC/ADWD into two separate books. This, along with the started-yet-incomplete Jon, Davos, Arya, Asha arcs, led to his optimism that ADWD would be finished by 2006.
I think something similar happened with The Winds of Winter. I think George had completed Daenerys Targaryen’s arc (and another arc I’ll unpack in the next section) by 2014. Is there evidence for this wild-ass theory? Perhaps!
In June 2014, George RR Martin was interviewed by James Hibberd and teased The Winds of Winter, saying:

“Well, Tyrion and Dany will intersect, in a way, but for much of the book they’re still apart,” he says. “They both have quite large roles to play here. Tyrion has decided that he actually would like to live, for one thing, which he wasn’t entirely sure of during the last book, and he’s now working toward that end—if he can survive the battle that’s breaking out all around him. And Dany has embraced her heritage as a Targaryen and embraced the Targaryen words. So they’re both coming home.”

For much of the book, they’re still apart. That’s a fascinating statement! Why? Because it might imply that George had written Dany’s story to its near or actual endpoint!
No, I don’t think this means that George was nearly complete on all of his story arcs. Just Dany's (and the other one). And that tracks with his non-linear writing style whereby he writes from one POV - until he runs out of steam before switching to a separate POV. As George talked about in that interview, sometimes, he gets way ahead on certain POV characters, and even has them completed well in advance of other POV characters.
In that vein, there’s something else odd about Daenerys. After 2014, we don’t hear about George working on a Daenerys chapter … at all. This radio silence on Dany in TWOW lines up with George writing Dany’s ADWD chapters. In 2003, he told a fan that Dany’s ADWD chapters were almost wrapped up -- eight years before he published them. George did write a bit more about Dany after 2003 and after the split of A Feast for Crows and A Dance with Dragons, but the last we hear about him writing Dany chapters for ADWD was in 2008 -- three years before the book was published.
However, to be fair, in 2018, George had one more mention of Dany within the context of her aforementioned intersection with Tyrion, telling Entertainment Weekly:

In Winds, I have like 10 different novels and I’m juggling the timeline — here’s what’s happening to Tyrion, here’s what’s happening to Dany, and how they intersect. That’s far more complicated.

So, the counterargument is that what George was saying about Dany and Tyrion's intersection back in 2014 was aspirational. He planned for the two to intersect late in The Winds of Winter, but he had not written that intersection. And perhaps by 2018, he was still struggling with timing Dany and Tyrion’s intersection.
Here’s a counter-counterargument: George wrote one version of Daenerys and Tyrion intersecting by 2014, was initially satisfied with it, but in the years since, he grew dissatisfied and experimented with the event occurring at different narrative junctures in the Winds -- hence the “I’m juggling the timeline” wording.
At the very least, George juggling the timeline of character intersections by writing multiple versions of it is something George has done in the past. Back in ADWD, he reported writing three versions of Dany and Quentyn’s intersection, timing that to occur at different junctures in the story to see which one was the most narratively-satisfying.
Now, before I leave you all convinced that George had written all of Dany’s TWOW chapters by 2014/2015, there is a good counterargument. About a month ago, I sent the sketch of this theory to feldman10, and he responded by saying:

What I question given his writing style is how GRRM could have “finished” Dany years in advance if she is regularly intersecting with other POVs. For instance, if Barristan, Vic, and Tyrion do reunite with Dany at some point in TWOW (as I certainly hope they do!), I would expect GRRM would begin writing them as all one “story” (unless they split up again). That’s even more important if Dany reaches Westeros and starts interacting with the Young Griff team.
That's really because of the gardening approach. Given that writing style, how could GRRM possibly write Dany’s interactions and conflicts with those other characters without having written them all up to the same point, and therefore having decided what they’ve all experienced, where they’re all coming from, and what their respective gardens have produced?

These are all excellent points by Adam, and I appreciate the counterpoint and have copied and pasted it here with his permission.
And if you thought the “Dany is wrapped” theory is way too speculative, you’re going to love (hate) the next part of the theory.

The Dances of the Dragons

Remember how we talked about George’s progress on The World of Ice and Fire? Let’s bring it home here. Part of the reason why I initially brought up the worldbook is how it's tied into the plotting of The Winds of Winter. It’s almost as if George used his imaginary history as a set of guideposts for The Winds of Winter. But perhaps the imaginary history is more than a guide for the novel.
The theory: What I think happened was that George parallel-wrote the dance of the dragons alongside of his Young Griff story arc in The Winds of Winter.
Recall that in 2010, George had written two Arianne chapters that he cut to The Winds of Winter. Also recall that he had a partially-written complementary chapter and envisioned a third unwritten Arianne chapter. We skipped over the possible identity of that partially written complementary chapter, but here, we’ll talk about it. It’s very likely a Jon Connington chapter as he’s in a prime position to bridge events from the end of TWOW, Arianne II (Arianne goes to Storm’s End) to whatever George is planning for Arianne III.
Right after George published A Dance with Dragons, though, he decided to write another chapter in the Stormlands as werthead reported in August 2011:

As speculated by many, two large battles will take place early on, a ‘battle of ice’ (presumably at Winterfell) and a ‘battle of fire’ (presumably at Meereen). A third battle has been added, namely the assault on Storm’s End by Jon Connington’s forces. Originally this was going to happen off-page, but GRRM decided it really should be shown. Possibly because we’ve seen Storm’s End under siege forever and it might be cool to finally see the place under full-scale assault.

