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Barry Jenkins
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Jensen
It's been two years since everything was taken from his world. He has become a ruthless and cold leader and he likes it that way. Now in one phone call, he must go back to where it all happened and face his demons. He must protect the one person he never thought would ever cross his path again. Jensen has not let his guard down in two years and in one glance he is totally taken off his game. Lynn never thought that she would find peace and now she must put her life in the hands of the man who blames her for the death of his fiance. Can Jensen get past his hatred and keep Lynn safe or will she face the same fate as his first love?
10
30
ChaptersS.A.S.
When the mission ends, the real war begins.
Captain Jack McCormack has lost everything that mattered.
His partner, Lieutenant Michelle Richards, was killed during a covert operation in Iraq—her death a brutal reminder that even the best can fall. Months later, his ASIO team—friends, family in all but name—were systematically executed during a routine bonding session at a suburban paintball park. It wasn’t an accident. It was a message.
Now isolated and hollowed out by grief, Jack tries to disappear into the shadows. But when a dangerous new synthetic drug called Supernatural starts flooding the city streets, he’s forced back into action. Jack knows this drug. He’s seen what it can do—what it did before, in a mission buried so deep it was meant to stay forgotten.
With ASIO compromised and political forces tying his hands, Jack turns to the only people he can trust—his retired SAS brothers, elite operators with scars of their own. Together, they launch a black-ops investigation to uncover who’s behind Supernatural… and why the same shadows keep reaching into their past.
But some ghosts aren’t just memories.
Some are still alive.
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30
ChaptersJenny & Jay - Volume 2
Jenny & Jay - Volume 2
After the breakup...
Johnny Simmons thrives on competition—whether in the pool, in playful bets, or in charming his way through life. He’s used to being in control, but when Jane Shepperd enters his world, she proves to be an unexpected challenge.
Assigned to his study group, Jane is sharp, unfiltered, and unimpressed by his usual charm. Their first real interaction is filled with witty banter, subtle tension, and a clash of personalities that leaves Johnny both frustrated and intrigued.
Jenny & Jay - Volume 2 is the second installment in a five-novel New Adult series, following the lives of five childhood friends—Johnny Simmons, Paul, Brian, Aaron, and Daryl—all competitive swimmers bound by their deep friendship and relentless drive to win. While romance plays a central role, this is not a simple on-again, off-again love story; instead, the series explores the evolving relationships, rivalries, and personal growth of these young men as they navigate life, love, and ambition.
0
88
ChaptersBRINKS
---
In the shadows of betrayal and loss, Diana McCoy rises from the ashes of a forbidden love that once saved her—and ultimately shattered her. Eric McCoy was her sanctuary, her darkest sin, until a bullet stole him away, leaving her with everything he has. Then, Wade McCoy, her lover's son kidnapped thesame day of his funeral. She makes a burning vow: to reclaim him from the people who took him.
But vengeance is a treacherous path, and it leads straight to Rafael Goldman—a ruthless enigma who sees the fractured ruin in her soul and offers a devil's bargain drenched in desire. As their worlds collide in a storm of obsession and power, Diana surrenders to a passion that blurs the line between punishment and salvation.
Can she wield her revenge without losing herself to the man who might be her greatest enemy... or her ultimate undoing?
“Sometimes the devil doesn’t come to destroy you—he comes to finish what love couldn’t.”
[Continue if you dare. From here you're on your own...]
---
He fucked me like atonement, like penance, like the only god he believed in lived between my thighs.
He groaned against my throat and it sent shivers down my spine. I saw his pupils in mine, holding the gaze steady. He cupped my cheek and gave me an aggressive kiss before I broke it, forcing his head to my neck. He kissed my throat, teeth scraping the pulse that was trying to kill me.
I laughed softly, ragged and vicious, bit his lip until I tasted blood.
That particular finger staggered back to my cunt again and forced its way into my v*gin* while his d*ck was still inside, grinding me. Suddenly his left hand came over my mouth, cupping it firm, blocking my screams....
8.3
48
ChaptersMarcellus
Marcellus is everything a girl could want in a man. Tall, good looking, rich, except he isn't human.
*******
Women and bloodlust are two things that clearly defines Marcellus.
-well, not until he gets freed from vampire detention, causes a fatal accident, and comes face to face with the eight wonder of the world. Marcellus comes in contact with a unique human blood. unable to resist, he keeps coming back.
And Lyra is just your average thirty two year old struggling with life. Unsure of where her fate lies after being fired crosses path with the ever-so-deadly Marcellus. A being only thought to exist in fictions and folklore-or so she thought.
