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artzychic27 · 3 years

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Artist Family 1991 movie?

All is more sullen than usual for the Artists. It’s the third anniversary of Rose’s disappearance

Juleka: *Solemnly staring at Rose’s empty room* Think of it That. For years we’ve attempted to contact Rose in the Great Beyond. And for years… Nothing.

Ever since Rose’s disappearance, Juleka has been looking through her spell books for other ways to contact her, but just can seem to find anything

For Marinette, she tries to cope the only way she knows how… Through torture.

Alix: *Tied up: Screaming through her binds*

Marinette: *Aiming an arrow at Alix* Don’t be a baby. I know what I’m doing.

Marc is more unhappy than usual… And it gets Nathaniel in the mood.

Nathaniel: *Watching Marc sleep* Look at him. I would die for him. I would kill for him… Either way, what bliss. *Marc wakes up* Unhappy, darling?

Marc: Oh, yes. Yes, completely. Nathan... The sun. Me atraviesa como un puñal.

Nathaniel: Oh, monochrome. That's Spanish.

Marc: Si.

Nathaniel: *Grabs a bucket of black paint and splatters it all over the window*

Marc: Mi amor... Last night, you were unhinged. You were like some desperate howling demon. You frightened me… Do it again.

Also, their neighbor, a well-respected judge, hates them because Marinette can’t keep her flaming arrows on the Artists’ property. Why does this matter? You’ll soon see.

Nathaniel: *Playing chess with Juleka while Marc snips the buds off of roses* It’s a milestone, Marc. It’ll be our third séance. All those years, gnawed by guilt, undone by woe, burning with uncertainty.

Marc: Nathaniel, don’t torture yourself… That’s my job around here. But, imagine if Rose did return. Half alive, barley human, a rotting shell.

Juleka: *Sighs* That’d be a sight.

Unbeknownst to everyone (Except Félix), Juleka has a crush on Rose.

Later, the Artists’ lawyer, Cecil and his wife Bridgette arrive to ask for a loan. (Wow. Asking for a loan from teenagers? Yeesh.) Why? Because they owe a loan shark.

Bridgette: Why did I marry you?

Cecil: Because I said yes!

While Cecil tries to work out a deal with Nathaniel, Bridgette collects expensive looking items for a charity auction from Juleka, Marc, and Félix

Marc: *As Félix pulls body bags out of a closet* Uncle Niknak's winter wardrobe. Uncle Niknak's summer wardrobe… Uncle Niknak.

Nathaniel: ‘The Rose Artist Off-Shore Retirement Fund’?… A tribute to thee. Some called her inhumanly evil.

Cecil: No!

Nathaniel: Only her parents before she fled her home.

And they make a deal… But…

Nathaniel: It’s going to have to wait, you know the rules better than that. Old business is old business and new business is new business. And this is new business and we do not discuss new business until… The next quarter.

After an unsuccessful attempt at stabbing Nathaniel with one of the many swords in the house, Cecil gives up until Nathaniel mentions going to get money for the monthly expenses from the vault

Meanwhile, Marc shows Bridgette a golden finger trap from the court of Emperor Wu

Bridgette: *Trying to not pocket it and run off* Oh, Marc, this is too extravagant, even for the auction.

Juleka: Let’s keep it.

Marc: Juleka, it’s for charity. *Bridgette gets her fingers trapped* Widows and orphans. We need more of them… Bridgette, about the séance tonight, why don’t you come? It's Nathaniel I'm terribly worried about. He won't eat, he can't sleep, he keeps coughing up blood.

Bridgette: He coughs up blood?

Marc: Well, not like he used to...

Cecil returns to his office with a suitcase full of doubloons from the Artists’ account, no knowledge of how to get the vault open, and in his office is Ms. Craven, a loan shark and her familiar-looking daughter, Willow

After some intimidation from Willow, Cecil gets an idea of how to repay Ms. Craven the money he owes her when he sees how similar she looks to Rose

There’s thunder and lightning on the night of the séance. Perfect weather

Marc: Marinette, Alix, put down that antenna, and come inside.

With their plan in place, Cecil and Bridgette arrive

Bridgette: *Shows Marinette the finger trap still on her fingers* Could you help me? *Marinette removes it with ease*

Marinette: Push, do not pull.

Marc: *With everyone seated around the table for the séance* Harken all souls. Every year on this date, we offer a clarion call to Rose Artist… Alix, drop the cleaver.

Marinette: *Sees Alix aiming the cleaver at her* Stop it.

Marc: From generation to generation, our beacon to the beyond. All close eyes and join hands.

After a practical joke on Bridgette involving That, the séance continues.

Marinette: Let us ransom you from the power of the grave. Tonight, oh Death, let us be your plague.

Juleka: Rose Artist, ceoli couris, ferimani bo… She’s near. *Félix plays a dramatic sting on his organ* Rose! Gather your strength! And knock three times! *One knock… Two… Three*

Nathaniel: She’s at the door!

That quickly goes to unlock the front door. And there, much to the Artists’ disbelief and joy is Rose… Or so they think. And there with her is Ms. Craven, posing as a psychiatrist named Dr. Schloss

Ms. Craven makes up some story about how “Rose” was found in Miami, tangled up in a tuna net. There were psychological tests, and a bunch of crap.

Nathaniel: And now she’s back.

Rose: At least for a week. I’ve got things to do back at the Bermuda Triangle.

Marc: *Sighs* Oh, the Bermuda Triangle./ Nathaniel: The Devil’s Island./ Marc: The Black Hole of Calcutta

Nathaniel: Pardon me for a moment. *Kisses up and down Marc’s arm* Our fifth date.

Marinette: No one escapes the Bermuda Triangle. Not even for a vacation. Everyone knows that.

Any attempts Willow tries at getting a good night’s sleep, it doesn’t work because The floors are constantly creaking, Marinette and Alix keep staring at her from down the hall, and That keep sneaking up on her which causes her to scream.

Nathaniel: … My dear friend. I’ve got goosebumps./ Marc: I know./ Nathaniel: Screams in the night. It can only mean one thing./ Marc: She’s home.

The next morning, Marinette and Alix suspect something is up with “Rose”. Meanwhile, Nathaniel takes “Rose” to the vault

Alix: *As Marinette warms up the electric chair* Do you think that’s really Rose?

Marinette: Nathaniel and Juleka seem to think so. But I think Marc isn’t sure. Now let’s a play a game. Sit in the chair.

Alix: What game?

Marinette: ‘Want to meet God?’

And Nathaniel does take Rose down to the vault, via gondola in the catacombs of the Artist home, only this vault leads to a secret room… That also leads to the money vault when a certain vial of poison is lifted

During that time, while they’re down there, Nathaniel reveals to “Rose” that his jealousy over her catching the attention of conjoined twins Ali and Eli drove her off

~Meanwhile~ Alix: So, if that’s not Rose, then who is she?

Marinette: An imposter. Now give the chair a few more seconds to warm up./ Alix: Why?/ Marinette: So it Can kill you./ Alix: I knew that.

~Later at the charity auction ~

Auctioneer: *Presenting the finger trap on Bridgette’s fingers again* This piece is encrusted with rubies and 15 emerald chips. It was donated by Marc and Nathaniel Artist. Remember, over half our proceeds will benefit the elderly and the mentally disabled. The bidding starts at $5000.

Nathaniel: Five, hah! Not good enough. $25,000!

Auctioneer: I have twenty.

Nathaniel: Twenty-five! *To Marc* Meyn Ziskeyt?

Auctioneer: Twenty five.

Marc: Thirty. *To Nathaniel* My howling demon.

Nathaniel: *voice cracks* Thirty-five!

Marc: Fifty!

Auctioneer: I have $50,000.

Marc: Your turn, my ecstasy.

Auctioneer: Fifty thousand going once, fifty thousand going twice. Sold to Marc Artists for fifty thousand dollars. *looks disgusted as Marc and Nathaniel obscenely make out*

They bought it back as a gift for “Rose”, but… She doesn’t know how to take it off! The Artists are now starting believe that she really is an imposter

Marc attempts to break “Rose” and get her to confess by taking her to the Artists’ cemetery where he reminds her of the credo

Marc: "Sic gorgiamus allos subjectatos nunc." "We gladly feast on those who would subdue us." Not just pretty words… Rose. As an Artist, you understand completely.

“Rose”: … As an Artist, I do.

Seeing that everyone’s onto her, Willow calls Ms. Craven and has her pose as the psychiatrist to try and make the Artists none the wiser

Marc: Nathaniel, Juleka, why don’t you speak to Rose? She’s right outside the door.

Juleka: We would… If that were the real Rose.

Nathaniel: She’s an imposter! A charlatan! A sham! A counterfeit!

While wandering around the home, Rose sees Marinette and Alix sword fighting and practicing lines for something.

Ms. Craven successfully convinces the Artists that their reason for suspecting “Rose” is an imposter is due to displacement, and meanwhile, Rose helps Marinette and Alix out with their sword fighting scene for a play they’re in at school. A play she’s not allowed to attend but goes to anyway

Just a few minutes before the play, Mme. Bustier, asks Marc a question about Marinette.

Mme. Bustier: Now, the students did projects on their heroes. Alya Cesaire chose Lois Lane.

Marc: Have you spoken to her parents?

Mme. Bustier: And Marinette did her project on someone named Calpurnia Dupain.

Marc: Oh, her great aunt on her father’s side. She was burned as a witch in 1706. They say she danced naked in town square and enslaved a minister. *Unaware of Mme. Bustier’s horror.* Don’t worry, we told her university first.

And after so many horrible performances, comes the best one yet… Where Marinette and Alix splatter fake blood all over the audience.

Nino: … I suggested a evening in the park, but no. You wanted to see the performances.

Alya: *Spits out fake blood* Shut up.

Furious that her plans to get into the vault have failed since “Rose” decided to go to the play, Ms. Craven insists that “Rose” must leave again… But not before the Artists mark the occasion with a going away party where the entire Artist clan is invited.

Marc: *To Marinette who is dancing with Luka* Marinette, would you go check on Rose upstairs, please?

Marinette leaves (Not before kissing Luka) and overhears Willow and Ms. Craven going over their plan to break into the vault. She quickly runs to go get help.

Meanwhile, Cecil figures out a way to get rid of the Artists for good. And here’s where the judge comes in- He gets a restraining order agasint them so they can’t set foot on their property

After the party, the Artist family tries to find Marinette when they realize that she’s gone missing. But when they return with her, they find that they can’t get inside their own home. And when they attempt to appeal to the judge, he sends them away out of spite.

The Artists are now living in a motel. Nathaniel is in a state of depression knowing they’ve been betrayed, and Marc is just trying to keep Juleka, Marinette, and Alix from going crazy… Er.

Also, he gets a job as a kindergarten teacher’s assistant. Let’s see how that turns out.

Marc: And so the witch lured Hansel and Gretel into the candy house by promising them more sweets. And she told them to look in the oven. But, before she herself could push the children inside, Hansel pushed her, that poor defenseless elderly witch into the oven instead and burned her to a crisp as she writhed in agony… Now children. How do you think that feels? *The children cry* … Exactly.

That gets a job as a courier, and Marinette, Juleka, and Alix sell poison macarons.

Not able to stand the sight of his family in such a state, Marc returns to the Artists home to confront “Rose” only to be captured by Ms. Craven and Cecil. And unknown to Marc, That followed him.

Craven, Cecil, and Willow torture Marc so he can tell them how to access the vault means of torture, but he’s a total masochist and is loving every second of it

That returns to the motel and- through Morse code- tells the Artists that Marc’s been captured

Nathaniel: Mar... Marc... Marc? Marc is what? Slow down, That! It's terrible when you stutter!

*That starts tapping in Morse Code with a pen*

Nathaniel: Marc... in... danger... stop. Send... help... at once... STOP! *He runs out. That collapses*

Nathaniel arrives just before they can try and kill Marc, and engages in a sword fight with Cecil, which he gains the upper hand on, then loses when Ms. Craven has Marc at gun point. She forces him to show Willow the vault or she shoots Marc if they’re not back in an hour

Before Nathaniel can pull out the book that activates the secret door on the shelf, Willow pulls out a different book- A spellbook that projects It’s contents into reality and creates a storm. A bolt of lightning strikes Willow and launches Cecil and Craven out the window and into graves dug by Marinette, Alix, and Juleka

Alix: Are they dead?

Marinette: Does it matter?

Months later on Halloween, it’s revealed that Willow has been Rose all this time, and the story about the tuna net and the Bermuda Triangle were true. She just suffered from amnesia

Bridgette: *To Marinette* Dear, where’s your costume.

Marinette: This is my costume. I’m a homicidal maniac; they look just like everyone else.

While the others play a good game of ‘Wake The Dead’ Marc and Nathaniel stay behind because Marc has something to tell him.

Nathaniel: Monochrome, what is it?

Marc: I finally received a letter from my mothers, and… *Shows him an ultrasound photo* They said if it’s anything like me, they want us to have it.

Sequel

#miraculous ladybug #marc x nathaniel #nathaniel kurtzberg #marc anciel #marinette dupain cheng #alix kubdel #rose lavillant #juleka couffaine #félix graham de vanily #the addams family #addams family au #the artist family

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hlupdate · 3 years

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Variety’s Grammy-nominated Hitmaker of the Year goes deep on the music industry, the great pause and finding his own muses.

“We’ll dance again,” Harry Styles coos, the Los Angeles sunshine peeking through his pandemic-shaggy hair just so. The singer, songwriter and actor — beloved and critically acclaimed thanks to his life-affirming year-old album, “Fine Line” — is lamenting that his Variety Hitmaker of the Year cover conversation has to be conducted over Zoom rather than in person. Even via videoconference, the Brit is effortlessly charming, as anyone who’s come within earshot of him would attest, but it quickly becomes clear that beneath that genial smile is a well-honed media strategy.

To wit: In an interview that appears a few days later announcing his investment in a new arena in his native Manchester (more on that in a bit), he repeats the refrain — “There will be a time we dance again”— referencing a much-needed return to live music and the promise of some 4,000 jobs for residents.

None of which is to suggest that Styles, 26, phones it in for interviews. Quite the opposite: He does very few, conceivably to give more of himself and not cheapen what is out there and also to use the publicity opportunity to indulge his other interests, like fashion. (Last month Styles became the first male to grace the cover of Vogue solo.) Still, it stings a little that a waltz with the former One Direction member may not come to pass on this album cycle — curse you, coronavirus.

Styles’ isolation has coincided with his maturation as an artist, a thespian and a person. With “Fine Line,” he’s proved himself a skilled lyricist with a tremendous ear for harmony and melody. In preparing for his role in Olivia Wilde’s period thriller “Don’t Worry Darling,” which is shooting outside Palm Springs, he found an outlet for expression in interpreting words on a page. And for the first time, he’s using his megaphone to speak out about social justice — inspired by the outpouring of support for Black people around the world following the death of George Floyd at the hands of Minneapolis police in May.

Styles has spent much of the past nine months at home in London, where life has slowed considerably. The time has allowed him to ponder such heady issues as his purpose on the earth. “It’s been a pause that I don’t know if I would have otherwise taken,” says Styles. “I think it’s been pretty good for me to have a kind of stop, to look and think about what it actually means to be an artist, what it means to do what we do and why we do it. I lean into moments like this — moments of uncertainty.”

In truth, while Styles has largely been keeping a low profile — his Love On Tour, due to kick off on April 15, was postponed in late March and is now scheduled to launch in February 2021 (whether it actually will remains to be seen) — his music has not. This is especially true in the U.S., where he’s notched two hit singles, “Adore You,” the second-most-played song at radio in 2020, and “Watermelon Sugar” (No. 22 on Variety’s year-end Hitmakers chart), with a third, “Golden,” already cresting the top 20 on the pop format. The massive cross-platform success of these songs means Styles has finally and decisively broken into the American market, maneuvering its web of gatekeepers to accumulate 6.2 million consumption units and rising.

Why do these particular songs resonate in 2020? Styles doesn’t have the faintest idea. While he acknowledges a “nursery rhyme” feel to “Watermelon Sugar” with its earwormy loop of a chorus, that’s about as much insight as he can offer. His longtime collaborator and friend Tom Hull, also known as the producer Kid Harpoon, offers this take: “There’s a lot of amazing things about that song, but what really stands out is the lyric. It’s not trying to hide or be clever. The simplicity of watermelon … there’s such a joy in it, [which] is a massive part of that song’s success.” Also, his kids love it. “I’ve never had a song connect with children in this way,” says Hull, whose credits include tunes by Shawn Mendes, Florence and the Machine and Calvin Harris. “I get sent videos all the time from friends of their kids singing. I have a 3-year-old and an 8-year-old, and they listen to it.”

Styles is quick to note that he doesn’t chase pop appeal when crafting songs. In fact, the times when he pondered or approved a purposeful tweak, like on his self-titled 2017 debut, still gnaw at him. “I love that album so much because it represents such a time in my life, but when I listen to it — sonically and lyrically, especially — I can hear places where I was playing it safe,” he says. “I was scared to get it wrong.”

Contemporary effects and on-trend beats hardly factor into Styles’ decision-making. He likes to focus on feelings — his own and his followers’ — and see himself on the other side of the velvet rope, an important distinction in his view. “People within [the industry] feel like they operate on a higher level of listening, and I like to make music from the point of being a fan of music,” Styles says. “Fans are the best A&R.”

This from someone who’s had free rein to pursue every musical whim, and hand in the album of his dreams in the form of “Fine Line.” Chart success makes it all the sweeter, but Styles insists that writing “for the right reasons” supersedes any commercial considerations. “There’s no part that feels, eh, icky — like it was made in the lab,” he says.

Styles has experience in this realm. As a graduate of the U.K. competition series “The X Factor,” where he and four other auditionees — Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson — were singled out by show creator and star judge Simon Cowell to conjoin as One Direction, he’s seen how the prefab pop machine works up close. The One Direction oeuvre, which counts some 42 million albums sold worldwide, includes songs written with such established hitmakers as Ryan Tedder, Savan Kotecha and Teddy Geiger. Being a studious, insatiable observer, Styles took it all in.

“I learned so much,” he says of the experience. “When we were in the band, I used to try and write with as many different people as I could. I wanted to practice — and I wrote a lot of bad shit.”

His bandmates also benefited from the pop star boot camp. The proof is in the relatively seamless solo transitions of at least three of its members — Payne, Malik and Horan in addition to Styles — each of whom has landed hit singles on charts in the U.K., the U.S. and beyond.

This departs from the typical trajectories of boy bands including New Kids on the Block and ’N Sync, which have all pro ered a star frontman. The thinking for decades was that a record company would be lucky to have one breakout solo career among the bunch.

Styles has plainly thought about this.

“When you look at the history of people coming out of bands and starting solo careers, they feel this need to apologize for being in the band. ‘Don’t worry, everyone, that wasn’t me! Now I get to do what I really want to do.’ But we loved being in the band,” he says. “I think there’s a wont to pit people against each other. And I think it’s never been about that for us. It’s about a next step in evolution. The fact that we’ve all achieved different things outside of the band says a lot about how hard we worked in it.”

Indeed, during the five-ish years that One Direction existed, Styles’ schedule involved the sort of nonstop international jet-setting that few get to see in a lifetime, never mind their teenage years. Between 2011 and 2015, One Direction’s tours pulled in north of $631 million in gross ticket sales, according to concert trade Pollstar, and the band was selling out stadiums worldwide by the time it entered its extended hiatus. Styles, too, had built up to playing arenas as a solo artist, engaging audiences with his colorful stage wear and banter and left-of-center choices for opening acts (a pre-Grammy-haul Kacey Musgraves in 2018; indie darlings King Princess and Jenny Lewis for his rescheduled 2021 run).

Stages of all sizes feel like home to Styles. He grew up in a suburb of Manchester, ground zero for some of the biggest British acts of the 1980s and ’90s, including Joy Division, New Order, the Smiths and Oasis, the latter of which broke the same year Styles was born. His parents were also music lovers. Styles’ father fed him a balanced diet of the Beatles, Fleetwood Mac, the Rolling Stones and Queen, while Mum was a fan of Shania Twain, Norah Jones and Savage Garden. “They’re all great melody writers,” says Styles of the acts’ musical throughline.

Stevie Nicks, who in the past has described “Fine Line” as Styles’ “Rumours,” referencing the Fleetwood Mac 1977 classic, sees him as a kindred spirit. “Harry writes and sings his songs about real experiences that seemingly happened yesterday,” she tells Variety. “He taps into real life. He doesn’t make up stories. He tells the truth, and that is what I do. ‘Fine Line’ has been my favorite record since it came out. It is his ‘Rumours.’ I told him that in a note on December 13, 2019 before he went on stage to play the ‘Fine Line’ album at the Forum. We cried. He sang those songs like he had sung them a thousand times. That’s a great songwriter and a great performer.”

“Harry’s playing and writing is instinctual,” adds Jonathan Wilson, a friend and peer who’s advised Styles on backing and session musicians. “He understands history and where to take the torch. You can see the thread of great British performers — from Bolan to Bowie — in his music.”

Also shaping his musical DNA was Manchester itself, the site of a 23,500-seat arena, dubbed Co-op Live, for which Styles is an investor and adviser. Oak View Group, a company specializing in live entertainment and global sports that was founded by Tim Leiweke and Irving Azoff in 2015 (Jeffrey Azoff, Irving’s son, represents Styles at Full Stop Management), is leading the effort to construct the venue. The project gained planning approval in September and is set to open in 2023, with its arrival representing a £350 million ($455 million) investment in the city. (Worth noting: Manchester is already home to an arena — the site of a 2017 bombing outside an Ariana Grande concert — and a football stadium, where One Love Manchester, an all-star benefit show to raise money for victims of the terrorist attack, took place.)

“I went to my first shows in Manchester,” Styles says of concerts paid for with money earned delivering newspapers for a supermarket called the Co-op. “My friends and I would go in on weekends. There’s so many amazing small venues, and music is such a massive part of the city. I think Manchester deserves it. It feels like a full-circle, coming-home thing to be doing this and to be able to give any kind of input. I’m incredibly proud. Hopefully they’ll let me play there at some point.”