This was another spot where George was expanding Aegon VI’s story, gardening his way towards more satisfactory storytelling vis-à-vis a newly-imagined Jon Connington chapter. It also shows us that George was very much in the mindset of thinking through Young Griff’s storyline just a few months after the publication of ADWD.
And then similar to Daenerys, 2011 was the last time we heard about George writing one of our primary eyes on Young Griff in TWOW. Like the absence of Dany chapters, that is odd. With Dany, George played mostly coy with whether Dany would have chapters, because of the cliffhanger he left Dany on in at the end of her ADWD arc. But with Arianne Martell and Jon Connington, we already knew that Arianne would return as a POV, and George had all-but-confirmed that JonCon would return.
And yet, July 2010 is the last time GRRM talked about writing Arianne’s TWOW chapters while August 2011 is the last time we hear about George’s plan to write a Jon Connington chapter. But in the years immediately following ADWD’s publication, we have a whole body of imaginary history work which reads like signposts for where George was going to take Aegon VI and Daenerys’ story.
Here comes the speculation: I think the whole time George was writing a detailed account of the dance of the dragons for the worldbook, he parallel wrote Young Griff’s story arc in the form of Arianne and Jon Connington’s Winds chapters.
We know that George didn’t set Winds aside while he worked on The World of Ice and Fire as there are Winds chapters we know he was writing in the 2012-2014 timeframe. Logically, it makes sense that George stayed within the same sphere of creative inspiration as he developed the imaginary history in parallel with developing Young Griff's story.
There’s a paragraph which first appeared in The Princess and the Queen (an abridged version of the dance of the dragons) which has always struck me as explicit foreshadowing for Young Griff's story in TWOW. It's this one:

Every visible symbol of legitimacy belonged to Aegon. He sat the Iron Throne. He lived in the Red Keep. He wore the Conquerer’s crown, wielded the Conquerer’s sword, and had been anointed by a septon of the Faith before the eyes of tens of thousands. Grand Maester Orwyle sat in his councils, and the Lord Commander of the Kingsguard had placed the crown upon his princely head. And he was male, which in the eyes of many made him the rightful king, his half sister the usurper.

This paragraph is emblematic of something at work with the entirety of the dance of the dragons that George wrote: namely, that the entire historical conflict and civil war reads as backdrop for Young Griff/Aegon VI’s rise in The Winds of Winter and downfall in A Dream of Spring.
Is it so implausible, then, that GRRM was switching back and forth between writing Arianne and JonCon chapters while writing what became known as "The Dying of the Dragons" section of the worldbook? (Maybe, lol)

What Went Wrong

In 2005, GRRM predicted that ADWD would be published in 2006, sourcing this to how much Dany and Tyrion material was already done. If George had completed all the Dany, JonCon and Arianne chapters by April 2015, GRRM had good reason to believe he could get Winds out in six months. All he had to do was complete the POV arcs for characters supporting Young Griff and Dany’s stories as well as the “bottle storylines” and probably complete one more major story arc.
So, what went wrong?
In his New Year 2016 Winds post, George talked generally about the issues he had after his bout of optimism in 2015, saying things like:

Yes, there's a lot written. Hundreds of pages. Dozens of chapters. (Those 'no pages done' reports were insane, the usual garbage internet journalism that I have learned to despise). But there's also a lot still left to write. I am months away still... and that's if the writing goes well. (Sometimes it does. Sometimes it doesn't.) Chapters still to write, of course... but also rewriting. I always do a lot of rewriting, sometimes just polishing, sometimes pretty major restructures.

Later in the post, he talked about a similar angle, saying:

Even as late as my birthday and our big Emmy win, I still thought I could do it... but the days and weeks flew by faster than the pile of pages grew, and (as I often do) I grew unhappy with some of the choices I'd made and began to revise...

This is George’s gardening style at work: restructuring/rewriting/revising what he considered to be substandard writing. That’s part of the reason George failed to meet his October and then December 2015 deadlines.
But I think there’s a missing piece -- one which has only become apparent in George’s recent posts about the POV characters he’s reported working on in June, August and November 2020: the Dany/Young Griff supporting POV characters and the bottle arcs.
Back in 2005, George was optimistic that he could finish ADWD by 2006, because he merely had to finish Jon’s story along with cast of characters supporting Jon/Dany’s storylines. But what delayed ADWD was the supporting cast of characters – especially in Dany’s storyline as it related to the Meereenese Knot. George struggled for years to satisfactorily write a twisting path of POV characters heading toward – or away – from Meereen, and that, more than anything, delayed that book’s publication.
Turning back to Winds: In recent months, George has indicated that he was writing/visiting the following POVs:

Tyrion Lannister
Barristan Selmy
Areo Hotah
Asha Greyjoy
Cersei Lannister
Arya Stark
Victarion Greyjoy
Melisandre of Asshai
Samwell Tarly

The POV characters listed here are ones likely to be found in support of Dany’s arc (Victarion, Barristan, Tyrion), in Young Griff’s orbit (Cersei and arguably Areo) or bottle arcs -- ones temporarily independent from the rest of the story (Samwell and Arya).
So, in addition to the rewriting/revising/restructuring, I’d argue that what belayed George’s optimism of publishing Winds in 2016 was the supporting cast of POV characters. Those troubles extended beyond 2015 given that George was still working on these POV characters in 2020.

Conclusion (2017-2021)

In the years since 2016, George has optimistically predicted that he'd finish TWOW in 2017. But six months later, GRRM discounted 2017 and thought 2018 was possible. But by mid-2018, he admitted that Winds wasn't coming in 2018. Then in 2019, tongue-in-cheek said New Zealand could imprison him there if he did not have TWOW in hand by Worldcon 2020.
Unfortunately, data on what GRRM was working on is spare, but I'll give it a shot. Given that George talked about how important Lady Stoneheart's story is for TWOW in 2017, my theory is that GRRM made progress on Jaime and Brienne's chapters in 2017.
Meanwhile, you may have noticed that there's another POV character I haven't mentioned: Jon Snow. Will Jon have chapters in TWOW? Are they written? Yes. Perhaps some of his optimism in 2019 is sourced to him making progress on Jon Snow, perhaps even completing his POV arc.
In his last specific update on Winds (As of January 2021), George sounded optimistic once again, :

No, sorry, still not done, but I do inch closer. It is a big big book. I try not to dwell on that too much. I write a chapter at a time, a page at a time, a sentence at a time, a word at a time. It is the only way.

At the beating heart of all of this work that George RR Martin has put into The Winds of Winter is a desire to create a book that satisfies and captivates us. I believe this book will come, and when it does, all of the bleeding into the keyboard will have been worth it.