But, not even the power of love can change the cold blooded Marcellus.
"His body needed a fix and she was his cure."
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56
ChaptersBLAIR
Matthew was a high schooler who somehow transferred into another world after playing a certain game along with a friend. He did not know what happened but he had set his sight to get back home. To do so, he became a Hunter, an adventurer. Amidst his struggles to find a way home, he met various allies and enemies and even his true past.
Please leave comments and reviews, it helps me to know what you think of the story.
Insta & Twitter: abena_war, for some pics and illustrations
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322
ChaptersQuestions About Barry Jenkins
When will barry jenkins release his next film?
3 Answers2025-08-30 23:00:47
If you're curious about Barry Jenkins' next film, I feel the same mix of impatience and excitement — he tends to take his time and it usually pays off. Looking at his track record (he gave us 'Moonlight' in 2016, 'If Beale Street Could Talk' in 2018 and then the series 'The Underground Railroad' in 2021), you can see he moves deliberately between projects, often spending years in development, research, and crafting the screenplay. As of mid-2024 there wasn't a widely confirmed release date for a new Jenkins-directed feature film, so there wasn't a firm day on the calendar I could circle.
Practically, the timeline for any new Barry Jenkins movie depends on where a project sits: development, pre-production, shooting, or post-production. If he announced a project entering production in 2024, a realistic theatrical release window might easily be 2025–2026, given festival strategies and distribution deals. Jenkins often premieres projects at major festivals — keep an eye on Cannes, Venice, TIFF, and Telluride for early festival screenings or premieres, because that's where his films tend to show up.
If you want to be first in the know, I follow a few habits: bookmark Variety and The Hollywood Reporter, follow Jenkins' verified social accounts (they'll post production updates or first images), and watch festival lineups when they go live. I check IndieWire and local film festival pages too. It's a small ritual now: new Jenkins news = immediate group chat with friends. Fingers crossed he'll announce something soon — I can't wait to see what he does next.
Practically, the timeline for any new Barry Jenkins movie depends on where a project sits: development, pre-production, shooting, or post-production. If he announced a project entering production in 2024, a realistic theatrical release window might easily be 2025–2026, given festival strategies and distribution deals. Jenkins often premieres projects at major festivals — keep an eye on Cannes, Venice, TIFF, and Telluride for early festival screenings or premieres, because that's where his films tend to show up.
If you want to be first in the know, I follow a few habits: bookmark Variety and The Hollywood Reporter, follow Jenkins' verified social accounts (they'll post production updates or first images), and watch festival lineups when they go live. I check IndieWire and local film festival pages too. It's a small ritual now: new Jenkins news = immediate group chat with friends. Fingers crossed he'll announce something soon — I can't wait to see what he does next.
Which books influenced barry jenkins' storytelling approach?
3 Answers2025-08-30 04:13:52
I'm the sort of person who gets giddy talking about how novels seep into films, and with Barry Jenkins it's pretty obvious that books sit at the core of his storytelling DNA.
The most direct influence is James Baldwin — not just because Jenkins adapted 'If Beale Street Could Talk', but because Baldwin's voice informs Jenkins' rhythm: tender, interrogative, and morally urgent. Baldwin's essays and novels — think 'Notes of a Native Son' and 'Go Tell It on the Mountain' — have that mix of intimacy and social critique that Jenkins loves to translate into close-up human moments on screen. Another writer I keep circling back to when thinking about Jenkins is Toni Morrison. Works like 'Beloved' and 'The Bluest Eye' show how memory, trauma, and lyrical prose can be woven into nonlinear storytelling. Jenkins borrows that willingness to let time feel elastic and emotions linger beyond tidy exposition.
Beyond those giants, I notice echoes of modernist techniques — the stream-of-consciousness interiority of 'Mrs Dalloway' or the fragmented time jumps you see in 'The Sound and the Fury' — filtered through a distinctly Black American lens. Also, it's important to say Jenkins' collaboration with Tarell Alvin McCraney (whose play 'In Moonlight Black Boys Look Blue' was the seed for 'Moonlight') shows how theatrical and literary forms combine in his process. Reading those books while rewatching his films feels like discovering a conversation between prose and image that keeps unfolding each time I return to them.
The most direct influence is James Baldwin — not just because Jenkins adapted 'If Beale Street Could Talk', but because Baldwin's voice informs Jenkins' rhythm: tender, interrogative, and morally urgent. Baldwin's essays and novels — think 'Notes of a Native Son' and 'Go Tell It on the Mountain' — have that mix of intimacy and social critique that Jenkins loves to translate into close-up human moments on screen. Another writer I keep circling back to when thinking about Jenkins is Toni Morrison. Works like 'Beloved' and 'The Bluest Eye' show how memory, trauma, and lyrical prose can be woven into nonlinear storytelling. Jenkins borrows that willingness to let time feel elastic and emotions linger beyond tidy exposition.