Though Styles has owned properties in Los Angeles, his base for the foreseeable future is London. “I feel like my relationship with L.A. has changed a lot,” he explains. “I’ve kind of accepted that I don’t have to live here anymore; for a while I felt like I was supposed to. Like it meant things were going well. This happened, then you move to L.A.! But I don’t really want to.”

Is it any wonder? Between COVID and the turmoil in the U.S. spurred by the presidential election, Styles, like some 79 million American voters, is recovering from sticker shock over the bill of goods sold to them by the concept of democracy. “In general, as people, there’s a lack of empathy,” he observes. “We found this place that’s so divisive. We just don’t listen to each other anymore. And that’s quite scary.”

That belief prompted Styles to speak out publicly in the wake of George Floyd’s death. As protests in support of Black Lives Matter took to streets all over the world, for Styles, it triggered a period of introspection, as marked by an Instagram message (liked by 2.7 million users and counting) in which he declared: “I do things every day without fear, because I am privileged, and I am privileged every day because I am white. … Being not racist is not enough, we must be anti racist. Social change is enacted when a society mobilizes. I stand in solidarity with all of those protesting. I’m donating to help post bail for arrested organizers. Look inwards, educate yourself and others. LISTEN, READ, SHARE, DONATE and VOTE. ENOUGH IS ENOUGH. BLACK LIVES MATTER.”

“Talking about race can be really uncomfortable for everyone,” Styles elaborates. “I had a realization that my own comfort in the conversation has nothing to do with the problem — like that’s not enough of a reason to not have a conversation. Looking back, I don’t think I’ve been outspoken enough in the past. Using that feeling has pushed me forward to being open and ready to learn. … How can I ensure from my side that in 20 years, the right things are still being done and the right people are getting the right opportunities? That it’s not a passing thing?”

His own record company — and corporate parent Sony Music Group, whose chairman, Rob Stringer, signed Styles in 2016 — has been grappling with these same questions as the industry has faced its own reckoning with race. At issue: inequality among the upper ranks (an oft-cited statistic: popular music is 80% Black, but the music business is 80% white); contracts rooted in a decades-old system that many say is set up to take advantage of artists, Black artists more unfairly than white; and the call for a return of master rights, an ownership model that is at the core of the business.

Styles acknowledges the fundamental imbalance in how a major label deal is structured — the record company takes on the financial risk while the artist is made to recoup money spent on the project before the act is considered profitable and earning royalties (typically at a 15% to 18% rate for the artist, while the label keeps and disburses the rest). “Historically, I can’t think of any industry that’s benefited more off of Black culture than music,” he says. “There are discussions that need to happen about this long history of not being paid fairly. It’s a time for listening, and hopefully, people will come out humbled, educated and willing to learn and change.”

By all accounts, Styles is a voracious reader, a movie lover and an aesthete. He stays in shape by adhering to a strict daily exercise routine. “I tried to keep up but didn’t last more than two weeks,” says Hull, Styles’ producer, with a laugh. “The discipline is terrifying.”

Of course, with the fashion world beckoning — Styles recently appeared in a film series for Gucci’s new collection that was co-directed by the fashion house’s creative director, Alessandro Michele, and Oscar winner Gus Van Sant — and a movie that’s set in the 1950s, maintaining that physique is part of the job. And he’s no stranger to visual continuity after appearing in Christopher Nolan’s epic “Dunkirk” and having to return to set for reshoots; his hair, which needed to be cut back to its circa 1940 form, is a constant topic of conversation among fans. This time, it’s the ink that poses a challenge. By Styles’ tally, he’s up to 60 tattoos, which require an hour in the makeup chair to cover up. “It’s the only time I really regret getting tattooed,” he says.

He shows no regret, however, when it comes to stylistic choices overall, and takes pride in his gender-agnostic portfolio, which includes wearing a Gucci dress on that Vogue cover— an image that incited conservative pundit Candace Owens to plead publicly to “bring back manly men.” In Styles’ view: “To not wear [something] because it’s females’ clothing, you shut out a whole world of great clothes. And I think what’s exciting about right now is you can wear what you like. It doesn’t have to be X or Y. Those lines are becoming more and more blurred.”

But acclaim, if you can believe it, is not top of mind for Styles. As far as the Grammys are concerned, Styles shrugs, “It’s never why I do anything.” His team and longtime label, however, had their hearts set on a showing at the Jan. 31 ceremony. Their investment in Styles has been substantial — not just monetarily but in carefully crafting his career in the wake of such icons as David Bowie, who released his final albums with the label. Hope at the company and in many fans’ hearts that Styles would receive an album of the year nomination did not come to pass. However, he was recognized in three categories, including best pop vocal album.

“It’s always nice to know that people like what you’re doing, but ultimately — and especially working in a subjective field — I don’t put too much weight on that stuff,” Styles says. “I think it’s important when making any kind of art to remove the ego from it.” Citing the painter Matisse, he adds: “It’s about the work that you do when you’re not expecting any applause.”

#harry styles #variety #021220

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hldailyupdate · 3 years

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This Charming Man: Why We’re Wild About Harry Styles

Variety’s Grammy-nominated Hitmaker of the Year goes deep on the music industry, the great pause and finding his own muses.

Styles has plainly thought about this.

“It’s always nice to know that people like what you’re doing, but ultimately — and especially working in a subjective field — I don’t put too much weight on that stuff,” Styles says. “I think it’s important when making any kind of art to remove the ego from it.” Citing the painter Matisse, he adds: ��It’s about the work that you do when you’re not expecting any applause.”

Harry for Variety. (2 December 2020)

#harry styles #harry update #article #variety #hldaily #December 2020

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sometimesrosy · 3 years

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I haven’t come to your blog in quite some time... after t100 ended, I lost interest in tumblr for a while. But I was active here once, and we had many a discussion. I came to see if you enjoyed bridgerton, despite the not so accurate clothing and such. I think it’s super cheesy and really fun to watch, and I know you enjoy period dramas

Yeah, I’m still here-- mainly because I work online, so when I break from work I make the rounds of my social media, and tumblr is one of them. It’s less active here because the fandom has mostly disappeared, not that I blame people. I also have a hard time posting about the positive aspects of The 100 because it just imploded so spectacularly. Still a big disappointment.

BUT

I have moved on. I was honestly ready to be done with intense fandom, because it’s just not good for my mental health and I was tired of the negativity. I don’t understand why people get angry when other people enjoy a thing, and think they have to come in and ruin it for them. Like, buzz off, we’re working on coping skills to get through our dumpster fire lives.

AND YES I love Bridgerton.

Actually, I love the book series Bridgerton and it was one of my favorites in the last couple of years.

And this is related to my The 100 fandom experience, because for a while, I wasn’t reading books, I was only reading bellarke fanfic, but then, due to a shift in the fanfic community and my discomfort with the fandom (knowing that a lot of them didn’t like me) I began to feel weird about reading and writing fanfic. Like when I liked someone’s story, was I giving kudos to someone who bullied me on anon? I didn’t know. And at the same time I’d begun ghostwriting romances, so to do research, I started reading published romances.

The first one I read was a secret baby trope, because that was what I was writing, and I fell into historical fiction. I read Kleypas and Dare and Milan and Maclean and yes, Quinn. That took the place of my fanfic reading. To be honest, I wouldn’t have been able to be a ghostwriter if I hadn’t been a fanfic writer first, because, even though I have writing education and training and experience, fanfic taught me to write for audience, to do it fast without that certain...anxiety about perfectionism, and immersed me in romantic tropes, which it turns out, I really love.

This is a lot of chit chat to say that yes, I saw Bridgerton and I love Bridgerton.

I would suppose that historical romances have taken the place of my the 100 obsession. I read probably one a day. I should keep track on goodreads or something, but I do a lot of rereading. Like I’ll reread a beloved book or series five or six times. And when I forget the details of ones I liked, I’ll reread those too. Also I’m probably dealing with my internalized snobbery about the romance genre. Let me tell you, getting an education in creative writing in college installs some “issues” with genre. Everything is supposed to be lit fic, or it’s lesser. I’ve been kind of pugnacious about the sff genre and haven’t let the snobbery interfere with my love of it, but I haven’t gotten over the romance snobbery, which is not JUST snobbery but also internalized misogyny.

But I mean, fuck it. I am so sick of grimdark and tragedies and “cool edgy” dudes thinking women should be destroyed and tortured and betrayed in movies and sff and fiction in general.

I don’t WRITE historical romances. I write contemporary romances for my ghostwriting gigs (I have one client and I’ve written like 18 novels and novellas for her in the last two years. It’s fun, but it doesn’t make very much money and the deadlines are VERY tight.) However I don’t READ contemporary romances, I read historicals. I like the level of fantasy involved and the distance from reality when I read it, but I am bothered too much buy the imperial colonialism and classism of regency or victorian british settings to write it. Also, that would take so much research to write to my liking. I am involved in romancelandia (romance writing twitter,) but not very active. Mostly I just listen and learn and sometimes comment.

In fact. I follow a woman who judges regency and victorian costuming in film productions. https://twitter.com/BillAndTedTest She has not gotten around to doing Bridgerton yet.

How do I feel about the costuming??? Well, I’m divided. I am bothered by the fact that Daphne never wears a pelisse and always has half up hair. I am bothered by the fact that Simon almost never has his cravat tied properly and has a shockingly bare neck. And the fabrics and stitching are visibly cheap.

But I also feel that except for the cheap fabrication which was an element of budget and time, a lot of the design choices were stylistic in nature. Like, if you look at the background characters, I feel that their costumes were more accurate, but with the main characters, they really went for character over accuracy. They didn’t want Daphne in any of the buttoned up outfits because they wanted her to be a girlish, romantic ingenue. They wanted Simon to show as a dashing sexy rake, so the buttoned up thing wouldn’t work for him, and they gave him the open neck that would be more appealing to a contemporary audience. (although while Simon is very handsome I actually find Anthony more sexy. He’s buttoned up...but it’s holding back all passion inside. BUT THAT’S a story for season 2. I can’t wait. I liked book 2 better than 1 mostly because of the rape, tbh. But I also love books 4,6 and 7 and I don’t know if we’ll get there.)

They wanted Lady Featherington to be crass and pushy so they gave her a nonsensical victorian silhouette. I mean. ???? It was SO different from anyone else’s. Weird choice, but for the character it kind of makes her appear to be a more aggressive character type from LATER in time? IDK. Of course Penelope is canonically dressed in awful gowns that are not flattering and I’m looking forward to how they end up dressing her for her book. And praying that we get a season 4. But I mean, the costume choices for the Featheringtons are BASED on Lady F’s bad taste, so there’s some leeway with her not being in style.

So. That is A LOT when you asked a little question. I guess I wanted to talk about it. I’m not allowed to talk about my ghostwriting or the stories I’m writing because I signed a hushhush contract. I’m not accustomed to being in a fandom for reading books-- remember I only joined fandom in the last 5 years for The 100, and then had some bad experiences so didn’t get into other fandoms. I don’t really even know how it would work especially not MULTIPLE books and authors instead of one series, so I haven’t really had conversations about the historical romances, except for a bit of twitter discussion.

#bridgerton #historical romance #reading #writing romance #book geek

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ahouseoflies · 3 years

Text

The Best Films of 2020

I can’t tell you anything novel or insightful about this year that has been stolen from our lives. I watched zero of these films in a theater, and I watched most of them half-asleep in moments that I stole from my children. Don’t worry, there are some jokes below.

GARBAGE

93. Capone (Josh Trank)- What is the point of this dinner theater trash? It takes place in the last year of Capone's life, when he was released from prison due to failing health and suffered a stroke in his Florida home. So it covers...none of the things that make Al Capone interesting? It's not historically accurate, which I have no problem with, but if you steer away from accuracy, then do something daring and exciting. Don't give me endless scenes of "Phonse"--as if the movie is running from the very person it's about--drawing bags of money that promise intrigue, then deliver nothing in return.

That being said, best "titular character shits himself" scene since The Judge.

92. Ammonite (Francis Lee)- I would say that this is the Antz to Portrait of a Lady on Fire's A Bug's Life, but it's actually more like the Cars 3 to Portrait of a Lady on Fire's Toy Story 1.

91. Ava (Tate Taylor)- Despite the mystery and inscrutability that usually surround assassins, what if we made a hitman movie but cared a lot about her personal life? Except neither the assassin stuff nor the family stuff is interesting?

90. Wonder Woman 1984 (Patty Jenkins)- What a miscalculation of what audiences loved about the first and wanted from the sequel. WW84 is silly and weightless in all of the ways that the first was elegant and confident. If the return of Pine is just a sort of phantom representation of Diana's desires, then why can he fly a real plane? If he is taking over another man's soul, then, uh, what ends up happening to that guy? For that matter, why is it not 1984 enough for Ronald Reagan to be president, but it is 1984 enough for the president to have so many Ronald Reagan signifiers that it's confusing? Why not just make a decision?

On paper, the me-first values of the '80s lend themselves to the monkey's paw wish logic of this plot. You could actually do something with the Star Wars program or the oil crisis. But not if the setting is played for only laughs and the screenplay explains only what it feels like.

89. Babyteeth (Shannon Murphy)- In this type of movie, there has to be a period of the Ben Mendelsohn character looking around befuddled about the new arrangement and going, "What's this now--he's going to be...living with us? The guy who tried to steal our medication? This is crazy!" But that's usually ten minutes, and in this movie it's an hour. I was so worn out by the end.

88. You Should Have Left (David Koepp)- David Koepp wrote Jurassic Park, so he's never going to hell, but how dare he start caring about his own mystery at the hour mark. There's a forty-five minute version of this movie that could get an extra star from me, and there's a three-hour version of Amanda Seyfried walking around in athleisure that would get four stars from me. What we actually get? No thanks.

87. Black Is King (Beyonce, et al.)- End your association with The Lion King, Bey. It has resulted in zero bops.

ADMIRABLE FAILURES

86. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (Cathy Yan)- There's nothing too dysfunctional in the storytelling or performances, but Birds of Prey also doesn't do a single thing well. I would prefer something alive and wild, even if it were flawed, to whatever tame belt-level formula this is.

85. The Turning (Floria Sigismondi)- This update of The Turn of the Screw pumps the age of Miles up to high school, which creates some horny creepiness that I liked. But the age of the character also prevents the ending of the novel from happening in favor of a truly terrible shrug. I began to think that all of the patience that the film showed earlier was just hesitance for its own awful ending.

I watched The Turning as a Mackenzie Davis Movie Star heat check, and while I'm not sure she has the magnetism I was looking for, she does have a great teacher voice, chastening but maternal.

84. Bloodshot (David Wilson)- A whole lot of Vin Diesel saying he's going to get revenge and kill a bunch of dudes; not a whole lot of Vin Diesel actually getting revenge and killing a bunch of dudes.

83. Downhill (Nat Faxon and Jim Rash)- I was an English major in college, which means I ended up locking myself into literary theories that, halfway through the writing of an essay, I realized were flawed. But rather than throw out the work that I had already proposed, I would just keep going and see if I could will the idea to success.

So let's say you have a theory that you can take Force Majeure by Ruben Ostlund, one of the best films of its year, and remake it so that its statement about familial anxiety could apply to Americans of the same age and class too...if it hadn't already. And maybe in the first paragraph you mess up by casting Will Ferrell and Julia Louis-Dreyfus, people we are conditioned to laugh at, when maybe this isn't that kind of comedy at all. Well, don't throw it away. You can quote more--fill up the pages that way--take an exact shot or scene from the original. Does that help? Maybe you can make the writing more vigorous and distinctive by adding a character. Is that going to make this baby stand out? Maybe you could make it more personal by adding a conclusion that is slightly more clever than the rest of the paper?

Or perhaps this is one you're just not going to get an A on.

82. Hillbilly Elegy (Ron Howard)- I watched this melodrama at my mother's encouragement, and, though I have been trying to pin down her taste for decades, I think her idea of a successful film just boils down to "a lot of stuff happens." So in that way, Ron Howard's loss is my gain, I guess.

There is no such thing as a "neutral Terminator."

81. Relic (Natalie Erika James)- The star of the film is Vanessa Cerne's set decoration, but the inert music and slow pace cancel out a house that seems neglected slowly over decades.

80. Buffaloed (Tanya Wexler)- Despite a breathless pace, Buffaloed can't quite congeal. In trying to split the difference between local color hijinks and Moneyballed treatise on debt collection, it doesn't commit enough to either one.

Especially since Zoey Deutch produced this one in addition to starring, I'm getting kind of worried about boo's taste. Lot of Two If by Seas; not enough While You Were Sleepings.

79. Like a Boss (Miguel Arteta)- I chuckled a few times at a game supporting cast that is doing heavy lifting. But Like a Boss is contrived from the premise itself--Yeah, what if people in their thirties fell out of friendship? Do y'all need a creative consultant?--to the escalation of most scenes--Why did they have to hide on the roof? Why do they have to jump into the pool?

The movie is lean, but that brevity hurts just as much as it helps. The screenplay knows which scenes are crucial to the development of the friendship, but all of those feel perfunctory, in a different gear from the setpieces.

To pile on a bit: Studio comedies are so bare bones now that they look like Lifetime movies. Arteta brought Chuck & Buck to Sundance twenty years ago, and, shot on Mini-DV for $250,000, it was seen as a DIY call-to-bootstraps. I guarantee that has more setups and locations and shooting days than this.

78. Eurovision Song Contest: The Story of Fire Saga (David Dobkin)- Add Dan Stevens to the list of supporting players who have bodied Will Ferrell in his own movie--one that he cared enough to write himself.

Like Downhill, Ferrell's other 2020 release, this isn't exactly bad. It's just workmanlike and, aside from the joke about Demi Lovato's "uninformed" ghost, frustratingly conventional.

77. The Traitor (Marco Bellochio)- Played with weary commitment by Pierfrancesco Favino, Tomasso Buscetta is "credited" as the first informant of La Cosa Nostra. And that sounds like an interesting subject for a "based on a true story" crime epic, right? Especially when you find out that Buscetta became a rat out of principle: He believed that the mafia to which he had pledged his life had lost its code to the point that it was a different organization altogether.

At no point does Buscetta waver or even seem to struggle with his decision though, so what we get is less conflicted than that description might suggest. None of these Italian mob movies glorify the lifestyle, so I wasn't expecting that. But if the crime doesn't seem enticing, and snitching on the crime seems like forlorn duty, and everything is pitched with such underhanded matter-of-factness that you can't even be sure when Buscetta has flipped, then what are we left with? It was interesting seeing how Italian courts work, I guess?

76. Kajillionaire (Miranda July)- This is another movie so intent on building atmosphere and lore that it takes too long to declare what it is. When the protagonist hits a breaking point and has to act, she has only a third of a film to grow. So whispery too.

Gina Rodriguez is the one to inject life into it. As soon as her motormouth winds up, the film slips into a different gear. The atmosphere and lore that I mentioned reeks of artifice, but her character is believably specific. Beneath a basic exterior is someone who is authentically caring but still morally compromised, beholden to the world that the other characters are suspicious of.

75. Scoob! (Tony Cervone)- The first half is sometimes clever, but it hammers home the importance of friendship while separating the friends.

The second half has some positive messaging, but your kids' movie might have a problem with scale if it involves Alexander the Great unlocking the gates of the Underworld.

My daughter loved it.

74. The Lovebirds (Michael Showalter)- If I start talking too much about this perfectly fine movie, I end up in that unfair stance of reviewing the movie I wanted, not what is actually there.* As a fan of hang-out comedies, I kind of resent that any comedy being made now has to be rolled into something more "exciting," whether it's a wrongfully accused or mistaken identity thriller or some other genre. Such is the post-Game Night world. There's a purposefully anti-climactic note that I wish The Lovebirds had ended on, but of course we have another stretch of hiding behind boats and shooting guns. Nanjiani and Rae are really charming leads though.

*- As a New Orleanian, I was totally distracted by the fake aspects of the setting too. "Oh, they walked to Jefferson from downtown? Really?" You probably won't be bothered by the locations.

73. Sonic the Hedgehog (Jeff Fowler)- In some ways the storytelling is ambitious. (I'm speaking for only myself, but I'm fine with "He's a hedgehog, and he's really fast" instead of the owl mother, teleportation backstory. Not everything has to be Tolkien.) But that ambition doesn't match the lack of ambition in the comedy, which depends upon really hackneyed setups and structures. Guiding Jim Carrey to full alrighty-then mode was the best choice anyone made.

72. Malcolm & Marie (Sam Levinson)- The stars move through these long scenes with agility and charisma, but the degree of difficulty is just too high for this movie to reach what it's going for.

Levinson is trying to capture an epic fight between a couple, and he can harness the theatrical intensity of such a thing, but he sacrifices almost all of the nuance. In real life, these knock-down-drag-outs can be circular and indirect and sad in a way that this couple's manipulation rarely is. If that emotional truth is all this movie is trying to achieve, I feel okay about being harsh in my judgment of how well it does that.

71. Beanpole (Kantemir Balagov)- Elusive in how it refuses to declare itself, forthright in how punishing it is. The whole thing might be worth it for a late dinner scene, but I'm getting a bit old to put myself through this kind of misery.

70. The Burnt Orange Heresy (Giuseppe Capotondi)- Silly in good ways until it's silly in bad ways. Elizabeth Debicki remains 6'3".

69. Everybody’s Everything (Sebastian Jones and Ramez Silyan)- As a person who listened to Lil Peep's music, I can confidently say that this documentary is overstating his greatness. His death was a significant loss, as the interview subjects will all acknowledge, but the documentary is more useful as a portrait of a certain unfocused, rapacious segment of a generation that is high and online at all times.