I watch a horror movie every day, here are the best ones I watched in 2020

(2020) Invisible Man 9/10
This remake, simply put, is excellent. I’m a huge fan of Leigh Whannell and while I do think the story itself is fantastic, it’s his directing that blew me away. This movie is so fucking tense without showing anything for a huge majority of its runtime. When shit actually starts to go down, it’s the definition of thrilling. Elisabeth Moss killed her role.
(2020) The Rental 8/10
The meat and bones of this movie is a character driven drama story. It’s tense and having so much knowledge right away as the viewer that the characters don’t have is frankly anxiety inducing, in a good way. I thought all four main performances were fantastic, especially Sheila Vand. There’s a moment in the film where everything is abruptly subverted in a grand horror fashion and depending on your tastes, that may be off-putting. To me, it was absolutely genius. Dave Franco directed the fuck out of this movie and eliminated all the comfort of campiness that great slashers usually hold.
(2020) Relic 8/10
Robyn Nevin is fantastic here and all the supporting roles are great but not only does this woman make the movie, she is the movie. Her dialogue, her delivery and her body language, at least to me, are a huge chunk of the entire plot. I just found this movie to be gentle until it isn’t, which makes for the most tense moments. It’s a very claustrophobic film; I think it does justice to a very serious and frightening illness.
(2020) Palm Springs 8/10
It doesn’t take long to catch on that, while this is a romantic comedy, it’s also a sci-fi horror film and a specific subset of sci-fi that makes me anxious. So in some regards, at least to genre placement, there’s my bias. The movie is seriously a treat though. It’s a new spin on an old formula and it’s genuinely funny, suspenseful and endearing. Even if you disagree that it shouldn’t be discussed in the horror circles, you won’t regret watching it.
(2020) Shirley 7/10
It’s an incredibly interesting film for many reasons but mostly because it exists as a biopic, as well as a psychological horror film. Jackson is played Elisabeth Moss who is just wonderful. She really brought to life the internal struggle of Jackson. I’d suggest doing some research before diving into this because her profession during the time period was not glamorous or widely accepted, which gives context to, well, everything.
(2020) Becky 8/10
Kevin James was fantastic. He’s a sadistic fuck in this movie. But he doesn’t deserve all the credit and the writers don’t either. I’m going to highlight Greta Zozula here. The most powerful moments in this entire film were purely cinematography based. Melanie Garros and Jenn McGouran deserve a shoutout as well. This was a cookie-cutter home invasion film at its core and these people, among others, made it one of my favorite home invasion films of the decade. Alissa Gee deserves recognition too for creating the most disgusting moment I’ve seen in a minute.
(2019) Parasite 9/10
This film is most obviously on-the-nose but in the same breath, so incredibly impactful. I can’t even describe the seamless transition from black comedy to horror. It’s a heartbreaking view on classism and poverty while also just being a thrilling experience. Every single performance is remarkable and natural. I’m not even sure what else to say without spoiling it. This film isn’t just specific to Asian culture but very relevant to anyone feeling that they’re in a rut.
(2019) Villains 8/10
The premise is sort of simple but the horror is in the details. i loved how everything played out and I thought all four main actors did an incredible job. Everything was super convincing which had me invested and tense. There’s a scene at the end, despite the movies dark, comedic aspects, that was really sweet and very climactic.
(2019) Swallow 9/10
Haley Bennett delivers a heartbreaking performance with a powerful but melancholy ending. The narrative itself is twisted and sadistic. This film make me anxious, depressed and in the end, I’m not sure it offered much reprieve. I loved this film but I’d caution anyone going through mental trauma to venture cautiously into it. It doesn’t promote anything negative but the subject matter can be difficult.
(2019) Nimic 8/10
When I googled the name of this film it gave me the Romanian translation of “nothing” but also, “everything”. For a 10-minute short it offers so much. It felt like a powerfully dark statement about performance in general.
(2019) The Head Hunter 9/10
This was one of the most creative, restrained yet somehow absolutely insane movies I’ve seen all year. I’m absolutely blown away. The exposition is limited and told so refreshingly through almost entirely visuals. It’s caused many viewers frustrations but for me, it was absolutely the best aspect. That’s saying a lot because visually, stylistically, it’s fucking remarkable. I’ve heard people say this movie is boring and to me, there’s not a dull moment throughout the entire film, not a single wasted shot. It’s thrilling, dark, gritty, campy at times and embodies this identity that’s both somehow fluid and refined. It feels like an arthouse film in its minimalism but avoids any pretentiousness you may associate with that sub-genre. Jordan Downey has done some intentionally so-bad-it’s good movies in the past and he clearly wanted to still reference those aspects through some of his shlocky, 50’s horror inspirations in here; especially Fiend Without a Face. That’s a creative decision that will turn a lot of people off but I just really appreciated it and it made the actual watching experience so incredibly fun.
(2019) The Lighthouse 9.5/10
This film is among the few that I felt compelled to watch it again almost immediately. It’s so incredibly rich in every aspect that can make a movie successful. The visuals are jaw-dropping; almost every single frame of this film is photographic. The soundtrack is stripped down to just these haunting sounds of fog horns and piss buckets. The package everything is delivered in, from an artistic standpoint, is so memorable. The performances by Pattinson and Dafoe are both some of the best I’ve seen this entire year and really, the decade…possibly of all time. They deliver this brilliant script’s dialogue with such passion, humor and intensity. The story in this film is shrouded in mystery but the clues and tools needed to decipher it do exist and with a rewatch, finding them felt so rewarding. It’s the kind of movie that I want to make my friends watch, simply so I have someone to discuss it with. It’s one of the best horror films I’ve ever seen.
(2019) I Trapped the Devil 7/10
This one is a bit of a slow-burn but I felt the tension from beginning to end so none of it felt like a blind investment. It had the potential to be another, cookie-cutter, pretentious statement but what I found it to be was simply a well-crafted horror film.
(2019) Pet Sematary 7.5/10
The original film was entertaining to me but I felt it was also dated and a bit too unintentionally silly for my tastes. So going into this, I was hoping for a darker, more serious film and I’m happy to say, that’s what I got.
(2019) Guns Akimbo 7.5/10