Beyond those giants, I notice echoes of modernist techniques — the stream-of-consciousness interiority of 'Mrs Dalloway' or the fragmented time jumps you see in 'The Sound and the Fury' — filtered through a distinctly Black American lens. Also, it's important to say Jenkins' collaboration with Tarell Alvin McCraney (whose play 'In Moonlight Black Boys Look Blue' was the seed for 'Moonlight') shows how theatrical and literary forms combine in his process. Reading those books while rewatching his films feels like discovering a conversation between prose and image that keeps unfolding each time I return to them.
What awards did barry jenkins win for Moonlight?
3 Answers2025-08-30 20:46:35
My brain still lights up when I think about 'Moonlight' and what it did at the Oscars — it felt like a personal win for people who love quiet, gentle storytelling. Barry Jenkins himself won the Academy Award for Best Adapted Screenplay, which he shared with Tarell Alvin McCraney. That’s the big, concrete thing everyone remembers: the Oscar statuette for writing the screenplay, officially credited to Jenkins and McCraney for their adaptation of McCraney’s unpublished play.
The whole awards night was wild because the film also took Best Picture (the producers received that trophy), and Mahershala Ali won Best Supporting Actor. Jenkins was nominated for Best Director as well, which was huge recognition even though he didn’t win that one. Beyond the Oscars, 'Moonlight' and Jenkins collected lots of critics’ prizes and festival acclaim — think of the way the indie film world and critics’ circles embraced it, plus several honors from independent-film organizations. For a director who came out of relative obscurity, those combined wins and nominations turned Jenkins into a name people watched.
I still find it inspiring how a small, tender film could break through like that; Jenkins’ Oscar for Best Adapted Screenplay is the headline, but the ripple effects — nominations, festival love, and the Best Picture moment — are part of the win too.
The whole awards night was wild because the film also took Best Picture (the producers received that trophy), and Mahershala Ali won Best Supporting Actor. Jenkins was nominated for Best Director as well, which was huge recognition even though he didn’t win that one. Beyond the Oscars, 'Moonlight' and Jenkins collected lots of critics’ prizes and festival acclaim — think of the way the indie film world and critics’ circles embraced it, plus several honors from independent-film organizations. For a director who came out of relative obscurity, those combined wins and nominations turned Jenkins into a name people watched.
I still find it inspiring how a small, tender film could break through like that; Jenkins’ Oscar for Best Adapted Screenplay is the headline, but the ripple effects — nominations, festival love, and the Best Picture moment — are part of the win too.
How did barry jenkins use music in The Underground Railroad?
3 Answers2025-08-30 05:24:29
The first time I watched 'The Underground Railroad' I had my headphones on and the sound felt like another character — quiet, brooding, and sometimes impossibly tender. Barry Jenkins leans on music not as decoration but as narrative muscle: he lets Nicholas Britell's score carry emotion when words aren't enough. There's a lot of restraint — sparse piano lines, breathy strings, and moments of near silence — and that restraint makes the louder moments hit harder. Jenkins often pairs pastoral, almost hymn-like music with brutal imagery, which creates this wrenching dissonance that stays with you long after an episode ends.
He also uses diegetic music and ambient sound to root us in place. Field songs, the clack of tools, or a tinny radio in a roadside bar will bleed into the score so naturally that you can't tell where real life stops and composed emotion starts. Recurring motifs follow Cora like footprints: a small motif will appear in a plaintive form during a scene of loss then rise into a fuller orchestration during escape or hope. That musical continuity makes the series feel mythic, like a folktale told in shards rather than a straightforward historical drama.
On a practical level, Jenkins uses music to control pacing. Long, meditative stretches with minimal score allow the viewer to breathe and absorb the weight of a scene; conversely, swelling orchestral moments accelerate the sense of peril or transcendence. If you're into rewatching, try episodes with headphones and pay attention to how silence and sound design get equal billing with the score — it’s a brilliant way he deepens character and place, and it made me want to revisit the soundtrack on its own.
He also uses diegetic music and ambient sound to root us in place. Field songs, the clack of tools, or a tinny radio in a roadside bar will bleed into the score so naturally that you can't tell where real life stops and composed emotion starts. Recurring motifs follow Cora like footprints: a small motif will appear in a plaintive form during a scene of loss then rise into a fuller orchestration during escape or hope. That musical continuity makes the series feel mythic, like a folktale told in shards rather than a straightforward historical drama.