68. The Witches (Robert Zemeckis)- Robert Zemeckis, Kenya Barris, and Guillermo Del Toro are the credited screenwriters, and in a fascinating way, you can see the imprint of each figure on the final product. Adapting a very European story to the old wives' tales of the American South is an interesting choice. Like the Nicolas Roeg try at this material, Zemeckis is not afraid to veer into the terrifying, and Octavia Spencer's pseudo witch doctor character only sells the supernatural. From a storytelling standpoint though, it seems as if the obstacles are overcome too easily, as if there's a whole leg of the film that has been excised. The framing device and the careful myth-making of the flashback make promises that the hotel half of the film, including the abrupt ending, can't live up to.

If nothing else, Anne Hathaway is a real contender for Most On-One Performance of the year.

67. Irresistible (Jon Stewart)- Despite a sort of imaginative ending, Jon Stewart's screenplay feels more like the declarative screenplay that would get you hired for a good movie, not a good screenplay itself. It's provocative enough, but it's clumsy in some basic ways and never evades the easy joke.

For example, the Topher Grace character is introduced as a sort of assistant, then is re-introduced an hour later as a polling expert, then is shown coaching the candidate on presentation a few scenes later. At some point, Stewart combined characters into one role, but nothing got smoothed out.

ENDEARING CURIOSITIES WITH BIG FLAWS

66. Yes, God, Yes (Karen Maine)- Most people who are Catholic, including me, are conflicted about it. Most people who make movies about being Catholic hate it and have an axe to grind. This film is capable of such knowing wit and nuance when it comes to the lived-in details of attending a high school retreat, but it's more concerned with taking aim at hypocrisy in the broad way that we've seen a million times. By the end, the film is surprisingly all-or-nothing when Christian teenagers actually contain multitudes.

Part of the problem is that Karen Maine's screenplay doesn't know how naive to make the Alice character. Sometimes she's reasonably naive for a high school senior in 2001; sometimes she's comically naive so that the plot can work; and sometimes she's stupid, which isn't the same as naive.

65. Bad Boys for Life (Adil El Arbi and Bilall Fallah)- This might be the first buddy cop movie in which the vets make peace with the tech-comm youngs who use new techniques. If that's the only novelty on display here--and it is--then maybe that's enough. I laughed maybe once. Not that the mistaken identity subplot of Bad Boys 1 is genius or anything, but this entry felt like it needed just one more layer to keep it from feeling as basic as it does. Speaking of layers though, it's almost impossible to watch any Will Smith movie now without viewing it through the meta-narrative of "What is Will Smith actually saying about his own status at this point in his career?" He's serving it up to us.

I derived an inordinate amount of pleasure from seeing the old school Simpson/Bruckheimer logo.

64. The Gentlemen (Guy Ritchie)- Look, I'm not going to be too negative on a movie whose crime slang is so byzantine that it has to be explained with subtitles. That's just me. I'm a simple man. But I can tell you that I tuned out pretty hard after seven or eight double-crosses.

The bloom is off the rose a bit for Ritchie, but he can still nail a music cue. I've been waiting for someone to hit "That's Entertainment" the way he does on the end credits.

63. Bad Hair (Justin Simien)- In Bad Hair, an African-American woman is told by her boss at a music video channel in 1989 that straightening her hair is the way to get ahead; however, her weave ends up having a murderous mind of its own. Compared to that charged, witty logline, the execution of the plot itself feels like a laborious, foregone conclusion. I'm glad that Simien, a genuinely talented writer, is making movies again though. Drop the skin-care routine, Van Der Beek!

62. Greyhound (Aaron Schneider)- "If this is the type of role that Tom Hanks writes for himself, then he understands his status as America's dad--'wise as the serpent, harmless as the dove'--even better than I thought." "America's Dad! Aye aye, sir!" "At least half of the dialogue is there for texture and authenticity, not there to be understood by the audience." "Fifty percent, Captain!" "The environment looks as fake as possible, but I eventually came around to the idea that the movie is completely devoid of subtext." "No subtext to be found, sir!"

61. Mank (David Fincher)- About ten years ago, the Creative Screenwriting podcast spent an hour or so with James Vanderbilt, the writer of Zodiac and nothing else that comes close, as he relayed the creative paces that David Fincher pushed him through. Hundreds of drafts and years of collaborative work eventuated in the blueprint for Fincher's most exacting, personal film, which he didn't get a writing credit on only because he didn't seek one.

Something tells me that Fincher didn't ask for rewrites from his dead father. No matter what visuals and performances the director can coax from the script--and, to be clear, these are the worst visuals and performances of his career--they are limited by the muddy lightweight pages. There are plenty of pleasures, like the slippery election night montage or the shakily platonic relationship between Mank and Marion. But Fincher hadn't made a film in six years, and he came back serving someone else's master.

60. Tesla (Michael Almereyda)- "You live inside your head." "Doesn't everybody?"

As usual, Almereyda's deconstructions are invigorating. (No other moment can match the first time Eve Hewson's Anne fact-checks something with her anachronistic laptop.) But they don't add up to anything satisfying because Tesla himself is such an opaque figure. Driven by the whims of his curiosity without a clear finish line, the character gives Hawke something enigmatic to play as he reaches deep into a baritone. But he's too inward to lend himself to drama. Tesla feels of a piece with Almereyda's The Experimenter, and that's the one I would recommend.

59. Vitalina Varela (Pedro Costa)- I can't oversell how delicately beautiful this film is visually. There's a scene in which Vitalina lugs a lantern into a church, but we get several seconds of total darkness before that one light source carves through it and takes over part of the frame. Each composition is as intricate as it is overpowering, achieving a balance between stark and mannered.

That being said, most of the film is people entering or exiting doors. I felt very little of the haunting loss that I think I was supposed to.

58. The Rhythm Section (Reed Morano)- Call it the Timothy Hutton in The General's Daughter Corollary: If a name-actor isn't in the movie much but gets third billing, then, despite whom he sends the protagonist to kill, he is the Actual Bad Guy.

Even if the movie serves up a lot of cliche, the action and sound design are visceral. I would like to see more from Morano.

57. Red, White and Blue (Steve McQueen)- Well-made and heartfelt even if it goes step-for-step where you think it will.

Here's what I want to know though: In the academy training sequence, the police cadets have to subdue a "berserker"; that is, a wildman who swings at their riot gear with a sledgehammer. Then they get him under control, and he shakes their hands, like, "Good angle you took on me there, mate." Who is that guy and where is his movie? Is this full-time work? Is he a police officer or an independent contractor? What would happen if this exercise didn't go exactly as planned?

56. Wolfwalkers (Tomm Moore and Ross Stewart)- The visuals have an unfinished quality that reminded me of The Tale of Princess Kaguya--the center of a flame is undrawn white, and fog is just negative space. There's an underlying symmetry to the film, and its color palette changes with mood.

Narratively, it's pro forma and drawn-out. Was Riley in Inside Out the last animated protagonist to get two parents? My daughter stuck with it, but she needed a lot of context for the religious atmosphere of 17th century Ireland.

55. What She Said: The Art of Pauline Kael (Rob Garver)- The film does little more than one might expect; it's limited in the way that any visual medium is when trying to sum up a woman of letters. But as far as education for Kael's partnership with Warren Beatty or the idea of The New Yorker paying her for only six months out of the year, it was useful for me.

Although Garver isn't afraid to point to the work that made Kael divisive, it would have been nice to have one or two interview subjects who questioned her greatness, rather than the crew of Paulettes who, even when they do say something like, "Sometimes I radically disagreed with her," do it without being able to point to any specifics.

54. Beastie Boys Story (Spike Jonze)- As far as this Spike Jonze completist is concerned, this is more of a Powerpoint presentation than a movie, Beastie Boys Story still warmed my heart, making me want to fire up Paul's Boutique again and take more pictures of my buddies.

53. Tenet (Christopher Nolan)- Cool and cold, tantalizing and frustrating, loud and indistinct, Tenet comes close to Nolan self-parody, right down to the brutalist architecture and multiple characters styled like him. The setpieces grabbed me, I'll admit.

Nolan's previous film, which is maybe his best, was "about" a lot and just happened to play with time; Tenet is only about playing with time.

PRETTY GOOD MOVIES

52. Shithouse (Cooper Raiff)- "Death is ass."

There's such a thing as too naturalistic. If I wanted to hear how college freshmen really talked, I would hang out with college freshmen. But you have to take the good verisimilitude with the bad, and good verisimilitude is the mother's Pod Save America t-shirt.

There are some poignant moments (and a gonzo performance from Logan Miller) in this auspicious debut from Cooper Raiff, the writer/director/editor/star. But the second party sequence kills some of the momentum, and at a crucial point, the characters spell out some motivation that should have stayed implied.

51. Totally Under Control (Alex Gibney, Ophelia Harutyunyan, Suzanne Hillinger)- As dense and informative as any other Gibney documentary with the added flex of making it during the pandemic it is investigating.

But yeah, why am I watching this right now? I don't need more reasons to be angry with Trump, whom this film calmly eviscerates. The directors analyze Trump's narcissism first through his contradictions of medical expertise in order to protect the economy that could win him re-election. Then it takes aim at his hiring based on loyalty instead of experience. But you already knew that, which is the problem with the film, at least for now.

50. Happiest Season (Clea Duvall)- I was in the perfect mood to watch something this frothy and bouncy. Every secondary character receives a moment in the sun, and Daniel Levy gets a speech that kind of saves the film at a tipping point.

I must say though: I wanted to punch Harper in her stupid face. She is a terrible romantic partner, abandoning or betraying Abby throughout the film and dissembling her entire identity to everyone else in a way that seems absurd for a grown woman in 2020. Run away, Kristen. Perhaps with Aubrey Plaza, whom you have more chemistry with. But there I go shipping and aligning myself with characters, which only proves that this is an effective romantic comedy.

49. The Way Back (Gavin O’Connor)- Patient but misshapen, The Way Back does just enough to overcome the cliches that are sort of unavoidable considering the genre. (I can't get enough of the parent character who, for no good reason, doesn't take his son's success seriously. "Scholarship? What he's gotta do is put his nose in them books! That's why I don't go to his games. [continues moving boxes while not looking at the other character] Now if you'll excuse me while I wait four scenes before showing up at a game to prove that I'm proud of him after all...")

What the movie gets really right or really wrong in the details about coaching and addiction is a total crap-shoot. But maybe I've said too much already.

48. The Whistlers (Corneliu Porumboiu)- Porumboiu is a real artist who seems to be interpreting how much surveillance we're willing to acknowledge and accept, but I won't pretend to have understood much of the plot, the chapters or which are told out of order. Sometimes the structure works--the beguiling, contextless "high-class hooker" sequence--but I often wondered if the film was impenetrable in the way that Porumboiu wanted it to be or impenetrable in the way he didn't.

To tell you the truth, the experience kind of depressed me because I know that, in my younger days, this film is the type of thing that I would re-watch, possibly with the chronology righted, knowing that it is worth understanding fully. But I have two small children, and I'm exhausted all the time, and I kind of thought I should get some credit for still trying to catch up with Romanian crime movies in the first place.

47. Borat Subsequent Moviefilm (Jason Woliner)- I laughed too much to get overly critical, but the film is so episodic and contrived that it's kind of exhausting by the end--even though it's achieving most of its goals. Maybe Borat hasn't changed, but the way our citizens own their ugliness has.

46. First Cow (Kelly Reichardt)- Despite how little happens in the first forty minutes, First Cow is a thoughtful capitalism parable. Even though it takes about forty minutes to get going, the friendship between Cookie and King-Lu is natural and incisive. Like Reichardt's other work, the film's modest premise unfolds quite gracefully, except for in the first forty minutes, which are uneventful.

45. Les Miserables (Ladj Ly)- I loved parts of the film--the disorienting, claustrophobic opening or the quick look at the police officers' home lives, for example. But I'm not sure that it does anything very well. The needle the film tries to thread between realism and theater didn't gel for me. The ending, which is ambiguous in all of the wrong ways, chooses the theatrical. (If I'm being honest, my expectations were built up by Les Miserables' Jury Prize at Cannes, and it's a bit superficial to be in that company.)

If nothing else, it's always helpful to see how another country's worst case scenario in law enforcement would look pretty good over here.

44. Bad Education (Cory Finley)- The film feels too locked-down and small at the beginning, so intent on developing the protagonist neutrally that even the audience isn't aware of his secrets. So when he faces consequences for those secrets, there's a disconnect. Part of tragedy is seeing the doom coming, right?

When it opens up, however, it's empathetic and subtle, full of a dry irony that Finley is already specializing in after only one other feature. Geraldine Viswanathan and Allison Janney get across a lot of interiority that is not on the page.

43. The Trip to Greece (Michael Winterbottom)- By the fourth installment, you know whether you're on board with the franchise. If you're asking "Is this all there is?" to Coogan and Brydon's bickering and impressions as they're served exotic food in picturesque settings, then this one won't sway you. If you're asking "Is this all there is?" about life, like they are, then I don't need to convince you.

I will say that The Trip to Spain seemed like an enervated inflection point, at which the squad could have packed it in. The Trip to Greece proves that they probably need to keep doing this until one of them dies, which has been the subtext all along.

42. Feels Good Man (Arthur Jones)- This documentary centers on innocent artist Matt Furie's helplessness as his Pepe the Frog character gets hijacked by the alt-right. It gets the hard things right. It's able to, quite comprehensively, trace a connection from 4Chan's use of Pepe the Frog to Donald Trump's near-assuming of Pepe's ironic deniability. Director Arthur Jones seems to understand the machinations of the alt-right, and he articulates them chillingly.

The easy thing, making us connect to Furie, is less successful. The film spends way too much time setting up his story, and it makes him look naive as it pits him against Alex Jones in the final third. Still, the film is a quick ninety-two minutes, and the highs are pretty high.

41. The Old Guard (Gina Prince-Bythewood)- Some of the world-building and backstory are handled quite elegantly. The relationships actually do feel centuries old through specific details, and the immortal conceit comes together for an innovative final action sequence.

Visually and musically though, the film feels flat in a way that Prince-Bythewood's other films do not. I blame Netflix specs. KiKi Layne, who tanked If Beale Street Could Talk for me, nearly ruins this too with the child-actory way that she stresses one word per line. Especially in relief with one of our more effortless actresses, Layne is distracting.

40. The Trial of the Chicago 7 (Aaron Sorkin)- Whenever Sacha Baron Cohen's Abbie Hoffman opens his mouth, the other defendants brace themselves for his dismissive vulgarity. Even when it's going to hurt him, he can't help but shoot off at the mouth. Of course, he reveals his passionate and intelligent depths as the trial goes on. The character is the one that Sorkin's screenplay seems the most endeared to: In the same way that Hoffman can't help but be Hoffman, Sorkin can't help but be Sorkin. Maybe we don't need a speech there; maybe we don't have to stretch past two hours; maybe a bon mot diffuses the tension. But we know exactly what to expect by now. The film is relevant, astute, witty, benevolent, and, of course, in love with itself. There are a handful of scenes here that are perfect, so I feel bad for qualifying so much.

A smaller point: Daniel Pemberton has done great work in the past (Motherless Brooklyn, King Arthur, The Man from U.N.C.L.E.), but the first sequence is especially marred by his sterile soft-rock approach.

GOOD MOVIES

39. Time (Garrett Bradley)- The key to Time is that it provides very little context. Why the patriarch of this family is serving sixty years in prison is sort of besides the point philosophically. His wife and sons have to move on without him, and the tragedy baked into that fact eclipses any notion of what he "deserved." Feeling the weight of time as we switch back and forth between a kid talking about his first day of kindergarten and that same kid graduating from dentistry school is all the context we need. Time's presentation can be quite sumptuous: The drone shot of Angola makes its buildings look like crosses. Or is it X's?

At the same time, I need some context. When director Garrett Bradley withholds the reason Robert's in prison, and when she really withholds that Fox took a plea and served twelve years, you start to see the strings a bit. You could argue that knowing so little about why, all of a sudden, Robert can be on parole puts you into the same confused shoes as the family, but it feels manipulative to me. The film is preaching to the choir as far as criminal justice goes, which is fine, but I want it to have the confidence to tell its story above board.

38. Bloody Nose, Empty Pockets (Turner Ross and Bill Ross IV)- I have a barfly friend whom I see maybe once a year. When we first set up a time to meet, I kind of dread it and wonder what we'll have to talk about. Once we do get together, we trip on each other's words a bit, fumbling around with the rhythm of conversation that we mastered decades ago. He makes some kind of joke that could have been appropriate then but isn't now.

By the end of the day, hours later, we're hugging and maybe crying as we promise each other that we won't wait as long next time.

That's the exact same journey that I went on with this film.

37. Underwater (William Eubank)- Underwater is a story that you've seen before, but it's told with great confidence and economy. I looked up at twelve minutes and couldn't believe the whole table had been set. Kristen plays Ripley and projects a smart, benevolent poise.

36. The Lodge (Veronika Franz and Severin Fiala)- I prefer the grounded, manicured first half to the more fantastic second half. The craziness of the latter is only possible through the hard work of the former though. As with Fiala and Franz's previous feature, the visual rhymes and motifs get incorporated into the soup so carefully that you don't realize it until they overwhelm you in their bleak glory.

Small note: Alicia Silverstone, the male lead's first wife, and Riley Keough, his new partner, look sort of similar. I always think that's a nice note: "I could see how he would go for her."

35. Miss Americana (Lana Wilson)- I liked it when I saw it as a portrait of a person whose life is largely decided for her but is trying to carve out personal spaces within that hamster wheel. I loved it when I realized that describes most successful people in their twenties.

34. Sound of Metal (Darius Marder)- Riz Ahmed is showing up on all of the best performances of the year lists, but Sound of Metal isn't in anyone's top ten films of the year. That's about right. Ahmed's is a quiet, stubborn performance that I wish was in service of more than the straight line that we've seen before.

In two big scenes, there's this trick that Ahmed does, a piecing together of consequences with his eyes, as if he's moving through a flow chart in real time. In both cases, the character seems locked out and a little slower than he should be, which is, of course, why he's facing the consequences in the first place. To be charitable to a film that was a bit of a grind, it did make me notice a thing a guy did with his eyes.

33. Pieces of a Woman (Kornel Mundruczo)- Usually when I leave acting showcases like this, I imagine the film without the Oscar-baiting speeches, but this is a movie that specializes in speeches. Pieces of a Woman is being judged, deservedly so, by the harrowing twenty-minute take that opens the film, which is as indulgent as it is necessary. But if the unbroken take provides the "what," then the speeches provide the "why."

This is a film about reclaiming one's body when it rebels against you and when other people seek ownership of it. Without the Ellen Burstyn "lift your head" speech or the Vanessa Kirby show-stopper in the courtroom, I'm not sure any of that comes across.

I do think the film lets us off the hook a bit with the LaBoeuf character, in the sense that it gives us reasons to dislike him when it would be more compelling if he had done nothing wrong. Does his half-remembering of the White Stripes count as a speech?

32. Ma Rainey’s Black Bottom (George C. Wolfe)- This is such a play, not only in the locked-down location but also through nearly every storytelling convention: "Where are the two most interesting characters? Oh, running late? They'll enter separately in animated fashion?" But, to use the type of phrase that the characters might, "Don't hate the player; hate the game."

Perhaps the most theatrical note in this treatise on the commodification of expression is the way that, two or three times, the proceedings stop in their tracks for the piece to declare loudly what it's about. In one of those clear-outs, Boseman, who looks distractingly sick, delivers an unforgettable monologue that transports the audience into his character's fragile, haunted mind. He and Viola Davis are so good that the film sort of buckles under their weight, unsure of how to transition out of those spotlight moments and pretend that the story can start back up. Whatever they're doing is more interesting than what's being achieved overall.

31. Another Round (Thomas Vinterberg)- It's definitely the film that Vinterberg wanted to make, but despite what I think is a quietly shattering performance from Mikkelsen, Another Round moves in a bit too much of a straight line to grab me fully. The joyous final minutes hint at where it could have gone, as do pockets of Vinterberg's filmography, which seems newly tethered to realism in a way that I don't like. The best sequences are the wildest ones, like the uproarious trip to the grocery store for fresh cod, so I don't know why so much of it takes place in tiny hallways at magic hour. I give the inevitable American remake* permission to use these notes.

*- Just spitballing here. Martin: Will Ferrell, Nikolaj (Nick): Ben Stiller, Tommy: Owen Wilson, Peter: Craig Robinson

30. The Invisible Man (Leigh Whannell)- Exactly what I wanted. Exactly what I needed.

I think a less conclusive finale would have been better, but what a model of high-concept escalation. This is the movie people convinced me Whannell's Upgrade was.

29. On the Rocks (Sofia Coppola)- Slight until the Mexican sojourn, which expands the scope and makes the film even more psychosexual than before. At times it feels as if Coppola is actively simplifying, rather than diving into the race and privilege questions that the Murray character all but demands.

As for Murray, is the film 50% worse without him? 70%? I don't know if you can run in supporting categories if you're the whole reason the film exists.

28. Mangrove (Steve McQueen)- The first part of the film seemed repetitive and broad to me. But once it settled in as a courtroom drama, the characterization became more shaded, and the filmmaking itself seemed more fluid. I ended up being quite outraged and inspired.

27. Shirley (Josephine Decker)- Josephine Decker emerges as a real stylist here, changing her foggy, impressionistic approach not one bit with a little more budget. Period piece and established actors be damned--this is still as much of a reeling fever dream as Madeline's Madeline. Both pieces are a bit too repetitive and nasty for my taste, but I respect the technique.

Here's my mandatory "Elisabeth Moss is the best" paragraph. While watching her performance as Shirley Jackson, I thought about her most famous role as Peggy on Mad Men, whose inertia and need to prove herself tied her into confidence knots. Shirley is almost the opposite: paralyzed by her worldview, certain of her talent, rejecting any empathy. If Moss can inhabit both characters so convincingly, she can do anything.

26. An American Pickle (Brandon Trost)- An American Pickle is the rare comedy that could actually use five or ten extra minutes, but it's a surprisingly heartfelt and wholesome stretch for Rogen, who is earnest in the lead roles.