This is non-stop gory action, an absurd story and an insane performance by Radcliffe, who I’m such a big fan of at this point. The best part? It’s genuinely, laugh-out-loud funny, both through physical comedy and clever dialogue.
(2019) Harpoon 7/10
I enjoyed this movie a lot and I mean “enjoyed” in every sense of the word. It was the kind of movie to stop making me think so critically about the acting and cinematography because I just find the stranded genre so fun. This movie really delivered in both dark humor and pure, unpredictability.
(2019) Annabelle Comes Home 7/10
I know that Gary Dauberman has worked closely with the series so he definitely understands Wan’s Conjuring universe’s vibe. I mean that from both a pacing and cinematography standpoint. I loved that all the possessed artifacts come into play.
(2019) Vivarium 8/10
This movie is fucking terrifying. The cast may even be too loaded because it’s the environment and Senan Jennings that makes everything so scary. The final 30 minutes of this film are a complete mindfuck and just left my jaw on the floor.
(2019) It Chapter 2 9/10
It embodies the heartfelt, character driven story of King’s novel so incredibly well. Every single performance by the adult actors is fantastic and as much as people didn’t like the overuse of humor, it felt like a natural evolution to me. Things were destined to be less scary with the adult characters coming into contact with an evil they’ve faced before. The last 30-min to me were just so touching, sad and it was the culmination I was hoping for.
(2019) Zombieland: Double Tap 7.5/10
It’s certainly a sequel as far as sequels go but I had a ton of fun with it and it was great to see this group back together. It’s a super cheesy film and I would expect some hate but the original is cheesy fun too, if even to a lesser extent.
(2019) The Color Out of Space 7/10
The entire suspense if the film is how each individual character reacts to this unknown force but Cage’s is of course the most volatile. I love the body horror and I think the entire movie is pretty goddamn exciting in that aspect. It goes so far beyond what you’d expect.
(2019) Joker 9.5/10
To have a Batman-universe film stand out this much among all the others is incredible. This film intentionally evokes almost every emotion until a raw, chilling finale. Gotham is unkempt, unstable and teetering.
(2019) Come to Daddy 7.5/10
This movie is definitely a dark comedy but it’s incredibly interesting in that, among the dark humor, is a real horror movie and a very graphic one at that.
(2019) The Lodge 9/10
The misdirects in this story are excellent and I was blown away about how well the cinematography was used to manipulate the viewer. It feels like it’s twist after twist but in reality, nothing changes and that’s the scariest aspect to the entire movie.
(2019) Home with a View of the Monster 7/10
They do a fantastic job of storytelling, switching timelines and perspectives throughout the film. It’s a technique that’s been around longer than we’ve all been alive but one that’s not easily mastered.
(2019) Ready or Not 7.5/10
It’s just a ton of fun and Samara Weaving is fantastic. There’s so much great meta-humor and the effects are top notch. I think this sub-genre of sadistic games being played has been done to death so it was a welcomed surprise to see a film do it in such a successful way.
(2019) The Platform 9.5/10
One of my favorite things about horror is that you can trace history itself through the decades, with films reflecting the current political, social and economic state around the globe. First we has Us and then another incredible film Parasite, all with similar desperate themes of class instability. Then you have The Platform, which in its pure brutalism combines horror, religion and politics to make an incredibly powerful statement.
(2019) I See You 9/10
This film consistently surprised, disappointed and impressed me throughout its runtime based purely on my own expectations. It frankly made a fool out of me.
(2019) The Vast of Night 7/10
This movie is pretty low-budget but they really worked with what they had to create this warm, throwback aesthetic that just tickled my tiny little nuts. It’s a dialogue driven, on-the-nose Twilight Zone homage and I really enjoyed it.
(2019) John Wick: Chapter 3 – Parabellum 8/10
The choreography and production is mesmerizing. This might be a Hollywood mainstream action film but the kills are powerful and fucking brutal.
(2018) Bloodline 7.5/10
Sean William Scott is a forever type casted actor but has managed to break free of that throughout the years and this is another great example of him doing just that. His performance is reserved but effective.
(2018) Gwen 8.5/10
It’s an incredibly heartbreaking story that, while exists in the folk-horror genre, subverts any and all expectations. Eleanor Worthington-Cox and Maxine Peaks carry the entire film.
(2018) Freaks 8/10
Emile Hirsch, Amanda Crew and Lexy Kolker were all great but it was Bruce Dern who blew me away. He’s such a powerful on-screen presence; just his delivery alone establishes a lot of the more horrifying elements to this film.
(2018) Overlord 8/10
I thought it would be a traditional zombie movie and the circumstances would be the twist but it was its own thing. It’s kind of difficult to describe but I think action-war-horror would be the closest thing I could pin it too. Jovan Adepo was a great fucking lead.
(2018) Monster Party 7.5/10
It’s awesome to experiment but this is a film that will appeal to almost everyone without feeling unoriginal or sold out. This is dark humor at its most enjoyable and the practical effects and gore are fucking awesome.
(2018) Pledge 7.5/10
It’s a simple premise but so well executed. I loved the ending and pretty much 95% of the creative decisions. This isn’t a bloodbath of a horror film but it’s violent as hell.
(2018) High Life 7/10
This film is a really uncomfortable watch from beginning to end. It’s filled with violent, psychosexual imagery, a disjointed narrative and cum. It ends and if you don’t outright hate it, it’s hard to explain why you like it because it’s such a rough watch. I fall in the latter category.
(2018) Possum 8/10
I love the way the story unfolds in the end, just methodically bit-by-bit until a crushing reveal. I felt for this main character and his pain seemed so real.
(2018) Wildling 8/10
Bel Powley and Liv Tyler both play very complimentary fantastic roles. There’s an extended portion of the film that’s almost uplifting and pleasantly strange, following their relationship with each other. I’m happy to say things turn sinister quickly and the last 30-minutes are a wild ride, to say the least.
(2018) The Nightingale 9.5/10
Jennifer Kent decided to put in such a universally disgusting scene that had people walking out of screenings and almost justifiably so. It’s really difficult to watch in portions. It’s just fortunate she followed it up with a masterpiece.
(2017) John Wick: Chapter 2 8/10
These assassins dance so carefully around innocent civilians that it almost comes off as a black comedy, in a great way.
(2017) My Friend Dahmer 8/10
To me, especially with Ross Lynch’s performance, it was an equally endearing and chilling film. It humanized someone who I’ve always considered to be a literal monster, which is something I don’t know how to feel about.