On a practical level, Jenkins uses music to control pacing. Long, meditative stretches with minimal score allow the viewer to breathe and absorb the weight of a scene; conversely, swelling orchestral moments accelerate the sense of peril or transcendence. If you're into rewatching, try episodes with headphones and pay attention to how silence and sound design get equal billing with the score — it’s a brilliant way he deepens character and place, and it made me want to revisit the soundtrack on its own.
Which cinematographers has barry jenkins frequently worked with?
3 Answers2025-08-30 09:40:34
I still get a little giddy talking about how Barry Jenkins and James Laxton found their groove together. Over the past decade Laxton has been Jenkins' signature lens: he shot 'Moonlight', which won hearts (and Oscars) for its intimate, painterly look, and he followed up with the lush, tactile visuals of 'If Beale Street Could Talk'. He also played a leading role on 'The Underground Railroad', helping Jenkins translate his literary and emotional sensibility into striking, period-drenched imagery. Watching those three projects back-to-back is like seeing an artist and his primary brush develop a shared vocabulary—color, texture, and a very human proximity to faces and skin tones.
Laxton's style—soft, saturated colors that still feel lived-in, and camera work that’s often both patient and physically close—matches Jenkins' storytelling priorities: character, memory, and mood. Jenkins has used other directors of photography on smaller or more specific projects, but none of them have been as consistently present as Laxton. For me, their collaboration is like listening to a favorite band where the songwriter and lead guitarist just intuit each other's moves; it’s the reason some moments in those films feel like they could only exist in that precise pairing. If you haven’t rewatched those films with an eye on the cinematography, try it—you’ll notice how decisions about light and frame do half the emotional work, and you start to appreciate Laxton as a true co-author rather than just a technician.
Laxton's style—soft, saturated colors that still feel lived-in, and camera work that’s often both patient and physically close—matches Jenkins' storytelling priorities: character, memory, and mood. Jenkins has used other directors of photography on smaller or more specific projects, but none of them have been as consistently present as Laxton. For me, their collaboration is like listening to a favorite band where the songwriter and lead guitarist just intuit each other's moves; it’s the reason some moments in those films feel like they could only exist in that precise pairing. If you haven’t rewatched those films with an eye on the cinematography, try it—you’ll notice how decisions about light and frame do half the emotional work, and you start to appreciate Laxton as a true co-author rather than just a technician.
How did barry jenkins adapt The Underground Railroad for TV?
3 Answers2025-08-30 15:49:14
Seeing 'The Underground Railroad' on screen felt like watching a fever dream that someone had lovingly translated into film language. Barry Jenkins took Colson Whitehead’s novel and treated it less like a literal script to follow than like a set of blueprints for mood, metaphor, and emotion. He kept the novel’s bold conceit—the railroad as an actual subterranean transit system—but leaned hard into cinematic choices to make that conceit live: distinct visual palettes for each state, long contemplative shots, and a rhythm that lets silence and sound design do heavy lifting. The result is a ten-episode limited series that reads like a collection of interlinked short films rather than a traditional TV thriller.
Technically, Jenkins used everything in his toolbox. He adapted the book’s episodic structure into discrete chapters you can feel; he collaborated with a close-knit creative team (the score, the production design, the camera work) to turn interior monologue into image. Performances were shaped to center Cora’s interior life—so even when exposition is sparse, the camera carries her memory and trauma. He didn’t just translate plot beats: he expanded scenes, stretched silences, and sometimes rearranged order so emotional truth landed stronger on screen.
I watched it twice in a row, and each rewatch revealed new texture—costume details, background faces, shifts in color that felt like punctuation. If you loved the book, you’ll notice liberties and additions; if you’ve never read it, the series stands as its own bold piece of cinema that asks you to sit with discomfort and beauty at once.
Technically, Jenkins used everything in his toolbox. He adapted the book’s episodic structure into discrete chapters you can feel; he collaborated with a close-knit creative team (the score, the production design, the camera work) to turn interior monologue into image. Performances were shaped to center Cora’s interior life—so even when exposition is sparse, the camera carries her memory and trauma. He didn’t just translate plot beats: he expanded scenes, stretched silences, and sometimes rearranged order so emotional truth landed stronger on screen.
I watched it twice in a row, and each rewatch revealed new texture—costume details, background faces, shifts in color that felt like punctuation. If you loved the book, you’ll notice liberties and additions; if you’ve never read it, the series stands as its own bold piece of cinema that asks you to sit with discomfort and beauty at once.
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