25. The King of Staten Island (Judd Apatow)- At two hours and fifteen minutes, The King of Staten Island is probably the first Judd Apatow film that feels like the exact right length. For example, the baggy date scene between a gracious Bill Burr and a faux-dowdy Marisa Tomei is essential, the sort of widening of perspective that something like Trainwreck was missing.

It's Pete Davidson's movie, however, and though he has never been my cup of tea, I think he's actually quite powerful in his quiet moments. The movie probes some rare territory--a mentally ill man's suspicion that he is unlovable, a family's strategic myth-making out of respect for the dead. And when Davidson shows up at the firehouse an hour and fifteen minutes in, it feels as if we've built to a last resort.

24. Swallow (Carlo Mirabella-Davis)- The tricky part of this film is communicating Hunter's despair, letting her isolation mount, but still keeping her opaque. It takes a lot of visual discipline to do that, and Claudio Mirabella-Davis is up to the task. This ends up being a much more sympathetic, expressive movie than the plot description might suggest.

(In the tie dispute, Hunter and Richie are both wrong. That type of silk--I couldn't tell how pebbled it was, but it's probably a barathea weave-- shouldn't be ironed directly, but it doesn't have to be steamed. On a low setting, you could iron the back of the tie and be fine.)

23. The Vast of Night (Andrew Patterson)- I wanted a bit more "there" there; The film goes exactly where I thought it would, and there isn't enough humor for my taste. (The predictability might be a feature, not a bug, since the film is positioned as an episode of a well-worn Twilight Zone-esque show.)

But from a directorial standpoint, this is quite a promising debut. Patterson knows when to lock down or use silence--he even cuts to black to force us to listen more closely to a monologue. But he also knows when to fill the silence. There's a minute or so when Everett is spooling tape, and he and Fay make small talk about their hopes for the future, developing the characters' personalities in what could have been just mechanics. It's also a refreshingly earnest film. No one is winking at the '50s setting.

I'm tempted to write, "If Andrew Patterson can make this with $1 million, just imagine what he can do with $30 million." But maybe people like Shane Carruth have taught us that Patterson is better off pinching pennies in Texas and following his own muse.

22. Martin Eden (Pietro Marcello)- At first this film, adapted from a picaresque novel by Jack London, seemed as if it was hitting the marks of the genre. "He's going from job to job and meeting dudes who are shaping his worldview now." But the film, shot in lustrous Super 16, won me over as it owned the trappings of this type of story, forming a character who is a product of his environment even as he transcends it. By the end, I really felt the weight of time.

You want to talk about something that works better in novels than films though? When a passionate, independent protagonist insists that a woman is the love of his life, despite the fact that she's whatever Italians call a wet blanket. She's rich, but Martin doesn't care about her money. He hates her family and friends, and she refuses to accept him or his life pursuits. She's pretty but not even as pretty as the waitress they discuss. Tell me what I'm missing here. There's archetype, and there's incoherence.

21. Bacurau (Kleber Mendonca Filho and Juliano Dornelles)- Certain images from this adventurous film will stick with me, but I got worn out after the hard reset halfway through. As entranced as I was by the mystery of the first half, I think this blood-soaked ensemble is better at asking questions than it is at answering them.

20. Let Them All Talk (Steven Soderbergh)- The initial appeal of this movie might be "Look at these wonderful actresses in their seventies getting a movie all to themselves." And the film is an interesting portrait of ladies taking stock of relationships that have spanned decades. But Soderbergh and Eisenberg handle the twentysomething Lucas Hedges character with the same openness and empathy. His early reasoning for going on the trip is that he wants to learn from older women, and Hedges nails the puppy-dog quality of a young man who would believe that. Especially in the scenes of aspirational romance, he's sweet and earnest as he brushes his hair out of his face.

Streep plays Alice Hughes, a serious author of literary fiction, and she crosses paths with Kelvin Kranz, a grinder of airport thrillers. In all of the right ways, Let Them All Talk toes the line between those two stances as an entertaining, jaunty experiment that also shoulders subtextual weight. If nothing else, it's easy to see why a cruise ship's counterfeit opulence, its straight lines at a lean, would be visually engaging to Soderbergh. You can't have a return to form if your form is constantly evolving.

19. Dick Johnson Is Dead (Kirsten Johnson)- Understandably, I don't find the subject as interesting as his own daughter does, and large swaths of this film are unsure of what they're trying to say. But that's sort of the point, and the active wrestling that the film engages in with death ultimately pays off in a transcendent moment. The jaw-dropping ending is something that only non-fiction film can achieve, and Johnson's whole career is about the search for that sort of serendipity.

18. Da 5 Bloods (Spike Lee)- Delroy Lindo is a live-wire, but his character is the only one of the principals who is examined with the psychological depth I was hoping for. The first half, with all of its present-tense flourishes, promises more than the gunfights of the second half can deliver. When the film is cooking though, it's chock full of surprises, provocations, and pride.

17. Never Rarely Sometimes Always (Eliza Hittmann)- Very quickly, Eliza Hittmann has established herself as an astute, empathetic director with an eye for discovering new talent. I hope that she gets to make fifty more movies in which she objectively follows laconic young people. But I wanted to like this one more than I did. The approach is so neutral that it's almost flat to me, lacking the arc and catharsis of her previous film, Beach Rats. I still appreciate her restraint though.

GREAT MOVIES

16. Young Ahmed (Jean-Pierre Dardenne and Luc Dardenne)- I don't think the Dardennes have made a bad movie yet, and I'm glad they turned away from the slight genre dipping of The Unknown Girl, the closest to bad that they got. Young Ahmed is a lean, daring return to form.

Instead of following an average person, as they normally do, the Dardenne Brothers follow an extremist, and the objectivity that usually generates pathos now serves to present ambiguity. Ahmed says that he is changing, that he regrets his actions, but we never know how much of his stance is a put-on. I found myself wanting him to reform, more involved than I usually am in these slices of life. Part of it is that Idir Ben Addi looks like such a normal, young kid, and the Ahmed character has most of the qualities that we say we want in young people: principles, commitment, self-worth, reflection. So it's that much more destructive when those qualities are used against him and against his fellow man.

15. World of Tomorrow Episode Three: The Absent Destinations of David Prime (Don Hertzfeldt)- My dad, a man whom I love but will never understand, has dismissed modern music before by claiming that there are only so many combinations of chords. To him, it's almost impossible to do something new. Of course, this is the type of thing that an uncreative person would say--a person not only incapable of hearing the chords that combine notes but also unwilling to hear the space between the notes. (And obviously, that's the take of a person who doesn't understand that, originality be damned, some people just have to create.)

Anyway, that attitude creeps into my own thinking more than I would like, but then I watch something as wholly original as World of Tomorrow Episode Three. The series has always been a way to pile sci-fi ideas on top of each other to prove the essential truths of being and loving. And this one, even though it achieves less of a sense of yearning than its predecessor, offers even more devices to chew on. Take, for example, the idea that Emily sends her message from the future, so David's primitive technology can barely handle it. In order to move forward with its sophistication, he has to delete any extraneous skills for the sake of computer memory. So out of trust for this person who loves him, he has to weigh whether his own breathing or walking can be uninstalled as a sacrifice for her. I thought that we might have been done describing love, but there it is, a new metaphor. Mixing futurism with stick figures to get at the most pure drive possible gave us something new. It's called art, Dad.

14. On the Record (Kirby Dick and Amy Ziering)- We don't call subjects of documentaries "stars" for obvious reasons, but Drew Dixon kind of is one. Her honesty and wisdom tell a complete story of the #MeToo movement. Kirby Dick and Amy Ziering take their time developing her background at first, not because we need to "gain sympathy" or "establish credibility" for a victim of sexual abuse, but because showing her talent and enthusiasm for hip-hop A&R makes it that much more tragic when her passion is extinguished. Hell, I just like the woman, so spending a half-hour on her rise was pleasurable in and of itself.

This is a gut-wrenching, fearless entry in what is becoming Dick and Ziering's raison d'etre, but its greatest quality is Dixon's composed reflection. She helped to establish a pattern of Russell Simmons's behavior, but she explains what happened to her in ways I had never heard before.

13. David Byrne’s American Utopia (Spike Lee)- I'm often impressed by the achievements that puzzle me: How did they pull that off? But I know exactly how David Byrne pulled off the impish but direct precision of American Utopia: a lot of hard work.

I can't blame Spike Lee for stealing a page from Demme's Stop Making Sense: He denies us a close-up of any audience members until two-thirds of the way through, when we get someone in absolute rapture.

12. One Night in Miami... (Regina King)- We've all cringed when a person of color is put into the position of speaking on behalf of his or her entire race. But the characters in One Night in Miami... live in that condition all the time and are constantly negotiating it. As Black public figures in 1964, they know that the consequences of their actions are different, bigger, than everyone else's. The charged conversations between Malcolm X and Sam Cooke are not about whether they can live normal lives. They're way past that. The stakes are closer to Sam Cooke arguing that his life's purpose aligns with the protection and elevation of African-Americans while Malcolm X argues that those pursuits should be the same thing. Late in the movie, Cassius Clay leaves the other men, a private conversation, to talk to reporters, a public conversation. But the film argues that everything these men do is always already public. They're the most powerful African-Americans in the country, but their lives are not their own. Or not only their own.

It's true that the first act has the clunkiness and artifice of a TV movie, but once the film settles into the motel room location and lets the characters feed off one another, it's gripping. It's kind of unfair for a movie to get this many scenes of Leslie Odom Jr. singing, but I'll take it.

11. Saint Frances (Alex Thompson)- Rilke wrote, "Perhaps everything terrible is in its deepest being something helpless that wants help from us." The characters' behavior in Saint Frances--all of these fully formed characters' behavior--made me think of that quotation. When they lash out at one another, even at their nastiest, the viewer has a window into how they're expressing pain they can't verbalize. The film is uneven in its subtlety, but it's a real showcase for screenwriter and star Kelly O'Sullivan, who is unflinching and dynamic in one of the best performances of the year. Somebody give her some of the attention we gave to Zach Braff for God's sake.

10. Boys State (Jesse Moss and Amanda McBaine)- This documentary is kind of a miracle from a logistical standpoint. From casting interviews beforehand, lots of editing afterwards, or sly note-taking once the conference began, McBaine and Moss happened to select the four principals who mattered the most at the convention, then found them in rooms full of dudes wearing the same tucked-in t-shirt. By the way, all of the action took place over the course of one week, and by definition, the important events are carved in half.

To call Boys State a microcosm of American politics is incorrect. These guys are forming platforms and voting in elections. What they're doing is American politics, so when they make the same compromises and mistakes that active politicians do, it produces dread and disappointment. So many of the boys are mimicking the political theater that they see on TV, and that sweaty sort of performance is going to make a Billy Mitchell out of this kid Ben Feinstein, and we'll be forced to reckon with how much we allow him to evolve as a person. This film is so precise, but what it proves is undeniably messy. Luckily, some of these seventeen-year-olds usher in hope for us all.

If nothing else, the film reveals the level to which we're all speaking in code.

9. The Nest (Sean Durkin)- In the first ten minutes or so of The Nest, the only real happy minutes, father and son are playing soccer in their quaint backyard, and the father cheats to score on a children's net before sliding on the grass to rub in his victory. An hour later, the son kicks the ball around by himself near a regulation goal on the family's massive property. The contrast is stark and obvious, as is the symbolism of the dead horse, but that doesn't mean it's not visually powerful or resonant.

Like Sean Durkin's earlier film, Martha Marcy May Marlene, the whole of The Nest is told with detail of novelistic scope and an elevation of the moment. A snippet of radio that mentions Ronald Reagan sets the time period, rather than a dateline. One kid saying "Thanks, Dad" and another kid saying, "Thanks, Rory" establishes a stepchild more elegantly than any other exposition might.

But this is also a movie that does not hide what it means. Characters usually say exactly what is on their minds, and motivations are always clear. For example, Allison smokes like a chimney, so her daughter's way of acting out is leaving butts on the window sill for her mother to find. (And mother and daughter both definitely "act out" their feelings.) On the other hand, Ben, Rory's biological son, is the character least like him, so these relationships aren't too directly parallel. Regardless, Durkin uses these trajectories to cast a pall of familial doom.

8. Sorry We Missed You (Sean Durkin)- Another precisely calibrated empathy machine from Ken Loach. The overwhelmed matriarch, Abby, is a caretaker, and she has to break up a Saturday dinner to rescue one of her clients, who wet herself because no one came to help her to the bathroom. The lady is embarrassed, and Abby calms her down by saying, "You mean more to me than you know." We know enough about Abby's circumstances to realize that it's sort of a lie, but it's a beautiful lie, told by a person who cares deeply but is not cared for.

Loach's central point is that the health of a family, something we think of as immutable and timeless, is directly dependent upon the modern industry that we use to destroy ourselves. He doesn't have to be "proven" relevant, and he didn't plan for Covid-19 to point to the fragility of the gig economy, but when you're right, you're right.

7. Lovers Rock (Steve McQueen)- swear to you I thought: "This is an impeccable depiction of a great house party. The only thing it's missing is the volatile dude who scares away all the girls." And then the volatile dude who scares away all the girls shows up.

In a year short on magic, there are two or three transcendent moments, but none of them can equal the whole crowd singing along to "Silly Games" way after the song has ended. Nothing else crystallizes the film's note of celebration: of music, of community, of safe spaces, of Black skin. I remember moments like that at house parties, and like all celebrations, they eventually make me sad.

6. Crip Camp: A Disability Revolution (Nicole Newnham and James Lebrecht)- I held off on this movie because I thought that I knew what it was. The setup was what I expected: A summer camp for the disabled in the late '60s takes on the spirit of the time and becomes a haven for people who have not felt agency, self-worth, or community anywhere else. But that's the right-place-right-time start of a story that takes these figures into the '80s as they fight for their rights.

If you're anything like my dumb ass, you know about 504 accommodations from the line on a college syllabus that promises equal treatment. If 2020 has taught us anything though, it's that rights are seized, not given, and this is the inspiring story of people who unified to demand what they deserved. Judy Heumann is a civil rights giant, but I'm ashamed to say I didn't know who she was before this film. If it were just a history lesson that wasn't taught in school, Crip Camp would still be valuable, but it's way more than that.

5. Palm Springs (Max Barbakow)- When explaining what is happening to them, Andy Samberg's Nyles twirls his hand at Cristin Milioti's Sara and says, "It's one of those infinite time-loop scenarios." Yeah, one of those. Armed with only a handful of fictional examples, she and the audience know exactly what he means, and the continually inventive screenplay by Andy Siara doesn't have to do any more explaining. In record time, the film accelerates into its premise, involves her, and sets up the conflict while avoiding the claustrophobia of even Groundhog Day. That economy is the strength that allows it to be as funny as it is. By being thrifty with the setup, the savings can go to, say, the couple crashing a plane into a fiery heap with no consequences.

In some accidental ways, this is, of course, a quarantine romance as well. Nyles and Sara frustratingly navigate the tedious wedding as if they are play-acting--which they sort of are--then they push through that sameness to grow for each other, realizing that dependency is not weakness. The best relationships are doing the same thing right now.

Although pointedly superficial--part of the point of why the couple is such a match--and secular--I think the notion of an afterlife would come up at least once--Palm Springs earns the sincerity that it gets around to. And for a movie ironic enough to have a character beg to be impaled so that he doesn't have to sit in traffic, that's no small feat.

4. The Assistant (Kitty Green)- A wonder of Bressonian objectivity and rich observation, The Assistant is the rare film that deals exclusively with emotional depth while not once explaining any emotions. One at a time, the scrape of the Kleenex box might not be so grating, the long hallway trek to the delivery guy might not be so tiring, but this movie gets at the details of how a job can destroy you in ways that add up until you can't even explain them.

3. Promising Young Woman (Emerald Fennell)- In her most incendiary and modern role, Carey Mulligan plays Cassie, which is short for Cassandra, that figure doomed to tell truths that no one else believes. The web-belted boogeyman who ruined her life is Al, short for Alexander, another Greek who is known for his conquests. The revenge story being told here--funny in its darkest moments, dark in its funniest moments--is tight on its surface levels, but it feels as if it's telling a story more archetypal and expansive than that too.

An exciting feature debut for its writer-director Emerald Fennell, the film goes wherever it dares. Its hero has a clear purpose, and it's not surprising that the script is willing to extinguish her anger halfway through. What is surprising is the way it renews and muddies her purpose as she comes into contact with half-a-dozen brilliant one- or two-scene performances. (Do you think Alfred Molina can pull off a lawyer who hates himself so much that he can't sleep? You would be right.)

Promising Young Woman delivers as an interrogation of double standards and rape culture, but in quiet ways it's also about our outsized trust in professionals and the notion that some trauma cannot be overcome.

INSTANT CLASSICS

2. Soul (Pete Docter)- When Pete Docter's Up came out, it represented a sort of coronation for Pixar: This was the one that adults could like unabashedly. The one with wordless sequences and dead children and Ed Asner in the lead. But watching it again this week with my daughter, I was surprised by how high-concept and cloying it could be. We choose not to remember the middle part with the goofy dog stuff.

Soul is what Up was supposed to be: honest, mature, stirring. And I don't mean to imply that a family film shouldn't make any concessions to children. But Soul, down to the title, never compromises its own ambition. Besides Coco, it's probably the most credible character study that Pixar has ever made, with all of Joe's growth earned the hard way. Besides Inside Out, it's probably the wittiest comedy that Pixar has ever made, bursting with unforced energy.

There's a twitter fascination going around about Dez, the pigeon-figured barber character whose scene has people gushing, "Crush my windpipe, king" or whatever. Maybe that's what twitter does now, but no one fantasized about any characters in Up. And I count that as progress.

1. I’m Thinking of Ending Things (Charlie Kaufman)- After hearing that our name-shifting protagonist moonlights as an artist, a no-nonsense David Thewlis offers, "I hope you're not an abstract artist." He prefers "paintings that look like photographs" over non-representational mumbo-jumbo. And as Jessie Buckley squirms to try to think of a polite way to talk back, you can tell that Charlie Kaufman has been in the crosshairs of this same conversation. This morose, scary, inscrutable, expressionist rumination is not what the Netflix description says it is at all, and it's going to bother nice people looking for a fun night in. Thank God.

The story goes that Steven Spielberg and George Lucas, when constructing Raiders of the Lost Ark, sought to craft a movie that was "only the good parts" with little of the clunky setup that distracted from action. What we have here is a Charlie Kaufman movie with only the Charlie Kaufman moments, less interested than ever before at holding one's hand. The biting humor is here, sometimes aimed at philistines like the David Thewlis character above, sometimes at the niceties that we insist upon. The lonely horror of everyday life is here, in the form of missed calls from oneself or the interruption of an inner monologue. Of course, communicating the overwhelming crush of time, both unknowable and familiar, is the raison d'etre.

A new pet motif seems to be the way that we don't even own our own knowledge. The Young Woman recites "Bonedog" by Eva H.D., which she claims/thinks she wrote, only to find Jake's book open to that page, next to a Pauline Kael book that contains a Woman Under the Influence review that she seems to have internalized later. When Jake muses about Wordsworth's "Lucy Poems," it starts as a way to pass the time, then it becomes a way to lord his education over her, then it becomes a compliment because the subject resembles her, then it becomes a way to let her know that, in the grand scheme of things, she isn't that special at all. This film jerks the viewer through a similar wintry cycle and leaves him with his own thoughts. It's not a pretty picture, but it doesn't look like anything else.

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fpinterviews · 14 years

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Jaclyn Santos

FP: We've spoken about the subject of the male gaze, and even part of the mission statement of FP is to question what it means when women artists control the power of their own objectification. There have been other artists who have paved the way, ie. Vanessa Beecroft, why do you think it is still considered controversial and shocking for a female artist to portray her sexuality as outwardly powerful and/or vulnerable?

JS: While many women artists have displayed their own sexuality in their artwork, every girl and woman still has to confront this topic individually and form her own convictions. It's something we continuously re-examine as we age and deal with new personal struggles. There are so many conflicting messages in society regarding a woman’s stance on her own sexuality and most women are still trying to figure it out for themselves. On one hand, society definitely rewards physical beauty yet, in many other ways, it can be an impediment. Increasingly, I think people turn to media figures as a barometer for their own morality. For the "Shock Challenge" I wanted to generate discussion about the way women are often criticized because of images they present of themselves – particularly the way certain female celebrities objectify themselves by posting sexy personal photos on social networking platforms such as Twitter. Often these photos are low-resolution and snapped from cell phones. I decided to photograph myself in this manner as a sort of contemporary “self-portraiture” and elevate the photos to fine art status by re-contextualizing them. I then displayed the images in the gallery and allowed the audience to physically alter the work in any way with sharpies, which draws attention to the way women are criticized online. I titled the piece, “Triple Self-Portrait in Bathroom,” which references Andy Warhol, an artist known for working with the idea of celebrity persona.

Another reason it may still be considered controversial is because of female competition, which occurs in part due to socially imposed myths of female worth. The scrutiny with which women can judge each other is incredible. Growing up, I wasn’t horrendously unattractive but I did go through an “awkward phase,” and for five years of my life other girls ridiculed me nearly every day. Now that I am older and have grown into my looks, I am condemned by some women because I keep up my appearance, when if I didn’t I would be put down for it. The world sets up a standard for beauty, then criticizes those who admit they struggle with it. I’m willing to honestly examine this contradiction through my artwork.

FP: You've also mentioned isolationism in your statement...a theme that seems to be prevalent in American culture today, particularly because of the internet, and our ability to be alone yet still remain virtually connected. Can you speak about how that relates to your work?

JS: I think the piece I did for the "Art That Moves You" challenge on WOA, "11x17", touches on the issue of isolationism in contemporary urban culture. It also examines voyeurism, a somewhat natural response to isolation. While most people do not spy on their neighbors' with binoculars, voyeurism has transcended to the internet in a more diluted version, where many of us use social networking platforms and blogs to comment on the lives of those we see on Television and other forms of Media. The pseudo-anonimity of the Internet offers protection while potentially causing further isolation. I think this has affected women in a very specific way. Oftentimes women display sexy images of themselves in an attempt to garner attention or praise, yet this often backfires into “unwarranted” criticism. Too often photos or explicit videos are released without consent.