(2017) One Cut of the Dead 7/10
This movie is super creative and pretty fucking hilarious. It feels like a modern day Bowfinger.
(2017) Marrowbone 7.5/10
The characters portrayed are vibrant and fully realized, whether it be through substance or lack-there-of. I obviously don’t actively try and predict movies like a gameshow but this film seemed to excel in misdirect.
(2016) White Girl 8/10
It reminded me a lot of Larry Clark’s Kids but actually intelligently modernized to make a statement on these neighborhoods on the fringe of gentrification.
(2016) The Lighthouse 7.5/10
Mark Lewis Jones and Michael Jibson play their respective roles as the lighthouse keepers really well. Towards the end of the film when the story demands even more of them both, they truly deliver.
(2015) Room 9/10
Brie Larson is an incredible actress and plays this profoundly realistic character. There's moments where emotions do bubble over but most of the time, she does so much by doing so little.
(2015) Jurassic World 7.5/10
Some people will be completely turned off by some of the more absurd and out-there plot elements but I have to say, despite it being cheesy on paper, a lot of the newer sci-fi concepts just happen to work. This is bound to forever be kind of divisive but I liked it.
(2015) Tag 8.5/10
It’s like Tokyo Gore Police meets The Matrix. Sono makes a powerful statement on film media, gender oppression and interestingly enough, he doesn’t leave himself out of the lens of criticism.
(2015) The Invitation 9/10
This movie’s horror aspect is incredibly telegraphed and manipulated with these creepy violin sounds. However, Karyn Kusama’s impeccably clean cinematography and direction use all of that to its benefit.
(2014) John Wick 8/10
I saw this movie in theaters and let me just say, as a beagle owner, this may be my favorite revenge movie. Keanu Reeves is badass as shit and it was the first film in a long time to make me interested in action.
(2014) Spring 8.5/10
It feels helpless and hopeful at the same time, Benson’s script is amazing. I’ve always said that films shot in idyllic landscapes are a blank canvas for horror. There’s so much beautiful contrast.
(2014) The Treatment 7.5/10
This film is so unnerving, dark and depressing. The bones of it are structured like any crime thriller but the meat of it is pure depravity.
(2014) Clown 8/10
This is body horror and one of the better ones out there; the slow, methodical transformation throughout this movie was so effective.
(2014) The Incident 9/10
Bleak doesn’t even begin to describe this film. It’s pure nihilism, screamed loudly into the universe.
(2014) The Guest 8.5/10
I fucking love the story, Dan Stevens is fantastic and the production was cleanly executed. It’s Adam Wingard’s best film so far.
(2013) Blue Ruin 9/10
It’s a standout to me among revenge films. Macon Blair’s character isn’t some bloodthirsty ex-navy seal bent on revenge. He’s a completely broken man that’s overcome by heartbreak.
(2013) Evil Dead 7.5/10
It’s one of the few examples where a remake of a classic, near perfect movie, actually works.
(2013) Redemption 8/10
The film is shot so well, the editing and portrayal of the visuals all correspond to the ebb and flow of his characters physical and mental health.
(2013) Under the Skin 9/10
The second death in this movie is one of the most remarkably unsettling scenes I’ve witnessed to date.
(2011) The Strange Thing About the Johnsons 7/10
Astor flips child molestation on its head in a tense, sickeningly well-made film and I absolute hate it. Do not watch this movie, this will only detract from your overall happiness.
(2011) Contagion 9/10
There’s some fantastic performances by Paltrow, Law, Fishburne and quite a few others. However, it’s the research and writing of this film, the frightening scientific accuracy, that makes it so effective.
(2011) We Need to Talk About Kevin 9/10
This is probably one of the most sensitive subjects you can approach and I’m a huge fan of Lynne Ramsay. Ezra Miller has one of the most chillingly realistic performances of the decade.
(2010) Inception 9.5/10
It’s Nolan’s masterpiece in my mind and that statement isn’t to be taken lightly, as everything he’s done has felt powerful.
(2010) Buried 8/10
This is one of my favorite movies filmed all in one location. It’s tense, claustrophobic (obviously) and it feels genuinely helpless.
(2010) Skeletons 7/10
It’s a strange little film but it’s charming, smart and a refreshing take on the exorcism sub-genre.
(2009) The House of the Devil 8/10
My absolute favorite aspect of this film is the retro feel. It captured 70’s horror so incredibly well. Ti West is a talented filmmaker and this is one of my favorites by him.
(2009) Cropsey 7/10
If there was one thing I really took away from this film, it would be how society and children in particular adapt to unsolved murders.
(2009) The Loved Ones 7.5/10
It reminds of almost a modern day interpretation on The Texas Chainsaw Massacre, if the dinner scene was the entire film.
(2008) Lake Mungo 9/10
This family is so incredibly natural, real and convincing. It’s not too over the top. The horror is hidden in every frame and simultaneously interwoven with heartbreak. Despite many previous and later films attempting to do what it does, I’ve never seen anything like it.
(2007) An American Crime 7.5/10
Elliot Page is wonderful as Sylvia Likens, she just has this innocent nature to her that amplified the violent aspects of the film. I loved the editing of courtroom footage throughout the runtime, it was a constant reminder that what you’re watching actually happened, despite the theatrical nature of the film at times.
(2007) Teeth 8/10
Teeth is actually such an incredibly hard movie to review critically. The film itself, as a whole, is so many things at once. It’s a comedy, an exploitation film, a revenge film and even sort of…a slasher? I have to give respect where respect is due.
(2007) Death Sentence 7/10
This movie is so goddamn intense during the action sequences that it actual reminds me more of a Max Payne video game film adaptation. It’s so over-the-top but in a really entertaining way.
(2007) Timecrimes 8.5/10
I loved this movie when I first saw it but upon re-watching it, I can’t help but stress its influence in the time-loop horror sub-genre. Sure films like Primer definitely helped pave the way but Timecrimes really manages to focus less on the science fiction and more on the horrifying consequences that come with time travel.
(2007) Zodiac 9/10
It’s not the most violent film, it’s much more story driven but the moments of violence feel fucking powerful. The horror in this film isn’t about the serial killer, it’s really about obsession and Gyllenhaal absolutely nails his performance to bring that aspect home.
(2006) Population 436 7/10
It didn’t aim to disgust or push boundaries; it’s just a fun, creepy story with a satisfying ending.
(2006) Children of Men 9.5/10
It’s a bleak film, as bleak as they come from some perspectives but through the violence and despair is a powerful message of hope. Clive Owen’s character is as a broken as the world around him and one of my favorite character arcs of all time.
(2005) Red Eye 7/10
The setup is sinister enough, being in the confines of a plane, to warrant it being discussed as a horror but it does devolve into an action thriller, not that I’m a genre-snob. Both Cillian Murphy and Rachel McAdams are fantastic and it’s a tight knit package.