FP: In regards to the nudity on the show...it really was a missed opportunity as you said for the production to discuss the current state of feminism as it pertains to the art world. Such a HUGE topic and yet (for the sake of time constraints? titillation of tv?) Bravo chose to edit down your provocative "shock value" piece to a hot girl defaulting to her own voyeuristic sexuality more than anything else. How did you feel about that? What could they have done to further the dialogue? What do you think would have happened if say one of the male artists had asked to photograph you naked or had photographed themselves naked...do you think more or less would have been made of that episode?

JS: So far my character has appeared very one-dimensional. The fact is, I am not a "bimbo" in any capacity. Instead of portraying my true personality, they jumped on every opportunity to dumb-down my character. I was very disturbed by the way my piece, “Triple Self-Portrait in Bathroom,” was depicted on Work of Art as well as the way my character and art making process were completely distorted. I don’t think this was done because of time constraints; rather, it was done to create a very simple story arch that any casual viewer could follow. This was problematic because it made me look like I default to nudity without any thought behind the concept of the work, which undermines my art process. I am not shy about my appearance as they suggest, but I did feel incredibly vulnerable being taped in the nude. There's a huge difference between presenting a photograph that I have carefully selected and composed, verses handing over raw footage that can be manipulated in any way whatsoever. I was very hesitant about doing this but I believed in the piece and the producers said they needed the footage only to display my process. Yet in the episode, the rest of my process was barely discussed, then it was falsely made to look as though I was not responsible for conceptualizing the final product.

The treatment of sensitive issues on set was different for the boys. A male contestant was not required to film himself ejaculating on a piece of art, which caused some tension on set.

FP: In The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century, Marsha Meskimmon states: "If the task was to find oneself, then the crisis for the postmodern subject is that nowhere is home, everything shifts and changes. What is the reflection in the mirror that 'vanity' holds? She refuses now to be the 'site' of another's desire and reflects back to you the insubstantiality of your projections."1

Do you think it's possible for the physicality of an attractive female artist to ever be a separate entity from her work, particularly if she is the subject matter of her own work? Is vanity and the mirror important to an artist?

JS: To answer the question, if the womans' chosen subject matter deals with nudity or sexuality in the form of self-portraiture - i.e. Marina Abramovic, Cindy Sherman - no, I don't feel the artist's appearance could be a seperate entity. If the subject matter involves sexy images of other women or the imagery is more illustrative - i.e. Lisa Yuskavage, Hillary Harkness - I think it will be much less of an issue. I think it can only be a non-issue if the artist completely plays down her appearance or doesn't acknowledge it in her work. Yet this doesn't necessarily mean it won't be an issue. At a college critique, a guest artist was invited to our studios and the minute he saw me, before he ever saw my work, he blurted out, “you are the artist”? “You don’t look anything like an artist... YOU are as interesting as your work." This sort of thing happened so often that I made a decision to incorporate my appearance into my work.

FP: Another great quote from this same book: "One of the key issues in feminist theory has been that of women's voice in male language. To what extent is it possible to enunciate a truly different position when you are already within the structures which mark your difference?"2 Do you think the art world is still a predominantly masculine one or is it now equal...what has your experience been thus far?

JS: While certainly more doors are now open to female artists, there’s no denying the highest paid artists are all still men. There’s also no denying that the vast majority of Art collectors are men. I worked for Jeff Koons for two years and there were very few women who came in to purchase work. Granted, this may simply be because men still make more money than women and if women had more spending power, more of us would invest in contemporary art. I think it is a challenge to make work about women that can appeal to both a male and female audience on the same level. We respond to images of the female form rather differently, and it's hard to subvert the provocative aspect of a sexualized image.

FP: The high-low art status is interesting in your pieces --do you think anything can be elevated to art status by redepicting it?

JS: Yes, it can, if done in a particular way. Intent is important -- low art must be appropriated in an intelligent way. For instance, a high school student copying his incredible hulk comic book is entirely different than Jeff Koons appropriating the hulk into his personal iconography.

FP: You worked as a studio assistant to pop art icon Jeff Koons. Has he influenced your work? And who are your biggest influences?

JS: Before I ever worked for Jeff Koons, I loved his Made in Heaven series as well as his Luxury/Degradation series. Speaking of Made in Heaven, that’s a prime example of low-art being successfully elevated to high -art. Jeff Koons is brilliant and there are very few people who love art as much as he does. Working at his studio was an incredible learning experience. It was so interesting to see how he spoke with visitors about his work and I learned an incredible amount of technical skill while at his studio. Jeff talked "acceptance" quite often. We must accept who we are -- our individual and collective pasts -- our shortcomings, failures, weaknesses, and strengths. As artists, we must be honest with ourselves in order to make work that is personal yet transcends to a wider audience. So many artists have influenced my work, but to name a few: Damien Hirst, Marilyn Minter, Laurel Nakadate, Liz Cohen, Vanessa Beecroft

FP: Where do you see your work evolving now that you've participated in Bravo's Work of Art? Has the show inspired you in a new direction? What's on the horizon? Where can we see your work next?

JS: Participating in the reality show was an experience like no other. It really made me more aware of the internet as a portal for criticism and dialogue in fine art. It also opened my eyes to how incredibly critical and voyeuristic our culture is, and I think I would like to comment even further on these qualities in my new projects. The show also allowed me to branch out into other mediums when appropriate, something I think I may have been afraid to do before. Since the show wrapped up, I’ve been continuing my series of figurative paintings as well as a new series of explosions that respond to the war and oil spill.

Check my website, www.jaclynsantos.com for frequent updates of my new work.

#Jaclyn Santos

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ahnsael · 3 years

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Lat night at work was rough.

I was down a security guard (on drop night, when we empty the cash from the slot machines), the only other employee was a new hire, and for the first time that I can remember we had double-digit crowds through the process (for our place, at 3:30-5am, that’s a lot). And it didn’t help that the people kept jumping around to different machines that we had already opened for the drop team to empty, closing them up themselves (they’re regular enough gamblers that they know which machines they can close without a key), and playing them without us knowing. At least one machine’s count will be off because they played it after the meters had been read and we didn’t know it until it was too late.

On top of having to be the security guard guarding the cart, I was also a cashier, the floor manager, and the bartender (but since I was guarding the cart that the money is placed on, the bar essentially closed when the drop process started -- I had to tell everyone that asked for a drink that it was just not possible under the circumstances).

Next week, my schedule (as well as the schedule of the other graveyard manager) changes, so they will be bartending on drop nights and I can be free to handle the drop, and also so that I will be there Thursday night/Friday morning to do payroll.

But I told the new hire that she did an amazing job -- because she really did. She doesn’t know enough to handle the floor on her own right now, but I was close enough, when she had issues, to shout direction to her while I guarded the money. At the end, I told her that Graveyard just finds a way to make things work, and that she DEFINITELY did her part in that. I’m proud of her, and wanted to make sure she knew that (especially since when she came in, she broke down crying in the office due to a nasty custody battle involving her kids, and the swing shift manager called me in to hear her out so I knew what kind of day she had, but she was able to put it aside for the night and do some fantastic work under great personal stress).

This one is a keeper as an employee if she can hang like she did last night. And the custody battle involves the baby-daddy not dropping the kids off at the court-appointed time (two weeks with dad, two weeks with mom, rinse and repeat), and she thinks he’s trying to keep her from her kids. It’s a sad situation.

It made me think of my mom’s divorce with bio-dad. But in that case, they just asked each of us kids who they wanted to live with, and then told the judge our decision, and that’s how it was. I saw my bio-dad once or twice a month by being put on an airport shuttle from LAX to Santa Barbara for a while, until I was about 12 years old (about five or six years after the divorce) and he seemed to lose interest in seeing me. Because my mom thought it was important for me to still have a relationship with him (long-time followers know what a disaster that turned out to be for me -- if you didn’t follow me years ago when I told that story and are curious send me an ask and I’ll respond privately).

But her situation is different. And I feel for her. And she was an absolute trooper to work last night/this morning after what she went through yesterday.

Oh, and our three-day/week bartender has cancer, and starts chemo next month. So I don’t know whether he’ll be at work or not (I am not familiar with chemotherapy’s effects other than hair loss, and he says it will be five days/week for eight-nine weeks, so we may be down someone else soon -- which is okay; as I said, Graveyard finds ways to make things work -- but I’m worried about the guy, and obviously more worried about his health than I am about being short-handed). He told me he was going to be having radiation treatments, but didn’t say whether or not he’d be gone. Maybe someone with more knowledge can enlighten me on the odds, since I’ve never dealt with this on a personal level before (with my bio-dad, I wouldn’t consider it personal -- and he refused chemo because he figured that if he prayed hard enough, God would miracle him better).

I think I’ve told this story before (I used to call it a “joke,” but the more I think of my bio-dad putting it into action (even though he’s the one who told me this “joke” in the first place), but maybe it bears repeating:

A man is in a flood zone, and the water is rising. He resorts to climbing onto his roof to get out of the rushing water.

A rescue boat comes by, and the people in the boat urge the man to get in. “We can get you to land and to safety, just get in the boat.”

And the man says, “No, go help someone else. I have faith that God will save me.”

The boat pilot argues for a short time, but figures it’s a losing battle, and moves on to save other people while there’s still time.

About a half an hour later, the man is on top of his roof, and the water is at his ankles. The boat comes back. “The water’s rising, and you need to get into this boat so we can get you to safety!”

And again the man says, “Go help other people. I’ll be okay. God will save me.” The boat pilot doesn’t put much into his argument this time -- he knows there are people who still need to be saved who will be at risk if he spends too much time on this stubborn person.

Another 20 minutes goes by, and everyone else has been rescued. And the boat returns to the man’s house. The water is almost up to his knees, and he is struggling to keep his footing. “For the last time, man, get in this boat! We can save you, but if you refuse us this time, the water will be too rough for us to come back again to try to get you.”

“No, get yourselves to safety. God will save me.”

So, needless to say, the waters continue to rise and the man gets swept away in the floodwaters and drowns. After he dies, he goes to St. Peter’s Gate, and requests an audience with God. St. Peter says “This is very irregular, but after the story you just told me, I will see what I can do.”

St. Peter consults with God and God grants the man an audience. The man says to God, “God, I was a faithful man. I was SO sure that you were going to save me, and that I didn’t need the help of man. Why did you forsake me?”

God sighed, and looked at the guy, and said, “Man I sent that boat for you THREE TIMES. Don’t blame me that you were too stupid to get in.”

#work things #dad #family things #religion #my dad refused help #and honestly my reaction to being told he died was 'meh -- okay'#granted current stepdad told me in a very nonchalant way that bio-dad was dead #so maybe that entered into it #but I cried no tears even as it hit home #because he had already pretended to try to reconnect #then spent the whole time talking about the stepson with whom he replaced me #and even after that attempted reconnection #he wouldn't reply to phone calls or emails or texts or facebook messages #and my older sis #(the ONE kid who chose him over my mom when we were asked who we would rather be with after the divorce)#(at which time I was maybe six years old)#told me that he wanted any conversations we had to be public on Facebook #like he wanted to show people that he was buying his way into Heaven by reuniting with his estranged son #but he would ONLY reconnect with me if other people could see it #so I wrote him off #just like I had many years before when he chose to show no interest in my life #and just like decades later when he made a fake attempt at reconciliation #so screw him #I hope St. Peter told him 'you had your chance and you blew it'#which is mean to say #but that man caused me almost as much pain as Evil Stepdad Number 1 #emotionally speaking #(Evil Stepdad Number 1 wins as far as physical pain)#sorry for the tag marathon #but...this hiit me as I wrote it

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honeymoonjin · 4 years

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day 14

This chapter was such a cathartic experience for me that I wrote book report for it. I have little else to offer at your altar of magic aside from my undying gratitude for your continued hard work and utter awe of your literary prowess. Please enjoy my attempt at articulating the emotions you have managed to evoke in me with this chapter. Thank you once again! 💜 Jan

Set to Self Destruct: An analysis of Sora’s Day 14 of “The Gentlemen”

Every genre brings with it a set of expectations that shapes the kinds of stories it can tell and the themes it can explore. “The Gentlemen” is entirely shot from one specific location, with its participants prohibited from leaving the premises of the villa (with the allowance only for Y/N and the fan favorite winner of that week to leave for a one night date). This restriction creates a scenario where 1) at first the occupants fall into an unspoken, almost idyllic community and 2) inevitably the conflicts that arise as a consequence of a Utopian society. With the added pressures of a competition, an environment that fosters moments of high emotional tension, physical and emotional intimacy, and 8 very different personalities, it feels as if the show was doomed for dissonance right from the start. It should be no surprise that the rather straightforward, raunchy reality show devolves so quickly into a “bottle episode” filled to the brim with an emotionally charged battle of whose tongue is the sharpest. On the surface, “The Gentlemen” is a story about a single female protagonist judging the sexual abilities of seven random men but this premise and the setting with which the story plays out on, serves to explore the deeper ideas of one’s role in the balance of social harmony verses the human tendency towards self destruction.

The setting of a story can be a powerful tool in expressing a character’s journey. “Bottle episodes” have often been used for dramatic effect in visual storytelling, with the limited setting and cast allowing for a slower pace and deeper exploration of character traits and motives. Having the entirety of “The Gentlemen” be one long drawn out “bottle episode” allows for the audience to experience a slow-burn like intensity of those personalities. It takes the fundamental process of how a group stuck in a certain location together for an extended period of time inadvertently falls into certain social constructs in order to reach an equilibrium of cohesion. The roles which each occupant of the villa naturally fell into set a precedent for many of the events that followed on the show, most obvious being Y/N as the “queen bee” (the one who holds the most power in the group), Seokjin as the designated “counselor” (the one who is expected to help his fellow competitors when an emotional issue arises), and Yoongi as the “mediator” (the one who is the voice of reason and rationale when tensions run high). And yet it is revealed that there is a price for that harmony, for even roles that are not as explicit begin to weigh heavy as the days wane on. The cohesion of these roles were meant to serve as cogs that fit together to uphold a sense of teamwork in an otherwise tension filled living quarters. But people are not cogs and emotions are not gears to be compartmentalized into neat roles to serve the higher purpose of the show. And as occupants spend more time with one another, natural biases, feelings of jealousy, possessiveness, envy, and pride start to surface under the umbrella of selfish acts, we begin to see that fine balance corrode the fragile peace.

The road to self destruction has begun in earnest.

It all comes to a head at the 2 week mark of the show’s timeline. At this point, tensions have been running high: from revelation of Namjoon’s and Seokjin’s romantic feelings for Y/N, to Jimin and Hoseok’s long running rivalry, to Y/N, Jimin, and Taehyung creating a polyamorous relationship in secret, to Jungkook feeling like the odd man out. The pressures of the show were eventually bound to break someone’s resolve and we see that personified in Jungkook in this episode. After speaking with Seokjin about his warring feelings towards certain members of the group and his desires to act on his frustrations regarding the restrictive parameters of the show, Jungkook was able to unload some of the pent up tension he had been carrying around for the last few days. The audience is then lulled into a false sense of security that the equilibrium of the group has been restored when in actuality, it was a red herring that something drastic was about to unfold. At first glance, the guidance that Seokjin offers Jungkook feels like a band-aid on a bleeding artery when in actuality it was more akin to Seokjin inadvertently stepping on a landmine he believes he has already defused. And his misstep triggers the entire villa to fall victim to the explosion.

In the climatic scene of the episode, Jungkook’s pent up emotions rears its ugly head in the form of harsh words, tactless criticism, irreparably broken trust, and even fists thrown. His actions turn from verbal assaults to physical ones and the damage seems to fissure out towards the entire group. The destruction is absolute; no one is left unscathed. Why is this scene so effective? Its power is not from the dramatic way Jungkook punches Jimin for calling him out on his childish behavior or the out of character way Hoseok tries to break up the fight only to be elbowed in the face by Jimin nor is it in the heartbreaking way those that are left behind in the villa are tasked with the self imposed responsibility to pick up the literal pieces of their tenuous friendship. It is in the fact that the audience understands the self destructive actions of the characters and perhaps to some degree relate to it on a very human level. We understand that Seokjin wanted to talk through the problems with the group because he didn’t want to shoulder all of the burden himself anymore. We understand that Hoseok acts the way he does because he uses it as a defense mechanism to protect himself. We understand why Sejin did not step in earlier when he was asked to by Yoongi and why Yoongi is bitter about it as a direct result of Sejin’s choice to abstain from deescalating the fight before it got out of control. We understand that Jimin and Jungkook clashed with each other so viscerally because they see themselves in each other and it’s a jagged pill to swallow when presented with a mirror of all of the ugly sides of ourselves we think we do such a great job of hiding. Perhaps exaggerated for a more dramatic effect, but at the core of these interactions, we see the flaws that we carry as human beings and are forced to face the unpleasant feelings that it elicits in each of us. We understand because we can empathize with their struggles.

How does a community attempt to repair itself when its very foundation is practically razed to the ground? Perhaps there is an argument to be made about a complete dismantling of a previous establishment. The audience can view this inevitable clash as a “controlled burn”. In terms of forest management, a “controlled burn” is a fire set intentionally for purposes of farming, prairie restoration or greenhouse gas abatement. These “controlled burning” is conducted during the cooler months to reduce fuel buildup and decrease the likelihood of serious hotter fires. In the same way fires are a part of a forest’s life cycle, the clash that occurred on day 14 might serve as a way for the characters to start fresh, with hopes of emotional maturity and foresight for rebuilding relationships moving forward in the competition.

The damage done during day 14 of “The Gentlemen” may arguably be irreversible, perhaps even amplified by the uncertain nature of the show, but challenges were inevitable with a setting like this one. And yet, there are seeds of hope scattered among the debris. In John Yorke’s “Into the Woods: a five act journey into story” he writes “…story matches psychological theory: characters are taken on a journey to acknowledge and assimilate the traumas in their past… By confronting and coming to terms with the cause of their traumas they can finally move on.” Day 14 revealed a lot of stances, opinions, and confessions that were previously kept secret due to the need to preserve the harmonious nature of the greater good, “the community”. But human nature does not allow for peace to reign for long; it yearns balance. Thus dissonance created discourse. Yet from strife there is revelation. From the ashes of fiery emotions, there is a chance at peace anew: either reestablish order or embrace the chaos. Yet most likely it’ll come down to a melding of the two in order to find the balance a community craves whilst also giving into the character’s more baser human desire for self ruin.

-------

jan i literally can’t stop crying thank you so much. there’s no way for me to put into words the feeling of someone caring so much about the story and even about one particular chapter that they’ve written such an articulate and profound ESSAY on it like,,,, i have no idea what i’ve done to deserve this, because writing this story is just this little passion project that i’m fostering with my brainstorming group and with the readers. it feels like a collaborative effort and so i never really saw it as anything more than just the fun gimmick of an interactive fic in a crazy situation.

you see things in my story that even i don’t see, make it sound beautiful when i worried it was awkward, and i can’t thank you enough for that. and when you brought up Into the Woods i LOST it, i adore that book and hearing someone quote a masterwork like that when referring to my fanfiction? it’s so absurd but so special all at once.

i’ve never really considered becoming an actual author because the pressure of money and income relying on it seems scary to me (even commissions stress me out) so i’m eternally grateful to you for always making me feel like this is something professional. getting a glimpse into that life by you writing an analysis on d14 is just.... i really can’t describe how special it is.

every week i aim to make each chapter better than the last, and we have a very different landscape in the house on day 15 after our controlled (perhaps not so controlled) burn. i’ll patiently await your thoughts then, but i just want to say that you inspire me to work harder each week ;;-;

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marithlizard · 4 years

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Ace Attorney: Rise From the Ashes (Day Two, Trial Former) (part two)

I feel like screenshots would add zing and be helpful, but it’d be a pain to do my own for technical reasons. Does anyone know of a good image gallery for RftA? Google didn’t turn up much.

Anyway. Day Two, and it’s time for the trial of the already-confessed suspect.

"How did the investigation go yesterday?" Lana, you could tell us something yourself. Even if you're lying through your teeth it'd give us something to work with.

Ooh, barbed little exchange between Lana and Phoenix. "Never believe your client, they're probably a lying scumbag." "See, being a defense attorney requires some basic faith in humanity. Unlike Mia, you don't appear to qualify."

Huh. We’re given an upfront ambiguous warning from Edgeworth, right in front of the court. Yes, yes we know personal feelings are icky and you don't want them near your tailored waistcoats, but why do you feel the need to disallow them right now? Phoenix has no personal emotional stake in this case. Unless...Edgeworth thinks the proceedings are going to rebound on him.

Ema, this is not the time for sexy cross-examination fantasies. You can go home and write fic after your sister is safe.

The dominatrix lunch lady is a "professional" witness? Edgeworth I hope you didn't mean that the way it sounds.

Edgeworth is unmoved by your rice. Take that, lunch lady. (If only the judge had as much dignity.)

OH I misread that completely. She's a former detective! (And Jake Marshall is a demoted detective. Connection?) And while Edgeworth accords her due respect by calling her work first-rate, she's openly hostile to him.

And she arrested Lana herself? If this crime was as staged and performative as I suspect, was that all part of the act? Yeah, I don't think you were alerted by a sense of destiny or your finely honed instincts, lady. Or that you were there to bring lunch to your boyfriend.

Would the stabbing have been as easy as Angel Starr describes it? Didn't Goodman put up a fight at all? Sadly our autopsy report has all of two sentences in it.

Ooh, she just opens fire on Edgeworth with both barrels. And she offers a motive, the first one we've heard so far, that Goodman was killed for knowing too much about corruption of evidence.