(2005) The Descent 9.5/10
It’s absolutely terrifying and top-to-bottom, one of the most effective horror movies ever made. After seeing over a thousand horror projects, this still remains one of the most intense, period.
(2005) Constantine 8.5/10
Listen, I’ve obviously never even heard about this comic but let me just say, as a standalone movie, it’s fucking awesome. It’s basically Keanu Reeves battling his way through hell, murking demons and basically just being badass as shit.
(2004) Saw 8/10
It’s one of the most creative projects of the 00’s and a project that launched Wan’s and Whannell’s career. I can safely say, the two of them haven’t had any major misses since. This movie is raw, disturbing and has a strong mystery-driven backbone that makes it iconic and endlessly re-watchable. I absolutely love it.
(2004) Hellboy 7.5/10
Listen, I’m not a fucking nerd who is all-knowing about these comics and how well they translate to film but let me tell you, this movie fucking rocks. Ron Perlman kills this role and has so much personality.
(2000) The Gift 8.5/10
Everyone here is wonderful. If I had to pick a standout though, it would be Giovanni Ribisi. His performance is so raw and emotive. The unstable nature of his character actually held up as the backbone to the mystery portion of this film, making it very much unpredictable.
(1999) The Ninth Gate 9/10
It’s two hours of a giant satanic onion being peeled back layer by layer. It’s clear that when Polanski isn’t raping children, he’s creating filmmaking masterpieces.
(1999) Deep Blue Sea 7.5/10
The science-fiction aspects may be super contrived to someone smarter than I am but the entire movie is so goddamn entertaining. I love all the characters and LL Cool J is particularly hilarious.
(1998) Pi 7.5/10
Aronofsky is challenging religion with science and mathematics and it comes together in a really insane way.
(1997) The Lost World: Jurassic Park 7/10
One scene in particular that stuck with me was the raptors in the tall grass, so aesthetically gorgeous and well-shot. It’s not a perfect movie but Goldblum and Moore are charismatic, it’s fucking action packed and the set pieces are diverse as shit. This isn’t some dialed in bullshit for a quick buck.
(1997) Men in Black 9/10
Vincent D’Onofrio was fucking incredible. The entire villain that is Edgar is one of my favorites of all time. Everything from his speech, his loose-skin and awkwardly stiff gate just really sell it.
(1996) The Craft 7.5/10
I love all the acting and characters but Fairuza Balk is probably my favorite. She’s just so eclectic and over-the-top.
(1995) Tales from the Crypt: Demon Knight 7/10
This is such a fun movie and very much in the Tales from the Crypt vein. It’s campy but super violent too; the practical effects are fucking dope. It’s kind of like Evil Dead meets From Dusk till Dawn. Billy Zane is great in it and just brings a ton of personally to the film. I even really dug the raunchy, meta-horror opening.
(1994) The Mask 7/10
Jim Carrey is his usual, hilarious, eclectic, over-the-goddamn-top self which softens the edges. There’s also a villain though and the same childish aspects don’t apply to him. As a kid, he was kind of scary actually.
(1993) Jurassic Park 9.5/10
Even just typing that title blows my mind, this movie was made in 1993 and 27 years later, it still looks better than most modern monster movies. Jurassic Park is everything. This movie is the perfect blend of horror, action, adventure and sci-fi.
(1991) Highway to Hell 7.5/10
This is an absolutely awesome 90’s horror movie. It has cameos from the entire Stiller family, even fucking Gilbert Gottfried. You also have Chad Lowe, who I truthfully didn’t even know existed. The story, set pieces and script are also all excellent. It’s darkly funny, well-paced and just a wild ride from start to finish.
(1990) The Exorcist 3 8.5/10
This movie, for a film following such an iconic movie, being a third film in a series, is just bafflingly good. The original writer of the first film is returning and his script as well as directorial product both deliver.
(1989) Indiana Jones and the Last Crusade 8/10
Indy is still Indy here, he’s fucking badass; his character and dialogue excel in this entry immensely. Not just dialogue but this film contains some of the best action choreography of the entire series, something that almost seems unfairly diminished through repetition. This movie is fucking awesome.
(1988) Akira 7.5/10
This story is one that would feel very difficult to pull off through traditional media. The level of violence and body horror would possibly be even too much for Cronenberg’s plate. The ending of this film is mind-melting.
(1988) Hellbound: Hellraiser 2 7.5/10
It’s violent, dark, disgusting and gory as fuck. It feels like a fever dream of hell. I loved the female character kind of forcing this disgusting erotic nature and it doubled down on the series soul which is the deadly allure of hell.
(1988) Vampire’s Kiss 7/10
I love American Psycho and watching this, I can see where a ton of the performance inspiration in that film came from. Cage’s body language here is so insanely expressive and probably my favorite part of the entire project. Even if you’ve seen this one before, I highly suggest a re-watch, there’s something special about it.
(1987) Fatal Attraction 7.5/10
Holy shit Glenn Close you goddamn crazy bitch, such a great performance. This movie is so incredibly and exponentially tense as it plays out. I loved Micheal Douglas and the entire film is just a reminder to never fucking cheat.
(1987) The Believers 7/10
It gets a bit absurd at certain points but the cult aspects are awesome. I also think it’s the first horror movie I’ve seen specifically about Santeria. It’s not perfect but it stuck with me.
(1987) The Lost Boys 8/10
Joel Schumacher’s The Lost Boys is so indicative of 80’s horror that it could very well be the face of the decade itself. The one-liners, the practical effects, aesthetics and story are all just wonderful. I’m not sure what else to say, this movie feels like a warm blanket to me.
(1986) Little Shop of Horrors 8/10
Rick Moranis is as goofy as ever and good god…the practical effects are mind-blowing. You’re watching this giant plant movie and it just melts your brain thinking about how it was accomplished.
(1986) Aliens 7/10
They exploited the action of the first film to capture a larger audience and lost what made Alien such an effective horror movie in the first place. I still like this movie because it contains my favorite heroin and monster but I’m sick of acting like the Alien series ever needed a director like Cameron. The ending is absolutely insane and bumps this up a few points for sure.
(1984) The Terminator 8/10
This movie, simply put, is badass as shit. I’m aware the series kind of progresses into more action focused territory with the sequels but the original will always be a horror movie to me. The pacing, the unstoppable force that is Arnold, it’s all thrilling as shit.
(1984) Indiana Jones and the Temple of Doom 8/10
I think it’s a scary movie and a really dark turn in the trilogy. There are quirky aspects of it character wise that are kind of goofy but playful. Overall though, goddamn dude, these set pieces are amazing.
(1984) Friday the 13th: The Final Chapter 7/10
Jason is super fucking powerful here; he moves quickly, intelligently and is able to drive the suspense of the movie. The success is greatly attributed to a solid performance by Crispin Glover but more importantly, Corey Feldman. I know Corey gets a lot of shit these days but he was an eclectic child actor.
(1981) Raiders of the Lost Ark 9/10
Raiders of the Lost Arc is such an important movie to me. It helped open my eyes to darker content as a child, for better or worse. Everything that could ever be said about this film has been said, I’m just here to show my appreciation.
(1980) City of the Living Dead 8/10
This movie is batshit insane in the best way possible. It’s ultra-gory, tons of crazy impressive practical effects which are very much Fulci in style. The narrative is a bit confusing but I think, or hope at least, intentionally so.
(1980) The Ninth Configuration 7/10
The Ninth Configuration, while still representing William Peter Blatty’s struggle with religion, is tonally very different from The Exorcist. It’s a tedious, slow, detail oriented, character driven film that exceeds so well because of great writing.
(1979) Nosferatu the Vampire 8/10
This film not only embodies and celebrates the original in terms of structure as well as substance, but in its restrained filmmaking methods; its ability to let shots live without intervention. It’s atmospheric, well-trimmed and just an all-around, exceptional film. Klaus Kinsi as Nosferatu is perfect.
(1979) The Amityville Horror 7/10
I like James Brolin’s character, he’s odd and the axe sharpening is somewhat iconic. The film has both pacing issues as well as dialogue issues. With that being said though, the finale in sinister as fuck and really brings life, quite literally, to this evil house.
(1979) Alien 9.5/10
My love for this single film transcends my love for the genre itself. Ridley Scott pulled off an absolute masterpiece and despite having watched it 25 times, I still cannot comprehend how a film of this quality was pulled off in 1979. It’s as close as perfection can be.
(1978) Dawn of the Dead 8/10
Obviously at first glance you can tell this is a really lengthy film at over 2-hours long. However, the pacing is actually my favorite part. Romero really builds up to the climax slowly and lets you linger in his world for such a long time that it becomes fleshed out through pure exposure.
(1978) Slave to the Cannibal God 7/10
I love the visuals, the story and Ursula Andress’ great big dirty milkers. It’s a wonderful, sleazy little exploitation film. The audio is also fantastic; I just love the way this film is edited all around.
(1977) Shock Waves 7/10
Peter Cushing is awesome and I really liked Brooke Adams as well. Despite the cheesy premise though, this film is dark and moody. The tension and action really builds throughout the film and with the atmospheric nature, you kind of forget the ridiculousness of it all.
(1975) Satanico Pandemonium 7/10
This is a pretty great, atmospheric, old-school exploitation film. It dives right into the temptations of sex and the devil among this convent. It gets pretty fucking dark, especially for the time period, specifically for Mexican horror.
(1974) Vampyres 9/10
It’s dark, moody, sexy and offers one of the most unique vampire film experiences to date. It’s a film that makes Dennis’ idea from It’s Always Sunny in Philadelphia about a full-penetration, Dolph Lundgren crime fighting movie seem almost plausible.
(1973) Soylent Green 8/10
I loved all the concepts and details in this film. It took me a bit to get invested but once I was, real food was replaced with gold in my brain watching the plot play out. Charlton Heston did a great job of bringing life to this fictional universe as well through his dynamic and invested performance.
(1973) The Crazies 7/10
There’s this great scene with this old lady knitting that I just adore. The innocent and violent clash in such an effective way. Obviously the horror aspects in that scene, as well as the virus itself are very fictional. The government response though, seems almost plausible, considering how they’re currently handling Covid-19.
(1972) Horror Express 8/10
It’s genuinely creepy to this day and the storyline is ambitious as fuck. I’d be hard-pressed to say it’s not one of the better horror-sci-fis of the 70’s and that category includes some great fucking films.
(1968) Even the Wind is Afraid 8/10
Coming over a decade before Suspiria, I can’t but feel, despite how unknown this film is, how influential it was to the genre. The story is great; it’s not super violent or anything and when they do show anything, it’s so well built up. It’s either a reveal at either peak tension or the opposite, when it’s least expected.
(1967) Our Mother’s House 8/10
Jack Clayton, simply for directing The Innocents, is one of my favorite directors. He manages to capture super poignant emotional moments unlike no one else. We have some great modern directors working today that do the same but in terms of 1960's horror, it was harder to come by.
(1967) Violated Angels 7/10
It’s actually based on an American case, about a man Richard Speck who broke into a hospital in 1966, raped and murdered eight nurses. The cinematography is startling cold. The dialogue is profound and helpless. This has to be up there with the most cynically sexualized piece of exploitation cinema.
(1964) Lady in a Cage 7.5/10
It’s a really great little thriller with a solid performance by Olivia de Havilland and also James Caan. I think this movie captures such a helpless nature really well.
(1964) The Last Man on Earth 7.5/10
I loved this movie. It’s actually one of my favorite Price films, which at least for me, is a bold statement. His films tend to have this warm, campy feel to them but this one actually felt pretty dark and desolate. It still contains those less-serious scenes and bits of dialogue but the writing and ideas themselves feel like a huge leap forward for the horror genre.
(1960) The Virgin Spring 9/10
This is clearly the inspiration for The Last House on the Left and while I appreciate that film immensely, it didn’t evoke the same emotions this one did. The cinematography, per-Bergman, is impeccable.
(1958) The Fly 7.5/10
The plot is actually non-linear and the first half is my favorite. Patricia Owens plays up the paranoia of her character incredibly well and I was actually really happy to see Price in a supporting role.
(1956) Forbidden Planet 8/10
I personally think it’s one of the best sci-fi films of the decade. I know I’m going to get chirped for saying this but there’s even a scene towards the end that I believe could have inspired the tesseract in Interstellar.
(1935) The Black Room 7/10
This is another Universal horror film starring Karloff, directed by Roy Neill. It presents itself with the usual, tight-knit flair you may have come to expect but it somehow has seen much less recognition than any of the major monster movies. I really liked this movie.
(1932) The Old Dark House 8/10
This is also Karloff’s best look to date. I mean seriously, his performance is pretty muted and mostly expressed in body language but he has the same screen presence as Mickey Rourke.