My goodness. Evidence is sacrosanct, but sexually propositioning the judge while giving testimony is fine? Got it. (Phoenix at least tries to call out her obvious bias.)

Here’s a photograph, which the lunchlady so very thoughtfully took. Lana with a bloodstained trenchcoat draped over her, wearing gloves, seemingly about to close the trunk of the car. This was clearly taken after the stabbing. But...if you witnessed the crime itself, and arrested the suspect on the spot, would you really have had time to take this picture? You'd be busy trying to reach Lana, surely. (Smartphones were not a thing yet, were they? Did Angel just happen to be carrying a camera? ....She did. A lunchbox camera. Perhaps for spying on prosecutors.)

Edgeworth why do you even own a knife like that? And how did Lana supposedly get ahold of it?

Yes, thank you, that cannot possibly be a photograph of the moment of the crime, given the lack of either victim or weapon in it.

"Are you trying to test me? I sell box lunches for a living, you know." The translation team was having SO much fun with these.

Aha, so the knife was in the trunk. Unless Lana knew it was there, she didn't have a weapon prepared, which seems off for a premeditated murder.

...actually why aren't we hearing Lana's own confession account on the stand instead of the lunchlady's? I know, I know, it works better for the game to force us to reconstruct it all from clues, but what's the in-story reason?

"Mommy, are prosecutors bad people?" Yeah, this whole thing is definitely at least partly staged to smear Edgeworth's reputation. (also why are small children in the audience for a murder trial)

It doesn't seem to have affected his spirits, though, since he can make lunchbox jokes. And oooh, he's firing back at Angel. He doesn't care if it's premeditated or not, but she does. (Why does she care so much? it's the death penalty either way in this system, isn't it?)

Wait why is she testifying about Lana calling Goodman out to the Prosecutor's Office? She has no personal knowledge of that at all. (Indeed, it turns out there is no evidence it even happened.) Annnd here we go, she's perjuring herself. Purple prose about "plunging the knife in again and again" that directly contradicts the autopsy report. She hates Lana so much it's really clouding her judgment.

Edgeworth is holding Angel strictly to account on her testimony even though it favors his case. And he's getting distinctly sardonic about her lies. It's nice to see that the truth does matter to him.

Ooh, he points out the contradiction with the autopsy report himself, stealing Phoenix's thunder! That would never have happened in previous AA games. He's really changed, or perhaps he feels so under threat that there's no point holding back.

She...thought she saw repeated stabbing because Lana had a red scarf on? That doesn't make a particle of sense. And wait, in the photograph Lana wasn't wearing the scarf at all. Why are we listening to a thing this woman says?

For the second time in a row, Edgeworth interrupts and takes over Phoenix's objection for himself. He's demolishing her quite satisfyingly. Perhaps it's not a desire for the truth so much as finally getting to strike back, after having people speak ill of him for years.

"After the murder, the suspect attempted to run behind the partition". Yeees, that absolutely fits with your picture of a cold-blooded (yet enraged) stabber committing premeditated murder in a public place with evidence all over.

You climbed a nine-foot chain link fence, in your negligee, fur coat and heels (you are definitely wearing heels), so fast that you were able to apprehend the fleeing suspect after stopping to take a picture first. Riiight.

Lana said "muffler"...like the car muffler? On the phone? That means Ema has lied twice now - first she hid the fact that her sister called her right after the murder, then she claimed her sister hung up without saying anything.

Ah! So Lana wasn't attempting to hide at all, she was attempting to make a phone call. Like you do when you've discovered a body.

Hah! Phoenix points out that Angel just claimed to be able to look straight through the concrete partition. I didn't actually pick that up. And he's no longer taking anything she says at face value - he believes her statement that she saw Lana try to use the wall phone only because it's a pointless detail that no one would bother to lie about.

...So he's willing to believe she saw what she says, but from a different location? I have to agree with Edgeworth, that also sounds pointless. Why claim to be standing somewhere else? "Where" isn't hard - she must've been in the pointedly-mentioned and clearly labeled security room, looking down from above. Why not say so?

And the judge FINALLY chastises her for lying, if only mildly. She freely admits she'll say anything to take down Lana. And it sounds like she has a reason, beyond personal hatred. (A justified reason?)

Good for Ema, she points out there's no obvious benefit to the location lie. And Phoenix is the first to say the p-word. What benefit would be worth that?

"I swear it on my finest plastic spork!" A bible would surely be redundant.

Yes, five minutes between murder and arrest is a TON of time. Lana could easily have escaped if she'd wanted to. Angel surely made enough noise to alert her, running around and even taking her picture. And Lana just apparently stood there? Why?

YES boot her off the stand, judge! Don't let the caviar lunch sway you!

Court is adjourned, but there are still so many questions. We still don't know what- huh? Angel isn't ready to stop talking yet?

"I... might be able to save you." Now isn't THAT an interesting statement. It sounds like she's offering to save Edgeworth himself somehow, not just his case. Even though she hates his guts.

The judge very politely tells her to feed her new claim of "decisive evidence" to someone else. I approve, though of course she'll end up having her say anyway.

NOW you bring up a bloody shoe? Which was, I'm going to bet, not in the police investigation report? Why do you have Lana's shoe, and what does blood on it prove that the blood on her coat and gloves doesn't?

I was right, Edgeworth did not know about the shoe. And he brings up "evidence law", that new evidence can't be introduced without the approval of the police department. Which is weird, because I certainly remember Phoenix producing all kinds of new evidence during former trials. Not infrequently hidden or stolen from the police. (Does that mean the victim's ID card which Phoenix pocketed is inadmissible? I bet it does not mean that. Edgeworth just doesn't want to accept evidence from this annoying person who hates him.)

Too bad for him, because she got it approved by the police department on her own...today? I know Edgeworth is the opposition here, but that does not seem fair to him. People who are not Phoenix need time to prepare their cases. (Mostly because, unlike Phoenix, they actually have cases.)

Huh. I don't know if this will be called out as a plot point, but a fundamental difference in approach just struck me here. Edgeworth claims there could have been some bloody footprints that just didn't happen to be in the picture. He doesn't know, because unlike Phoenix he doesn't go to crime scenes. He relies on the police reports given to him. That seems like it could come back to bite him in a much bigger way than just this shoe.

Lana kicked over a water-filled oil drum while struggling with Angel. ...Apparently no one but me finds this highly implausible. Oil drums are heavy! Even when empty, kicking one over is a stunt for a martial artist, and when full...I can't picture it.

"Ah, yes, I will perform this feat of strength to wash away the bloody footprints, removing all the evidence against me. Except for my bloody coat, gloves and shoes, the murder weapon, the body, the eyewitness, and the photo." Edgeworth why does this seem logical to you? I an almost see Lana rolling her eyes in the prisoner's dock.

Hah. At the moment of failure, Ema stumbles on the one sure way to get Angel Starr pissed off enough to derail the trial again - accuse her of being on the side of a prosecutor in any way, shape or form. She obviously *is*, in that she and Edgeworth want the same verdict, but she can't stand to hear it said out loud.

NOW of all times, she produces a photo of the body?? ...I guess proof that she withheld even more evidence from Edgeworth, against both their interests, is supposed to be proof that she isn't on his side?

The ghost of Mia appears in Phoenix's mind, telling him not to give up. And indeed, that photo shows something sticking out of the car's muffler. I was right, Lana meant that when she said "muffler" on the phone.

The trial has to be suspended while someone goes and looks to see what the thing in Edgeworth's car muffler is. (Which really should've been noticed by any competent police investigators. As should the fact that the suspect's shoe was missing on her arrest, and nowhere to be found. Is the cowboy not actually very good at this?)

Next time: trial part 2, in which the judge is hopefully so stuffed as to no longer be susceptible to lunchbox bribery.

#ace attorney #rise from the ashes #ace attorney spoilers

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yoobangdaengi · 4 years

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[ENG TRANS] Monsta X @Star1 Magazine November 2019 Issue Interview - FOLLOW, MONSTA X!

Monsta X met their overseas fans in 20 cities all over the world and wrapped up their third world tour successfully. The group finished the tour after five months and start to do their Korean promotion in full-scale. Monsta X is settling down as global idol through their big international fandom and their collaboration with famous international artists, such as wi..i.am, French Montana, and Steve Aoki. The expectation towards their constant growth and leap is increasing, as a group who broaden their stage to worldwide from Korea. Monsta X, who will start Korean promotion this winter after eight months, will show their improvement through their new mini album “FOLLOW : FIND YOU”.

How does it feel doing a photoshoot together with all members?

Minhyuk: We think it’s more fun and joyful because it’s been a long time since we shot a beauty pictorial together like this, beside jacket album photoshoot.

As beauty models, it looks like you prepared a lot so that the picture for the beauty pictorial comes out well.

Minhyuk: Because we are beauty models, we did many experiments so that our beauty pictorial will come out well. Basically, we pay attention to our skincare routine and looking at the other pictorials as reference for the sake of looking good visually. If we go to the studio for the photoshoot after learning for a bit, we’re able to show the pose more naturally in the studio.

You guys are active as beauty models, is there any Monsta X’s only secret method to take care of your skin at the change of season?

Minhyuk: The very first thing that happens in change of seasons is everyone’s skins become rough and dry. So we pay attention to the basics a lot. Especially, we apply moisturizer cream very carefully. Sometimes before sleep or when we wake up in the morning, we put on peel-off mask while moisturizing our skin. We spray mist occasionally while working to keep our skin moisturized.

I.M: I’m the type of person who drinks a lot of water. It’s a fact that if you drink enough water, your skin would feel less dry. Also, even on days when we don’t have any schedule and our face is free from makeup, I always apply sunscreen. Even though the recent weather is cool, the sunlight is still hot so we need sunscreen.

You’re going to have a comeback soon. You might feel nervous since it’s your Korean comeback after a long time, are you fully prepared for it?

Hyungwon: We anticipate it a lot since we will release a new album after 8 months. So we prepared a lot to show people our good side. It’d be nice if you are looking forward to our comeback. Wonho, Jooheon, and I.M’s self-composed songs are included in this album. Wonho’s self-composed song, “MIRROR”, is the song that he and Shownu performed on the recent world tour stage as a unit. I think fans would anticipate this song so much since this time we prepare it as the song that’s being sung by seven people. Shownu participated in writing the lyrics so it adds more meaning to the song. Also, people will be able to enjoy the album more if they focus to learn the genre of “SEE YOU AGAIN”, Jooheon’s self-composed song, who previously showed various genre of music, and the charms from I.M’s self-composed song, “U R”, after the release of “MOHAE” that he composed in last year album.

Shownu: Especially the title song “FOLLOW”, you can feel other different charms from Monsta X’s music up until now. The existing powerful vibe of Monsta X meets with a special sound and becomes a song with such a unique color. Besides, it’s certain that if you watch the stage together, you might enjoy Monsta X-like-style with your heart content. We finished our world tour and prepared the album so I felt the development of all the members.

You guys just wrapped up your world tour and prepared the album and it seems like we can feel the members’ development.

I.M: I think it’s true that various experiences allow for broad growth. While doing multiple overseas activities including world tour, I get to feel and learn many things. As we meet Monbebes from many countries, I get the feeling that there are so many people who love us. As much as my gratefulness for them, they make me determined to work hard to show them the good side of me in the future. Of course there are many people whom we haven’t met yet, we have to work hard so we can visit more countries, that goal becomes the stepping stone for our growth. Those reasons helped me a lot to think positively when we make a new album. Working together with international artists for our album influenced me a lot as well. The artists who receive so much love from all over the world like Steve Aoki, French Montana, and will.i.am, pouring great amounts of efforts and passions towards their own music. While watching them closely beside them, I think I know the direction Monsta X will take to move forward in the future. Even though I gained the lesson of musical skills, it went beyond that and made my thoughts about music get stronger.

You’re receiving so much love from overseas. What is the secret of your global popularity?

Jooheon: Actually since there are so many seniors who receive so much love from all over the world, it’s a big exaggeration to talk about the secret of our global popularity. But I think the reason why global audiences show their interest in us is maybe because Monsta X’s music concept or visual. Monsta X is the group with the explosive energy on stage, that’s our attractive point. Our music colour is strong and the performance is powerful so when the fans see us, they’d think, ‘it’s so cool, the stage is full of fun’. Also in visual aspect, because we have solid and sexy vibe, that might be the reason why people love Monsta X.

What is Monsta X’s only method to overcome fatigue, since you guys frequently do world tours?

Wonho: When we are overseas, if the condition is okay, we go to good local restaurants and eat delicious food. It is one of our methods to relieve fatigue. Even though we can’t visit multiple places due to limited time, at least we go to one famous local restaurant and eat popular food. When we do that, it feels like we came for a trip and we feel happy. Also for me and Shownu’s case, we overcome our fatigue by going to the gym and working out. But the most joyful method to heal the fatigue for us is communicating with Monbebe through live broadcast. Even when we’re overseas, we meet our fans by turning on the live broadcast at least 3-4 times a week. When talking with fans, even though I felt a bit tired or exhausted, those feelings disappeared, it’s so fun.

Are there any charms from each member that you want to take away from?

Kihyun→Wonho: When people think about Wonho hyung, mostly start to think about his muscular and sturdy body and also his work out hobby. But I hope people know that there are so many talents in him. You might already know if you listen to b-side tracks in Monsta X’s albums, there are many easy listening self-composed songs that Wonho hyung produced. The charm I want to take away from him is his skill of producing songs that are full of emotions.

Wonho→ Kihyun: Kihyun has outstanding vocal and musical skill, but even without those skills, there are so many things that he is good at. For example, since his body balance is so great, when he does sport, he always wins. So even if he doesn’t sing and does things toward sports or physical education, he’ll be great.

Minhyuk→I.M: In front of the hyungs, I.M has energetic and cute appeals, yet on normal days, like when he works on his music or in daily life, he shows sensitive and genuine charms. I think I.M makes people feel at ease since he shows a calm and honest vibe. So I really like his naively honest side that everyone wants to be with.

I.M→Minhyuk: I like Minhyuk hyung’s ability to judge and understand something in a flash. When some problems occur, he grasps the situation quickly and he makes good decisions since he understands the situation. We trust and follow those decisions as well. Also, he makes people around him feel delighted because of his cheerful and very bright personality.

Shownu→Hyungwon: Hyungwon is very honest and has deep thoughts. So when we tell him about our worries, he listens well since he focuses on our story, and he gives suitable and wise answers for our worries. We lean on him a lot whenever we worry about something. He’s a friend who has unexpected charms since he is very bold and generous.

Hyungwon→Jooheon: Jooheon has a personality that makes people around him happy. Because he is always smiling brightly and full of explosive great energy, he draws in a lively atmosphere whenever he goes. Also since he has good social skills, he approaches everyone in a friendly way and embraces those people well.

Jooheon→Shownu: Usually Shownu hyung is a trustworthy and honest person, but he’s also a witty and fun hyung. He has various charms, of course. Because he has warm nature, I think he makes people feel comfortable around him. That’s why it’s so nice being next to him.

As a group of seven people with various personalities and charms, is there any hidden hobby you want to recommend to one another?

Kihyun→ Wonho: Hobby I want to recommend to Wonho hyung is rock climbing! His physical strength is already good by nature and since he likes physical strength, I think it'll be good for him. Also I want to go to a ski resort together with all members. It’ll be so fun if all of us gather together and ski.

Wonho→ Kihyun: I want to recommend surfing to Kihyun. Because both of us like active sports, I think it will be so great to go to the beach together, surf and eat delicious food.

Minhyuk→ I.M: I.M is good at speaking by nature and his English is great, too, so he has many cases of becoming our representative when we do overseas activity. Based on that, I think speech academy would be fun for him and it matches him well.

I.M→ Minhyuk: I want to recommend swimming to Minhyuk hyung. First, it’s counted as sport, and it’s a hobby that you can do constantly without minding the weather so even when we do our overseas schedule, he can keep doing it, that’s why I recommend swimming.

Shownu→ Hyungwon: I want to recommend jazz dance to Hyungwon. It might look awkward at first, but since he’s tall and has a good proportion, I think he’d look cool if he did jazz dance.

Hyungwon→ Jooheon: Because in daily life I like playing games and enjoying it so much, I think about how I do it together with Jooheon. It will be a nice hobby if we play it while relieving our stress and eating good food.

Jooheon→ Shownu: I want to go to an exhibition with Shownu hyung. Recently there are so many exhibitions, I think it’ll be fun if I silently go there with Shownu hyung, view various artworks and share related stories about them together!

The hardest point in a busy schedule like yours is to synchronize different opinions from the members. How do you guys solve the disagreement or to reach an agreement over a conflict?

Kihyun: At first, of course there are many conflicting opinions since we’re close in age and we always together in most of the schedules. At that time, we told and held conversation with each other openly, we shared about our struggles. I think because the members are not the type of person who scare of telling their honest feeling, it was easy to chat with them. Actually, from my opinion, in reality the only way to solve it is to meet and have conversations with the related person face-to-face. Come to think of it, now we harmonize our opinions naturally even when our opinions clash, based on the times we spent together. We knew about each other very well, so when one member has an opinion, we can sense roughly what the other members think of it. Now we’re very comfortable with each other.

One of Monsta X’s distinct charms is ‘masculine beauty’. You guys have sturdy body from working out so we can’t take out the masculine charm out of Monsta X, but what makes Monsta X more masculine?

Jooheon: Actually, Monsta X is closer to ‘intense wild beauty’ than masculine beauty’. I think the sexy and charismatic side of Monsta X stands out in our music and visual, also highlighting that appeal. On the stage of our recent songs like ‘Shoot Out’ and ‘Alligator’, the members perform while paying attention to everything such as the gaze or choreography details. Those parts create an intense and wild vibe.

Shownu: We have many charms aside those mentioned. People might know by watching our special stage or concert that we can perform a groovy and dreamy vibe or sweet and soft image. So I hope people will remember Monsta X as the group who can absorb various concepts.

We want to hear your plan for future activity or for the rest of the year

Wonho: I hope we can promote the soon-to-be-released “FOLLOW : FIND YOU” album successfully. Also after this, we will cooperate for the “Jingle Ball Tour” in the US in December for two consecutive years. So I wish we work hard together with the fans with great stage and nobody gets hurt in “Jingle Ball” concert until year-end stages.

What is your goal for future activity?

All: We hope we can wrapped up this year well and pay back our fans who wait long with great promotion because it’s been a long time since we comeback with new album in Korea. In 2020, we want to show our cool, more various, and unexpected side of us, including overseas activity. Last year, when we talked about our goals for 2019, none of the members were able to imagine all the great things we achieved this year. We only talked about doing our best and working hard. But since many things came true, we’re praying those aspirations that are beyond our expectation and mind will come true in 2020 as well.

What is the thing you want to say to local and international Monbebes who always support you?

All: We think all of Monsta X’s happiness is made by Monbebe. We hope we can be together with Monbebe for a long time while leaning on Monbebe, sometimes as friends, family, or loved one like now, no matter where you are and what kind of person you are. We always feel thankful and love you always.

Korean to English translated by: Tim (@yookiihyun)

#monsta x #shownu #wonho #minhyuk #kihyun #hyungwon #jooheon #joohoney #i.m #changkyun #@star1 #magazine interview #translated by tim

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bow-woahh · 5 years

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Spop Fic recs (Catradora)

(finally)

Hello Catradora trash can's today I finally give you what I've been promising for MONTHS - a fanfic rec list. Because, if you didn't already know, I read A LOT of Catradora fanfic, probably too much and although I'm definitely not the best judge of...anything, I really wanted to make this post, so here it is, weeks late.

(it's a long one though)

I’ve written my full opinions n shit on like the first 10 multi chapters and one shots because there’s a lot lol, and some I remember better than others (tbf I've re read all of them at this point), but yeahhh. For the others, I’ll describe it in less detail and a bit more jokily lol.

I'm sorry I haven't just linked all the fics bit I just want this to be out of my drafts loll, and I can assure you most of these are pretty easy to find, I apologise for the laziness though haha

Also I’ve tried to find the all the authors tumblr or other social media, but I couldn’t for all of them which sucks, so if you happen to be the author and I left you out, please comment :)

Anyway, Y'ALL NEED TO GET ON MY LEVEL SOOO WITHOUT FURTHER ADO HERE YOU GO:

(here's a key first)

Key:

(o) = ongoing

(f) = finished

[G]=General

[T] =Teen and up Audiences

[M]=Mature

[E]=Explicit

Multi-chapters:

1. Upper West Side by ceruleanstorm (o) 100,000+ words

@princessofgayskull

[Modern AU] [T]

This fic is so amazing!! It goes so deep into their psychology and past and damn is it hilarious at time. Also, I love the premise of it - Catra is a Uber driver and Adora ends up as her passenger. It's a fairly slowburn as it goes deep into the two girls' lives and really gives time for the relationship to develop naturally and that is honestly really appreciated because it makes the good moments between the two even better and more rewarding if I'm honest. A lot of angst though. All the other characters we know and love are also written amazingly in it too, and are made equally important. All in all, I love this fic and everything about it!

As of writing it has fairly infrequent updates, but each chapter is 10-20k+ words and has 9/12 chapters so...there’s a lot.

2. For my Sake by doublepasse (f) 100,000+ words

@doublepasse-writes

[Canon Compliant][E]

The story and world building is just - WOAH. This one is quite the slowburn but boy is it worth it. It's set a couple months to a year after season one, where Catra finally captures Adora but the tables turn very quickly when capturing her nearly results in her death, which Catra (unsurprisingly) didn’t want. The story has some BIG plot twists and is definitely one of the best canon universe Catradora fics I’ve ever read and the ending was very satisfying, but also open ended, BECAUSE there’s a part 2 coming and I couldn’t be more excited!