joker 2019 cast video

" Joker " is a 2019 American psychological thriller film directed by Todd Phillips. The starring cast includes Joaquin Phoenix , Robert De Niro , Zazie Beetz , Frances Conroy , Brett Cullen , Shea Whigham , Bill Camp , Glenn Fleshler , Leigh Gill , Josh Pais and others. Fan Casting Joker (2019) alternate cast. Story added by feliciahardy01 on February 9, 2021. An alternate cast for the 2019 film Joker read more. read synopsis. Recent Activity. Synopsis. An alternate cast for the 2019 film Joker. Join the Conversation. 0 comments on this story. Leave a Comment. From Joaquin Phoenix to Robert De Niro, Deadpool's Zazie Beetz and GLOW's Marc Maron, here are the characters and actors of Todd Phillip's Joker film (2019) Joker movie with Joaquin Phoenix: Reviews, trailers, cast, awards and more. Joker wins awards at Golden Globes and SAG, and is nominated at the Oscars. Watch Joker (2019) - Crime, Drama, Thriller Movie: During the 1980s, a failed stand-up comedian is driven insane and turns to a life of crime and chaos in Gotham City while becoming an infamous psychopathic crime figure. Joker (2019) cast and crew credits, including actors, actresses, directors, writers and more. Joker (2019 fim) explained Cast : Joaquin Phoenix, Robert De Niro, Zazie Beetz, Frances Conroy Won 2 Oscars 01:42:33 Todd Phillips Directed by Todd Phillips. With Joaquin Phoenix, Robert De Niro, Zazie Beetz, Frances Conroy. In Gotham City, mentally troubled comedian Arthur Fleck is disregarded and mistreated by society. He then embarks on a downward spiral of revolution and bloody crime. This path brings him face-to-face with his alter-ego: the Joker. Failed comedian Arthur Fleck encounters violent thugs while wandering the streets of Gotham City dressed as a clown. Disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker. Find movie and film cast and crew information for Joker (2019) - Todd Philips, Todd Phillips on AllMovie

joker 2019 cast top

JOKER Trailer (2019) - YouTube

🔻 ️Joker Cast Real Age Name Character Name 2019 ️https://youtu.be/ZJngrQO8f2kHere List Of Joker Movie Cast: ️Joaquin Phoenix/ Arthur Fleck Born: October... A gritty character study of Arthur Fleck, a man disregarded by society.Director: Todd PhillipsWriters: Todd Phillips, Scott SilverStars: Joaquin Phoenix, Rob... Joker (2019) Cast - Then and Now ★ 2020Joker (2019) Cast - Then and Now ★ 2020Joker (2019) Cast - Then and Now ★ 20201.Joaquin Phoenix: Arthur Fleck ... Joker Movie 2019 set photos today! Beyond The Trailer's reaction & breakdown of our first look at Joaquin Phoenix as the Joker for DCEU!http://bit.ly/subscri... Official Joker Movie Trailer 2019 Subscribe http://abo.yt/ki Joaquin Phoenix Movie Trailer Release: 4 Oct 2019 More https://KinoCheck.com/film/msj/...

joker 2019 cast

joker 2019 cast - win

Martin Scorsese's Joker (2019) Cast

Joker (2019) casting prediction

The decision to cast Joaquin Phoenix over Heath Ledger in Joker (2019) is due to the fact that Heath Ledger died in 2008

OTHER: Joker cast in the TIFF 2019

Congratulations to the incredible filmmakers and cast of Joker (2019) on their 11 Oscar Nominations, including Best Picture, Best Director, and Best Actor.

VIDEO: 'Joker' Cast and Crew Q&A | TIFF 2019

[FWI]Donald Trump is cast to play the Joker in the 'sequeal' to the 2019 film

For the popular 2019 movie “Joker”, Todd Phillips cast Joaquin ‘Phoenix’ in the title role as a metaphor for the rebirth of the dead DC Extended Universe

Donald Trump is cast to play Thomas Wayne in 2019s Joker

uinn Chasing Joker Angel Has Fallen 2019 Movie Clip Angel Has Fallen Hell To Pay Full Movie Reddit Suicide Squad Film Cast Song Of Angel Has Fallen Download Harley Quinn Costume Angel Has Fallen Movie Angel Has Fallen Hell To Pay Full Movie Stream Angel Has Fallen Film Cast Joker Song Angel Ha

JOKER Cast and Crew Q&A | TIFF 2019

Joker 2019 movie: Trailer, cast release date and all we know about Joaquin Phonix's film

Joker Movie 2019 / Joker Movie cast, Story line

ll Smith In Angel Has Fallen Movie Angel Has Fallen 2019 Full Movie Angel Has Fallen Extended Edition Details Download Lagu Angel Has Fallen You Only Live Once Joker From Angel Has Fallen Movie Angel Has Fallen 2019 Full Cast Angel Has Fallen Extended Edition Footage Download Lagu Trap Mus ic M

l Has Fallen Cast In Angel Has Fallen Movie Angel Has Fallen Full Movie Joker And Harley Bane Angel Has Fallen Film Heathens Mp3 Download Angel Has Fallen Cast Of Movie Angel Has Fallen 2019 Angel Has Fallen Full Movie Joker And Harley Quinn Batman On Film Angel Has Fallen Review Heathe ns Mp3

"Joker" (2019) had originally cast Jason Alexander in the titular role of the Joker. Early footage of this version of the film exists, showcasing a much darker, edgier Joker than Phoenix's.

Joker Hollywood 2019 Full Movie Download mp4 HD 720p worldfree4u film story star cast trailer release date world4ufree review downloadhub in hindi english dual audio filmywap online

Joker (2019) Movie Full Star Cast and Crew, Story, Trailer, Release date

Joker Movie Cast 2019 | Real Face and Movie Cast 2019

The Achilles Heel of every title contender