(Also, there is one chapter with nsfw content in it, but it has a sfw version)

3. Skinny Love by Maychup (o) 89,000+ words

@maychup

[Canon Compliant][M]

Another amazing fic that takes place in the canon universe that has such great world building, and is very plot heavy. It takes place days after the S1 finale and goes from there basically. The premise of it is similar to many fics and one shots you’ve probably read - sleeping with the enemy. From the first chapter it seemed like it could have easily been a five chapter easy redemption fic but nooooooo, it goes a lot LOT deeper. I feel like this fic did such a great job on character development, Catra’s specifically, she grows so much throughout the fic. She is also such a mother to all her Horde pals in this and I love that haha.

At the time of writing, it’s still ongoing, and boy am I excited to see where it goes. It’s also super angsty and has a fair-ish amount of smut so be warned!

4. The Heiress and The thief by Fuhadeza (f) 58,000+ words

@fuhadeza

[Regency AU][M]

As it says in the fic summary, it is literally the She-Ra regency AU I never knew I wanted likeeee, it’s so good! Premise - Adora is taken by Lady Brightmoon, leaving her boarding school, and her best friend behind, Catra, and everything is fine until her old friend face resurfaces. This one had me screaming at times (most of them did, but this especially). It was a really enjoyable read and I honestly loved the way the author dealt with love and the way Adora dealt with her feelings and just ahhh- read it.

5. Faded with feelings by yesimgay (f) 24,000+ words

[Roomates AU][T]

This fic. I read this a WHILEEE ago but to this day this is one of my favourite fan-fics ever like it’s hilarious, and fluffy and unproblematic and sometimes you need that tbh. Everything you need to know is established in the first chapter but the way it is done feels so natural, as if it’s just Adora‘s or Catra’s thoughts and I love it. Also the premise is GREAT - Catra has ADHD and smokes weed to help with it, and Adora accidentally takes an edible, which is when shenanigans start to ensue.

6. Dream of Me by DBsean (f) 18,000+ words

[Canon Universe][T]

Although it is on the shorter side with only five chapters, this was another fic that was so so good in quality and premise. For whatever reason, Catra and Adora start sharing dreams, enabling them to share moments together that they (unfortunately) can't have in real life, due to them being on opposite sides of the war, and in turn - enemies. The angst in this fic literally KILLED ME, and the characters dialogue is so good as well! I also recommend you check out some of the authors other fics, they're all great!

7. we've been making shades of purple out of red and blue by darklady21(o) 19,000+ words

[Roomates AU][M]

Another Roomates AU, bUT instead of being best friends, the two barely know each other, or interact at all...GREAT RIGHT?!? Honestly though, I think the author did a great job in making it not seem too rushed, especially in the setup and establishing how although they know each other, they DONT know each other, so the first couple chapters are basically that stage where they are learning more about each other and leaving stupid post it notes around the house, and it just feels so natural and great! Updates aren’t super regular, but there’s already nine chapters (as of writing) so definitely check it out, as well as their other works too!

8. Razorback by Starr_Reborn(o) 22,000+ words

[Canon Divergence AU][M]

Apparently, the author wrote this with the intent of it being fluffy. From the title you can tell that is NOT the case. At all. This one HURTS. This is very very angsty, and also has some themes of rape in it, so if that kinda thing triggers you I might wanna skip out on this one. It is a really good fic though and stands out from a lot of the others because of the way it is written. Chapters aren’t usually longer that 1000 words and the writing style is quite disjointed at times, and it a lot of the time a stream of consciousness. At times it can even be a little confusing or hard to follow, but I find it makes it even more interesting, and also means it will probably be a fic I come back to once completed. It is genuinely so unpredictable, I have no clue where it’s going, but I really love it for that!

9. Sunflower by TechnoSkittles (f) 6000+ words

@technoskittles

[High School AU][G]

Oh, BOY. Oh boyyy. This fic - it's 8 chapters and only 6000 words yet the story is just- Ahhh READ IT. It's so good! And like the author in general is so amazing at writing like check out all their works (especially their latest one shot omg I loved it). Anyway, read this, it's not too long, it's cute and also genuinely surprising, the ending was not something I saw coming AT ALL, so YEAH!

10. I like me better when I'm with you by lesbians_harold(f) 22,000+ words

@lesbians-harold

[High School AU][T]

Just a nice, fun, fluffy high school, friends to lovers AU. Catra moves to Adora’s school senior year and the twos friendship is quickly rekindled, after a rocky start albeit. Adora is a big ol’ jock and Catra draws which is a headcanon I LOVE. It’s written so well, and the characters are also written well too! It is a lil angsty at times, but not to worry - but it does pay off, I assure you.

11. I thought we were best friends by vanilla107 (o) 45,000+ words

@vanilla107

[University AU][T]

Breakups. Lots of breakups, and angst. This one will mend your heart then hurt you. BE SCARED. But go read it. I mean it. It's good!

12. Dirty Dancing by LilLegalLoli94 (o) 9000+ words

@lillegalloli94

[Dancing AU][M]

Basically lots of (sexual) tension after years of not seeing each other because Adora moved to Brightmoon Dance Academy. It's good. Real good.

13. Back to Black by eveynull (f) 6000+ words

[Canon Universe][T]

(Post War) Gays go and visit their past, staring angst, and featuring your favourite co-star - fluff!

14. how things are supposed to be by maggiesbombshell (o) 11,000+ words

@yeunslegacy

[High School AU][M]

A jolly slowburn that will hurt your soul because (internalised) homophobia and gay.

15. Some things you don't see coming by Trashibesensei (o) 20,000+ words

[High School AU][T]

Adora being a big ol' jock, and Catra being a big ol' gay. I’m not even gonna explain it, you have to find that out yourself.

16. A quarter after three by Maychup (o) 11,000+ words

@maychup

[Youtuber AU][M]

Adora's gay panic settles in when she bumps into her childhood bestie, Catra, live streaming in the streets of LA. My favourite part of this fic has to be the YouTube comments she gets. This one will make you laugh. And go AWWW CUTE.

17. A Song to My Heart by DemiRebel (f) 8000+ words

[Neighbors AU][G]

The cute girl next door keeps singing loud, and it sounds BELLE, so what else would you do other than creepily listen?? 10/10 for premise.

18. Occupied by Nny11 4000+ words

@nny11writes

[Modern AU][T]

The most hilarious soulmate AU I've read tbh. One word - bathrooms.

19. Whispering Dreams by dragonesdepapel (f) 7400+ words

[Canon Universe][T]

Adora finds a wounded and sick gay so obviously, she helps her out, much to her protesting. This fic will honestly make you go through the five stages of grief. Big ol' oof.

20. Why you SHOULD bring in your untrained cat to the rebellion by locuas (f) 6800+ words

[Canon Divergence AU][G]

This fic is a literal joke. But it will probably be the best crack you will ever read, so. READ IT.

ALSO HERES A LIL SELF PWOMO OF MY MULTI CHAP:

What drove her insane, 13,000+ words (f)

One shots:

1. hang tight (all you) by TechnoSkittles 9000+ words

@technoskittles

[High School AU][T]

This is a fic that will break your heart and mend it. It's about Adora coming to terms with her sexuality throughout high school in a pretty unsupportive environment, added onto the fact she has a crush on her best friend. It's paced so well, nothing feels rushed and although it's only 9000 words, it manages to flesh out characters that aren't even in the show, and it obviously does a great job with the topic at hand - sexuality and homophobia. Like it honestly touched my heart, reading it I genuinely wanted to cry. I loved everything about it, from the moment it started to the last line. It's just written in a way that is probably relatable to so many people who are or have struggled with coming to terms with themselves, and shows how for some it's really not an easy thing. It's also written beautifully, and I PROMISE you won't regret reading this! Definitely check out some more of their works too, they're all great reads!

2. you're my favorite song (and it's stuck in my head) by artemiswords 16,000+ words

@artemisbye

[High School AU][T]

A belle valentine's day fan fic which I just,, ahhhhh this is some of the best 16k words I've ever read, it's so nice and fluffy! Premise - Catra has to take the bus to school, and ends up sitting next to this cute girl on the bus, Adora, and listening to TayTay (Swift), sharing earphones with this complete stranger. Obviously, Catra develops a crush, but she is sure Adora is straight. It's written so well, and is such an enjoyable read, with so many great moments and dialogue. Music is a very prevalent theme (which you can tell from the name tbh) in it, and the amount of song references in it also make it feel so fleshed out in a way, like their both just teenagers with somewhat questionable music taste. Just all the exchanges they have are great, especially the ones over text and social media, there were so many funny moments too. DEFO, recommend if you wanna read something nice and lighthearted!

3. The Interlude That Never Ends by FMLClexa 2000+ words

Twitter: catrxs

[Historical AU] [M]

Angst. Quite angsty. But also fairly fluffy, it has a good balance. And the writing style is just so - it gets your heart wrenching despite being fairly short, and is also very poetic, and I don't know about you, but I love things like that! The fic is a historical/soulmates AU where they are bound to fall in love, no matter the period they're reincarnated in. It's one of the most creative fic ideas I've ever read, and the concept is executed so well, which makes it even better. And it's, so so damn sweet ahh, read it read it READ IT!

4. is there a knife in your bed or are you just happy to see me? by ceruleanstorm 6000+ words

@princessofgayskull

[Canon Universe][T]

This fic was everythinggg, it is so cute, like it’s basically 6k words of fluff! Also, if you didn’t already notice, the title (and the fic) heavily references the fact Adora keeps a knife under her bed (I DIED when that happened in s2). Set post war, Catra sneaks away from her post to visit an overworked and stressed Adora in Bright Moon and cuteness ensues. I honestly just love everything about this fic, we need more fluffy and funny fics like this! The dynamic the two have in this is perfect and the dialogue and general writing style of it is great! And Adora’s internal dialogue in this honest to god had me dead. Needless to say this is one of my fav Canon Universe one shots.

5.Girl’s Become Lovers (Who Turn Into Mothers) by A_Zap 2000+ words

@azapofinspiration

[Canon Universe][G]

This has to be one of the cutest, well written, fic I’ve read! Catra brings home the only survivors from a tragedy her and Scorpia stumbled upon, but one thing Adora doesn’t expect is for them to be children. The,, emotions in this are so raw and powerful. Even though they obviously have these new little people in their life though, their problems don’t just go away, they still have their own issues, and have to deal with them while looking after these kids. In general they handle mental health so well, and Shadow Weavers lasting effect on Catra SHOWS and it shows hard. Honestly, it made me want to cry at some parts and the ending was EVERYTHING, so reAd IT.

6. baby, i'm a house on fire (and i wanna keep burning) by wittchers 7000+

@huremsultan

[Medival AU]

A really fun fic to read, with a very original premise: after the Horde defeats the kingdom Bright Moon, Hordak is crowned, Queen Angella was killed, and Princess Glimmer is missing, which leaves Lady Adora forced into an arranged marriage with Lord Catra, to keep her people happy. Obviously, being an arranged marriage, with her enemy, she ain’t too happy about it, nor is Catra. But they have to put up with it, and each other. Honestly, like the development of their relationships is sooo good, and there is the perfect balance e of angst and fluff (if you can call it that?) so don’t worry it won’t kill you! Like ahh, the emotions in this - so well described with so little words. And the ending is great, in general it’s great!

7. Adora Casts: Zone of Truth by Hemogobbler 2000+ words

@hemogobbler69

[Canon Universe][T]

Literally just 2000 words of utter cuteness and hilarious dialogue haha. Premise - Catra has just defected recently, and is still warming up to Adora, is still slightly shut off from her. So, to try remedy this, she gets a truth serum from Madame Razz, and slips it into their food, leading to them talking honestly about their feelings for the first time in a while. I just love it so much because I feel like this is genuinely something Adora would do, and also something I’d probably do in her situation - Catra opening up is a rare occurrence! Also, as I said, their are some really funny, laugh out loud moments, which out of context are so weird, yet somehow manage to make a lot of sense. Anyway, if you just had a bad day, I think this fic would definitely lift your spirits.

8. bloom by kimah 4000+ words

Twitter: whitehotmoons

[Modern AU][G]

A post break up fan fic where Catra's therapist suggests Catra write down her feelings, which leads her to write the things she hates about Adora, and their interactions they've had since their break up. The way it's written is so... angsty but like, not? I'm bad at this. Literally, reading this I really felt Catra's pain, and I just wanted to give her a hug at times. Adora too. The small details the author outs into the characters makes the characters all that more realisitic too, and I love it! Seriously though, the angst, will, get, you.

9. I do adore by thankskelley 6000+ words

Twitter: cosmicsporks

[Modern AU][G]

A Catradora fake dating AU. Is there anything more you need in life? Catra and Adora are are roomates, and one day, Adora bursts in, saying she finally came out to her parents, and also that her parent had assumed they are dating... leading her to ask if Catra could pretend to be her girlfriend for while. What could possibly go wrong? Hmm?? I've always loved the whole fake dating premise (to all the boyss) and with characters like Adora and Catra, (especially Catra like she is a TEASE) I always thought it'd be great. Who doesn't love oblivious gays? Their dynamic in this is also great, especially all the flirting and teasing. BUT, of course, it also a bit angsty too. I can promise you you'll love it!

10. Chocolate and Roses vs. Heartache by Trashibesensei 9000+ words

[High School AU][T]

Another high school AU...I know I have a problem leave me alone. This time, if you couldn’t tell by the title, there’s some heartache involved, because: this Valentines Day, Adora doesn’t spend it with her best friend (now ex bestie) Catra. Even despite her popularity that she now has due to being the star player of Bright Moon’s soccer team, she can’t shake of how much she yearns for her old friend. Somehow, even with all the angst, it is still sO fucking FUNNY, the way Mermista was written was great, and she had some of THE best lines. But yeah, it’s so pure and just - Catra needs a hug, Adora needs a hug, they need to hug EACH other tbh! It had a very nice and hopeful message, and also kinda surprised me with the end.

11. someone you like by caela 5000+ words

[High School AU][T]

As a gen z, or x, or whatever the fuck I am, I always appreciate a fic where the characters say stupid shit over Instagram to their crushes which results it getting a date to prom. Although I can assure you that would never happen to me. But this So FUCKING cute and funny so READ.

12. this is what it's like when we collide (this is how you bring me back to life) by azul (7daysoftorture) 5000+ words

@bluelipgloss

[Canon Universe][G]

This galaxy brain fic is amazing and that’s ThE TEA. Catra gets a wish stone from Hordak and we all knowww, WHO she (subconsciously) craves - Adora, which obviously leads to hell breaking loose, because, disaster gays. Anyway read this it’s great and made me feel forget about the cruel world we live in.

13. Five Times Catra was a Cat and One Time the Cat was Catra by sunscreams 2400+ words

@catradoramma

[Canon Universe][T]

A BELLE, well written 5 + 1 which is just pure fluff (some hurt/comfort too) and Catra being Catra (so a loveable pain in the ass) after joining Adora in Bright Moon.

14. Vital Signs by SereneKarma 2000+ words

@serene-karma

[Modern AU][G]

Like a dumbass Catra breaks her leg and gets put in hospital, but hey - it’s okay as long as she’s got a cute nurse to look after her! It’s pretty funny just based on the concept alone so read ThIs BiSh.

15. You put the cracks into my moral code by Littleamethystc 3000+ words

@littleamethystc

[Gang AU][T]

Catra is a hotshot mafia member, Glimmer and Bow are the PoPo, and Adora is underestimated as HELL. It’s also pretty funny, like the whole concept is just perfect, so check it out!

16. The Best Gift I Could Ever Ask For by blueninjasharpshooter 1500+ words

[Modern AU][G]

Just a short n sweet fic of Adora celebrating her birthday which she forgot, and also Adora has a pocket knife in her boot, which is so accurate lmaooo. As well as having the most accurate character portrayals, AWWWWwwwww, was my reaction to the end of this fic, so read it to find out wHY.

17. but i still don’t wish death on ‘em (i just reflect on ‘em) by ayushi_writes 1500+ words

@ayushipop

[Canon Universe][G]

(Post S1) A year after the battle of Bright Moon, Adora and Catra are standing on a cliff, and Catra finally has a chance to end it all. But WilL she?!?! Let’s just say, Catradora are the queens of promises.

18. Whiskey and Eggnog by briony8969 3500+ words

@briony8969

[Modern Christmas AU][G]

A cute Christmas fic where a nervous Adora goes home for the first time in months with her new friends from college, scared of what they’ll think but more scared of a certain SOMEONE she hasn’t spoken to in months. So basically: sexual tension gAlore.

19. She's a Regular by BaronVonChop 1500+ words

@baronvonchop

[Coffee Shop AU][G]

Adora is gay. Catra is gay. Catra works at a coffee shop (badly), and Adora goes to said coffee shop soo much, that it gets on her friends nerves, coz she very obviously likes to flirt with a Catra. It’s funny too. That’s it. That’s the fic and I love it.

20. Hand in Hand, We Make Our Way to The End by thethirdphiladelphiavireo 6500+ words

[Canon Universe - Soulmate AU][T]

Catra and Adora figure out they are soulmates after years of not knowing what it meant, but OBVIOUSLY, cannot communicate like mature humans, because - same.

21. How Do You Tell A Girl You Really Like Her Eyes? by Gay_Panic 1000+ words

[Canon Universe][T]

(Pre Canon)Ahhhhhhhhhhhhhhhhhhh, a very gay, very wholesome, very nice first kiss fic. They are very gay for each other in this one, they don’t even care if KYLE catches them kissing.

22. Tender Moments by yesimgay 1500+ words

[Canon Universe][G]

(Post-war) Catra still feels guilty about everything she did to Adora in the past, so instead of sleeping at the foot of the bed as usual , she decides to sleep next to Adora...So there’s fluff, lots of fluff, and it is very tender.

23. Perfectly intertwined by dragonesdepapel 2000+ words

[Canon Universe][G]

On Catra’s first official day in Bright Moon, Adora drags her to a festival and they do cute things and it’s cute, and you should defo read it.

24. a girl without freckles is like a sky without stars by dear_universe 900+ words

@catralovesgirls

[Canon Universe][G]

More bed sharing because I CANNOT help myself, I love fics like these! Catra can’t sleep without Adora on her first night at the rebellion, so, she knocks on Adora’s door and things go from there.

25. Something to remember you by by DBsean 3000+ words

[Canon Universe][G]

Adora sneaks back into the fright zone in attempt to retrieve something, when Catra catches her. It’s cute af. Despite the circumstances.

26. Skiffs & Ships by mysteryinc 900+ words

[Canon Universe][G]

(Pre-show) Just two gals being pals who missed each other a fuck ton while on separate missions. It’s pretty cute.

27. Starstruck by InvisiblePinkToast 2500+ words

@invisible-pink-toast

[Canon Universe][G]

(Pre-show) A lil bit of angst, and nightmares, and a little bit of fluff, Stargazing and bed sharing - what more could you need?

28. a truth so loud you can't ignore by adverbialstarlight 2500+ words

@adverbialstarlight

[High School AU][T]

Catra ignores the growing feelings she has for her best friend, until the truth is so loud she can’t ignore it (see what I did there?) But for real tho this fic really gave me angst that hurt my soul then fluff that healed it, so we StAN.

29. Horde kids are just Like That by gerti 1500+ words

[Canon Universe][T]

(Canon Divergence) What would happen if when Adora defected the Horde, her and Catra where still girlfriends? Read this to find out because it’s FUCKING hilarious lmaoooo, like it’s so absurd but somehow still makes perfect sense.

30. The First Step by oldmountainsoul 2900+ words

[Canon Universe][T]

(Post S1) Apologies which end in getting shoved out off trees are now exclusively for the Catradora fandom only.

31. (You’re My) Haven by giraffewrites 400+ words

@giraffewrites

[Canon Universe - Pre Canon][G]

(Pre-Canon) Adora only kisses Catra when she thinks she’s asleep, but my girl Catra ain’t playing no more so one night she just goes in for the KILL, Aka, cute dorks just being cute dorks.

32. Beyond the Screen by SereneKarma 5000+ words

@serene-karma

[Youtuber AU][G]

If you can't tell I really like YouTuber AU's. Catra being the angsty gal she is starts a YouTube channel to rant about her old best friend who practically vanished when she was 15, and her viewers (who definitely have no life) end up finding her.

33. come on, sugar, don't you leave early by thesqian 1500+ words

Twitter: @crnkgmeplys

[Modern AU][G]

Two gays at a gay wedding, who clearly have some shit going on, but it’s okay because gay weddings always bring gays together. I said gay a lot in that sentence. Read the fic, it’s short n sweet and cute, so you can’t go wrong!

34. but we could never stay away (from each other) by adorassword 1500+ words

[Canon Universe][T]

Catra and Adora have a nice, not so nice chit chat on Adora’s balcony late at night, - these two need LOVE, and I needed a hug after reading this coz damn. Damn.

35. bad ideas by ranpoandpoe 1000+ words

[University AU][T]

How we all wish thinking about your crush at 2am would go. That’s the only context I’m giving, so READ IT.

Also, here are some of my fav one shots I’ve written:

Two Sides Of The Same Coin 1000+ words

[Gang AU][T]

If I was perfect 2500+ words

[Modern AU][T]

And check out my Catradora week series, however my fav is:

damn you, unrequited love 7000+ words

[Modern/Sixth Form AU][T]

Here are some more series packed with fics that I’ve really enjoyed too!

Catradora Oneshots by clicheusername5678 @hey-adora

Catradora Tumblr Prompts BY sunscreams @catradoramma

if I grind my teeth at night, would you hear it? By poetroe

in the bottom of a coffee cup + pieces by inkwelled (their stuff is great)

Twitter: adorascatrq

Anyway, I hope you guys appreciate this, it took quite a while lol. I had a lot of fun making it, and I hope you check out some of the fics on the list (maybe all if you're a crazy mf)

Until next time (:

#micah n spop #spop #she-ra #she ra and the princesses of power #catradora #fic recs #micahs fic recs #micahs recs #adora #catra #spop catra #spop adora #fan fics #she ra netflix #i ship

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entertainment · 5 years

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Entertainment Spotlight: Brian Volk-Weiss

We got the chance to chat comedy and tortoises with Comedy Dynamics CEO Brian Volk-Weiss, called "one of the most influential stand-up comedy producers in the country” by the LA Times. Brian started Comedy Dynamics as a comedy record label and grew the company into the country's biggest comedy production and distribution company - earning 5 of the 5 Grammy best album nominations this year as well as last year. He has built his success by personally taking financial and creative risks to launch the careers of some of today's biggest stand-up stars (especially Women in Comedy) including Tiffany Haddish and Ali Wong. He has also created and directed multiple comedy specials and television shows, among other things. When Brian isn’t making comedy history, he’s hanging out with his three kids and his 65-pound East African land tortoise.

Do you have a checklist or any must-haves for identifying top talent?

These are the things I look for:

- Is their material and/or voice sharp and original?

- Do they make me laugh out loud?

- Even if they don’t make me laugh, and I don’t think they’re sharp or original, do they make a lot of other people laugh?

- Are their touring ticket sales jumping up aggressively?

Sometimes all I need is one of these to be true, and sometimes I need all to be true, depending on the artist.

Is there a common link or theme that unifies all of the specials and shows that you’ve produced?

All the artists we work with have something to contribute to the history of comedy in a way that allows the audience, present and future, to forget about their lives for a few minutes or up or to an hour. Stand up is very, very hard to do, and the best make it look easy. So anyone who can make strangers laugh over and over, all over the world, is what unifies everything we try to be a part of.

What is the funniest joke you’ve ever heard told?

I have a bunch of favorite jokes all tied for first place, probably around ten at the most, but the three I’ll mention here are Harland Williams’ ‘did you know the pumpkin is the only organism with triangle eyes?”, Ali Wong’s joke about shitting at work, and Gary Gulman’s joke about being stuck on a plane for a long time; ‘all we had was everything’.

You’ve said that standup is becoming its own genre -- what do you think is next for comedy?

I don’t think [there] is a next or has to be a next; we just need more and new humans to have more thoughts and experiences and turn them into great comedy. I’ve never been one of those people who says “I want to do stand up in a different way. How do we find a different way?” The reason is I do not think the audience wants to see stand up done in a different way. The audience wants to see a human get to the mic as fast as possible and tell the best jokes as possible. If I thought the audience wanted something else then I’d look for what’s next. But I don’t think they do. At least not right now or in the past. They just want to laugh.

What I do think is going on is that due to a combination of social media, YouTube, and NETFLIX pouring hundreds of millions of dollars into great comedy over a 5 year period, stand up is being viewed as an option of entertainment for many people who would have never thought about it before. I know a mom in my kid’s school, early 40s, who had never seen live stand up in her life till six months ago and now she and her husband go a few times a month. I hear stories like that all the time.

What would you say to someone trying to break into the comedy world?

First, move to NY or LA. Second, give yourself at least 8 to 10 years before you start to worry that you might not be successful, and to that point, do not ever look at anyone else and judge your race by how they are doing in theirs. Root for them and root for yourself. Third, build up as much good will as you can with your fellow comics as possible and avoid ill will as much as possible. Your fellow comics will pull you up as they rise, and you should pull others up as you rise. Lastly, just work on your material as much as possible, again and again and again. Refine, refine, refine. Don’t try to get an agent or manager, or do anything other than perfect your five minutes, then your ten, then your 30, then your hour. Agents and managers will find you, when you’re ready and the time is right.

If you were to have a special, what would it be called and what would you talk about?

Brian Volk-Weiss: my only talent is hard work.

You’re a huge Star Wars fan -- did the franchise have an effect on your career goals, and does it today?

Star WARS, at around 3 years old, inspired what I chose to do for a living, but it was Star TREK that gave me, in a way, a code for life. My guiding principal is a line from Star Trek 2 where Kirk says “I don’t believe in the no-win scenario.” This quote, which I sort of turned into a philosophy, has gotten me from A to B again and again through many dark and scary moments.

What project are you most excited to tackle this year?

I hate to say it but I can’t talk about it yet because it’s not been made public. But it’s AWESOME!!!!

Any sage advice from your tortoise?

‘More dirty socks please’ (he loves the smell of human feet).

What’s a question that you’ve always wanted to be asked in an interview?

Why didn’t you take an easier path?

You’re in a food fight and can only use one food -- what food do you use and why?

Relish, because it’s disgusting on multiple levels.

Thanks for taking the time, Brian! We relished chatting with you.

Photo by: Stephanie Kleinman

#entertainment spotlight #brian volk-weiss #comedy

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growingpaynes-art · 5 years

Text

Far From Home Initial Review: What I Liked and What I Didn’t (Spoilers)

I saw Far From Home yesterday and jotted down some of my immediate responses, and then took some time to think on those points. I do intend to see the film again in the next few days and I may be adding to or amending this list.

Major spoilers below.

(CW: sexual harassment, victim blaming)

What I Liked:

That scene in the jet where Happy stitches Peter up was A+. Not just regarding the expert acting, but how the filmmakers decided to handle the scene. Peter’s fear, stress, and self doubt briefly shifts to anger, and he snaps at Happy for telling him to “relax.” He immediately apologizes, saying “i’m sorry, I shouldn't shout.” Happy in return responds by choosing his words more carefully. Happy then gives him a gentle and encouraging pep talk in which he recognizes Peter’s emotions, encourages him, and explains that he doesn’t need to live up to the legacy of Iron Man and that he only needs to do his best. He remains on task and pragmatic, but never rushes Peter or forces him to do anything he’s not comfortable doing, offering support all the while.

Peter is allowed to cry at several points throughout the film in front of other male characters, including Nick Fury and Happy. He is never judged for this and he is never made to feel like his emotions are unreasonable or invalid. Continuing this from the previous films even as Peter gets older and takes on more responsibilities further normalizes male emotion in action films.

Peter consistently voices his concerns and asks for help instead of overwhelming himself and internalizing.

Peter was noticeably shorter than MJ in most of their scenes together, including where they kiss or hold hands. Peter’s height is never made into the butt of a joke, which I had feared might happen. No one even mentions it. Marvel did have Tom wear shoes that made him a little taller than he actually is, but I do appreciate that they didn’t drastically increase his height like they always did to RDJ.

JK Simmons returning as J Jonah Jameson was a great surprise, and it gives me hope that we may yet see Peter as a photographer

Peter walking out from behind that car carrying a sign and a light as a reference to Steve wielding the shield and mjolnir.

Peter calling his dick his “webshooter”

MJ stepping in and providing some real help several times throughout the movie

The movies on the flight to Venice “Heart of Iron: The Tony Stark Story,” “Chasing Hydra” etc

The terribly edited movie maker tribute set to “I Will Always Love You” with “in memoriam” in comic sans was the funniest possible way to open the film

Bucky being included in the Thank You Avengers collage in the Midtown Tech news video

Mr. Harrington and Mr. Dell were definitely dating and i’m here for it.

Seeing Peter fight without a suit was cool. I’ve always thought there was a kind of disconnect when characters like spiderman or black panther fight with their masks on, like they feel separate from the actors. But seeing Peter fight in his civilian clothing made it feel more real to me that this kid really has these powers and can do all these amazing flips and feats of strength. It also let us see more of his creativity and quick thinking.

I’m impressed that they were able to make Mysterio’s mo-cap suit look cool instead of completely ridiculous like they do in real life.

Peter closing his eyes and fighting the drones with his spidey-sense to avoid the illusions was so badass.

The violence felt real. Every time Peter got hit, the audience felt it. Several times he was unable to stand up, he limped and winced and cried. It felt like the consequences of such heavy action were realistically considered when Peter couldn’t just pop back up and shake it off.

"If you were better, maybe Tony would still be alive” “You’re just a scared little kid in a sweatsuit”

“You got me?” “I got you.”

“lets get a drink” “i’m- i’m not 21.”

Peter going to a parent figure wearing an oversized shirt and crying while confessing his self-doubts was an oddly specific parallel that i didn’t expect to get again but i’m certainly not complaining

What I Didn’t:

The “rest stop hookup” scene was deeply inappropriate. Peter, a child, is commanded to undress in front of an adult female agent. He initially resists but is intimidated into compliance when she repeats the order. One of Peter’s classmates, Brad, walks into the room and Peter is literally caught with his pants around his ankles with an adult stranger. Brad makes the assumption that Peter is hooking up with her, and takes a photo for evidence with the intention of showing it to MJ in order to ruin Peter’s “chance” with her. Peter is blamed for a situation in which he is the victim, and the audience is meant to find this entire scene funny. Instead of what could have been a really cool scene in which this agent presents the new suit she’s made for Peter, we are given this very uncomfortable scene of sexual harassment played for laughs.

Peter and Brad competing for MJ’s affection and actively sabotaging each other is unnecessary.

The use of old footage from previous films was lazy, especially when Marvel could have easily recreated those scenes from the perspectives of the new antagonists. I’ve always found this distracting, especially when the quality noticeably drops between two clips, though this is more of a personal peeve than anything I see as a legitimate problem.

The list of characters who become villains because they feel personally or indirectly slighted by Tony and Howard is getting too big. Honestly I think it’s lazy to keep using that as backstory/motivation for new villains after over 10 years, especially now that Tony isn’t even alive.

The multiverse being made up by Beck was disappointing.

The monsters being the Elementals instead of Sandman or Hydroman was also disappointing.

I wish that the spidey-sense was represented by some creative audio or visual cue, like the goosebumps in iw or the ringing noise in spiderverse

There were several lgbt characters/actors on the class trip but they weren’t very visible. You really don’t notice them at all unless you were aware of who was cast beforehand and were watching closely for them. I’m not asking for Peter to swing through new york with a rainbow flag screaming “trans rights” but I would have liked to have seen a queer couple holding hands or a student with a trans patch on their backpack or something. I had been hoping for Peter to actually interact with one of them, to refer to them by name. Obviously having such a diverse cast with queer characters being played by actual queer actors is a huge step up from Joe Russo’s “grieving man” but like that shouldn’t be where the bar is at this point.

Tbh the headstone and zombie iron man were cliche, and i think it would have been much more impactful if Mysterio had made an allusion of Tony himself instead.

Why would Dr Strange not be available to fight massive elemental monsters from another dimension bent on consuming the earth like dude make yourself available??

I wish the new suit included Karen so that we could see how she and Peter’s interactions have changed now that he is expertly familiar with the functions of the suits. Additionally, the spider-drone would have been cool to see again.

The illusion to Uncle Ben with the “BFP” initials on Peter’s suitcase was great but I do wish we could get some actual information about him. We don’t need to see his death or the “with great power comes great responsibility” speech- we’ve already seen that enough times- but a little clarification on what officially happened to him in the mcu would be interesting.

Honestly I thought it was too convenient that May, Happy, and all of Peter’s closest friends also dusted. I had wanted to see how interactions between Peter and May or friends such as Ned would be tested emotionally due to the five-year gap.

The BARF tech being invented by Beck and stolen by Tony detracts from it being used in Civil War to establish Tony’s feelings about Howard and Maria’s murders. If it isn’t Tony’s invention, that takes the heart out of it.

I had really hoped that the glasses were going to end up revealing Tony as an AI, or at least some kind of message from him, and i thought was weird that Tony would give Peter access to a system that allows him to order drone strikes on his classmates.

Also... so the drone strike on peter’s bus was faked by Mysterio’s team because they needed to get the EDITH glasses from Peter? Because the EDITH glasses give them access to the satellite that deploys the drones? But they already have the same drones? and use one them to fake the bus attack? so why do they need EDITH? Maybe i missed something but that makes no sense to me.

#ffh #far from home #spiderman far from home #far from home spoilers #spoilers #spiderman far from home spoilers #ffh review #spiderman

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juleswolverton-hyde · 5 years

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Hold the door (BC x Reader)

Genre: Fluff

Pairing: Bangchan x Reader

Warning: Spoilers for GoT S4 & S6 E5

Summary: Fantasy can be brutal yet be addicting after a long day of work. Fortunately, a dearly loved kangaroo knows how to lessen the pain of the politics of Westeros.

Author’s Note: Top o’ the morning!

This is my first piece for Stray Kids since they are slowly taking over my life and especially Chris (Bangchan). Hopefully, despite this being not BTS-related for once, it is still an enjoyable read.

For any Stays reading this and who are not acquainted with my works as of yet: I hope I do not disappoint.

Masterlist

A good story evokes emotions with its imagery and plot line, even more so when actors play out the scenes which are craftily adapted to a visual new format despite being written first in ink. The series ‘’Game of Thrones’’ is a splendid example of what might happen in a scenario in which the story hits harder than expected, beloved characters dying left and right while the audience can merely look on in horror.

Or cheer in delight in Joffrey’s case.

The day at work at the café in the centre of town had been hazardous, the arrival of spring break ensuring lots of tourists to come in to taste and photograph the seasonal specials while enjoying the gradually becoming warmer sunny weather. The entire shift literally consisted of creating soft sweet sakura custard buns and sweet lush green mochis decorated with a rice dough cherry blossom and petals, slicing up the slightly floral cheesecake with a pink inside that had to be remade perhaps four to five times due to the high demand. Not to speak of the effort to deliver with making the time-consuming coffees and hot or cold cocoas befitting the abundant fall of sakura around the village. However, such are the duties of being part of the already small team: each person has to be able to work all-round when this time of the year comes despite there not being too much patronage otherwise since the city is not that big nor well-known.

But every exhausting shift makes a mini-marathon in the evening of the new season of ‘’Game of Thrones’’ all the more deserved, simply sitting back on the comfortable creme-coloured love seat with a cup of freshly prepared ice coffee and either a tub of cookies and cream ice cream or a protein bar in the same flavour. Fortunately, it is not minded by the boyfriend of one and a half years since the blonde athletic boy can mostly be found at the gym in the evenings when not hanging out with friends.

Nonetheless, Chris’s absence is more of a curse since the first episode of the night has a grander impact on the psyche than expected, making a firm hug that is mostly tried to be escaped from under normal circumstances now dearly desired. Too many impactful emotional events follow each other up at the end of the sixth season’s fifth episode, triggering the rare reaction of tears in eyes that can merely watch and a palm wrapped over a speechless mouth.

The response is even powerful enough to miss the click of the front door of the shared apartment and the dull thump of the ashen buffalo bag filled with sports gear in the tiny entryway leading to the studio, much less so the giggle following the habitual greeting of “I’m home, babygirl”, which is still awkward despite the many times it has been uttered.

‘Hey, Y/N, are you, wait, are you crying?’ As soon as the credits roll over the screen and the DVD is paused, fingers unclasp from paralyzed lips to wipe away the watery traces of the damage done by mere yet gripping fantasy which stirs the youth to rush over to the couch and rapidly take place on the empty spot formerly occupied by bare feet, making a sorrowful being bounce slightly with the impact of the sudden additional weight. Firm veiny arms are immediately clung onto when they initiate an unbreakable embrace, one slender hand placed protectively on the top of the head, cradling it against the shoulder. ‘What happened?’

No answer comes per direct, first throwing out every bit of frustration thanks to fantastical explicit cruelty while holding on to an oversized sweat-soaked onyx shirt but not minding the hint of sourness to the characteristic scent of minty soap. The golden-haired lad resembling a kangaroo when fired up with energy has taken on the tranquil appearance of a koala, its counterpart, and simply waits patiently until the incoherent blabbering attempts at voicing a reason for the silly behaviour gain a sense of logic. Simultaneously, the left upper arm is being rubbed in uncomprehending close solace, chin resting on the crown of the head when not giving soft caring forehead kisses and whispering soothing nothings.

At last, after a good while of crying, it is dared to look Chris in the eye to tell what forms the reason for the curious distress. Nevertheless, it is an obvious fact the thumb caressing the cheek while explaining forms one of the support pillars which keeps speech steadier than it would be without. ‘Geo- George R.R. Martin is a bastard. He- He let Bran’s wolf be killed by Whitewalkers and- and... Hodor...’ A heavy sob. ‘M- mea- means “ho- hold the door”...’

The very vivid thought about the death of the kind giant at the door arises, initiating a continuation of the lament created by a splendid bastard of an author’s writing. The hug tightens, a rumble in the trained chest beneath the slick flowy fabric resulting in an adorable chuckle as tears stream down a pale neck. ‘You take it way too seriously, Y/N. It’s just a story. Nobody’s actually dead, everything is fine.’

‘Shut up, Chris, you do- don’t know what power George has.’ It is incredible how ‘’Game of Thrones’’ has escaped the attention of the Australian platinum youth, but at the same time places him in a disposition of ignorance about how sensitive talk about the show can be. Certainly for long-time viewers who have likely seen their favourites be brutally murdered in favour of plot progression.

‘No, I don’t, but how about you show me and I’ll try to protect you from it?’ Hazel irises light up at the prospect at one of the most loved things aside from the steady relationship with a girl who gets carried away into fantasy too often and, judging by the broad smirk that begins to form, the continuation of the proposal is nothing surprising yet deliciously loving. ‘With food?’

‘Tha- That’s your solution to ev- everything, isn’t it?’ A careful curl of the corners of the mouth forms out of the sorrowful expression at seeing the genuine giddiness at a second dinner or, rather, late night snack together. Although, it also arises out of the vivid images quickly flashing by of the personified koala’s silly movements whenever something tastes incredible, the funny habit always a cause for affectionate laughter and a source of confidence in the at times doubtful personal cooking skill.

‘It always makes you smile,’ a stray strand is tucked behind the ear, plush roseate lips placing a sweet kiss on the forehead, ‘I’ll first take a shower and then prepare some tteokbokki. How about that?’

Unconsciously, a consenting eager nod is already given before the reaction can be even thought about, the stomach having overtaken demeanour out of anticipation of the small rice cakes. ‘Extra spicy?’

A slight nervousness slips into attitude, eyes holding a silent plead for toning down on the spice levels because the last time they were too high for most to handle, Cris’s friends who came over for the monthly movie night all frantically reaching for cucumber and milk to nullify the impact while trying to save the fellow Australian of the group at the same time. Withal, howbeit while clearly contemplating to adjust the amount of gochujang regardless of the request, the proposal is agreed to. ‘Sure, extra spicy it is. Now, don’t you dare continue in the meanwhile or I won’t cuddle you for the rest of the week.’

A sceptic roll of the eyes, finding no credibility in the statement considering the personality of the speaker. ‘Oh, come on, we both know that’s an empty threat.’

The slightly loosened embrace tightens to a literally breathtaking degree once more, but now it is tried to be escaped as is normally the case when the blonde youth tends to get cheesily clinging. ‘Or I hug you to death, your choice.’

‘Let me go!’ Any type of resistance results in the opposite, becoming more and more the prisoner of secure loving arms instead of a free woman. Notwithstanding, it cannot be said it is minded, though the rumbling in the stomach betrays the recently realized craving for food that can only be had when giving in.

‘Not before you answer.’ The heavy weight suddenly tipping the scales cannot be prevented from being the oppressor of the strength that is unable to lift it, head hitting the soft pillows of the sofa on the other end as the sporty lad with dewy skin maintains the firm hug. A delighted playful chuckle sounds at the realization of having the held figure exactly where she is apparently wanted, unable to be freed before having made a decision. ‘Well, what’s it gonna be?’

‘Either way, you’ll suffer. Option one leaves me alive but you’ll get cuddle withdrawal symptoms. Option two leaves you without your favourite squishy.’ An eyebrow rises in challenging mockery which will only worsen the circumstances though the sarcasm cannot be helped. Just as in the brutal series, if you play smart, you shall survive. And this preferred victim of affection, this most beloved fighter of clinging hugs, has plans to survive the night.

‘Aren’t you clever, turning my own words against me?’ A lopsided smirk forms on the koala boy’s face, eyes illuminated by playful lights.

‘In the Game of Thrones, you live or you die and I intend to do the former.’ Henceforth, a cute sweetness slips into speech as lips irresistibly pout, manipulating Chris even further into hurrying up in fulfilling the promise of tteokbokki and stop stalling the rest of the well-deserved marathon. ‘I’m hungry.’

Blonde locks bow in amused defeat, shaking briefly with acknowledged surrender before gazes lock again. ‘I have no idea what that reference means, but you win this time, Y/N. Can’t let my babygirl starve.’

The characteristic awkward laughter accompanying the nickname by default ends the topic of debate, the kangaroo boyfriend lifting himself off a half-crushed no longer entirely torn by fantasy figure to finally shower. In the absence filled with the lingering traces of songs sung with an angelic voice, more pillows and a thin ornately decorated blanket are gathered for properly snuggling up with delicious food and an amazing but heartbreaking brutal show.

Sweater paws clad in a soapy mint oversized sweater wrap around the platinum youth’s waist to give him a taste of his own medicine, trying to show how inconvenient it can be when a person is basically glued to you during household tasks, which lets them become increasingly more complicated due to the loving gesture. Withal, it does not have the intended effect as the young man manages to get along with making the rice cakes coated in a fierce red sauce just fine although it does pose a bit of a risk when a small hand reaches out for the gochujang tub to add more to the sauce and the chef obviously not consenting to this idea, the dispute resulting in play fighting that almost turns the fire pit open too far without further notice.

The tickling almost results in burns and burned clothing, the just as touchy retribution barely short of ending in a trail of sauce stains leading from the kitchen floor to the fake black leather loveseat thanks to fingertips poking sides. Regardless, it is managed to be reached without further ado, the cruelly incredible series resuming with one strong arm wrapped around the shoulders, a warm meal split in two put into two laps sitting side by side. Occasionally, a chewy tteok is fed with a content smile from the bigger portion of the athlete eating like a starved man, who is evidently as happy with the result of the obstructed cooking as the appreciating look in the eyes of the accepting mouth, going by the happy wiggles accompanied by tuneful hums.

And thus the imaginary intriguing political game synonymous to crimson onslaught continues, because the questioning, at times shocked, comments made out of ignorance brighten the mood due to their silent request for an explanation, delighting the nerdy fangirl within to no end.

Keeping the worst of silly emotions at bay.

Holding the door.

#Stray Kids #SKZ #Stray Kids x Reader #Bangchan #Bang Chan #Chris Bang #SKZ x Reader

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