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epigstolary · 10 months

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Lecture

TW: References to medical fatphobia and health conditions.

Your eyes dart nervously back and forth, from one side of the lecture hall to another. Surely they’re not going to see you like this and just sit there? Surely someone is going to step in and help?

But your hopes are disappointed. You’re met, to the extent the audience looks you in the eyes at all, with blank or half-bored stares. The uncaring look of people who see you and the half-ton of lard filling your body as a technical exercise, and little more. The lecture drones on next to you, and after a few minutes, you’re finally able to focus on what’s being said.

“…recall that yesterday’s subject exhibited signs of severe morbid obesity with excessive deposits of adipose tissue almost exclusively at the anterior abdomen. Today’s subject, by contrast—” at this, you feel the lecturer’s gloved hand grasp one of your bulging love handles, squeeze a solid handful, and lift as he continues “—supplements this distribution with deposits throughout the inguinal, gluteal, and posterior thigh regions, and to a lesser extent, in the pectoral and inframammary regions.” You feel one of your tits being lifted as the lecturer holds it in the palm of their hand, pointing out further details with the other. “So as you see, adipose distribution can vary significantly, based on a number of factors…”

The audience continues listening and taking notes. Occasionally, you see two of its white-coated members whisper to each other, gesturing at some point or other on your expansive body. Your mind wanders from the lecture again, and you begin to look around the room, to the extent the restraints on your bariatric exam chair allow. Despite the audience’s lack of direct attention to you, you’re keenly aware of how exposed and on display you are.

The angle of the chair allows your wide, doughy belly to spill down your lap and between your knees. It spreads your lumpy, shapeless legs into a split that leaves the bulging sacs of fat on your thighs and calves in full view. Likewise, because of the backward tilt of the seat, your head is also tilted back, bringing your chin level with your triple chins and emphasizing them along with your wobbly cheeks and jowls. Restraints tie your arms against padded extensions on either side of the main chair, holding them in a T-pose that causes the flab on your forearms to hang down in puckered globs and the bulk on your upper arms to pool around your shoulders, further squeezing the fat around your face. It’s a position in which, if there were any doubt, you’re shown off as the thoroughly, completely, and probably irrevocably fattened blob you are.

Eventually, the display screens on either side of the hall catch your eye — specifically, the unfamiliar shape appearing next to some inscrutable pixelated numbers in black and white. Then, suddenly, something in the lecture strikes you and the image clicks into stark comprehension.

“…86% body fat, with the result that additional strain on the musculoskeletal structure produces the characteristic bend in the vertebral column to compensate…”

The ill-defined shape on the screen, viewed through the lens of an MRI machine, is a person — is you. You knew you were huge, of course, but your breath catches in your throat to see your gluttony presented in this way — the cross-section showing the muscles and organs and skeleton of a normal person, but floating, buried, smothered in a sea of white-yellow tissue, spreading out shapeless in all directions. Hundreds of pounds of fat, dominating your body, captured with the indisputable precision of medical imaging. You are an anomaly. A curiosity. A pathology. A disease, needing to be treated.

You barely have time to process all of this before you feel two attendants beginning to undo the restraints holding back your arms and legs. You feel your feet spring forward slightly, no longer held down and now pushed out by the bulk of the fat hanging off your calves and thighs. Your arms fall immediately to your sides — or, at least, as close to your sides as the tremendous piles of rolls fighting your bingo wings and forearm flab for space will allow. You slide down from the tilted half-chair/half-gurney to a standing position, and feel a hot ache radiate through you, your body crying out at your full weight being put on your frame for the first time in a long time.

“We’ll see if we can get a demonstration of mobility. Clearly, physical activity isn’t this subject’s strong suit.” A stifled but derisive laugh ripples through the audience at this first flush of color commentary from the lecturer. You turn to look at the lecturer, standing at the lectern, and they gesture to the far side of the hall. A set of double doors, wide enough for you to go through, with a bright “Exit” sign above them, stand about thirty yards away.

Is this it? Are you free to go? After being fattened and poked and prodded for so long, are they finally going to let you just walk out?

You have to try. Slowly, deliberately, and with a shock of pain at every step, you lift your blubber-laden legs one at a time, putting your bare foot down with a wet-sounding plop, as you work your way closer to the door. You look around from the door to the audience to the attendants, eyes widened almost to the point of panic. You see all the audience now paying close attention to you, many of them looking back with genuine surprise, apparently somewhat impressed to see a person as fat as a small cow able to walk at all. But seeing nobody move to stop you as you continue your degrading waddle forward, you try to pick up the pace. Your flabby arms swing in a wide circle, trying to counterbalance the movement of the vast bulk hanging off your midsection, the belly and tits and side rolls wobbling chaotically with each step forward.

“As you can see, mobility is diminished as a result not just of the added weight, but also the severe limitations on range of motion caused by the excess adipose tissue.”

Barely halfway toward the door, you can hear the sound of your heart beating over the drone of the lecture, pounding as if it’s about to burst out of your chest. Sweat dims your eyes, and the heat radiating from your body — but, it feels like, especially from your florid face — makes you realize how fatigued you already are from walking just this limited distance. Walking this distance — but with an extra eight hundred pounds or so more than you’re used to, you think to yourself.

“Note, too, the compounding effect of the excessive weight and the lack of resiliency in the subject’s cardiovascular and respiratory systems due to a prolonged deficit in physical activity. Blood pressure and body temperature rise precipitously, stamina diminishes, breathing becomes labored, blood oxygen plummets. Hence, the elevated risk of cerebrovascular accident, embolism, myocardial infarction…”

You barely have the energy to feel angry at the lecturer’s patronizing indifference by the time you reach the door. Breathing ragged, soaked with sweat, barely able to concentrate and on the verge of collapse, you stumble into a lean against the door frame, desperate to catch your breath so you can finish your escape. It’s right there — you can reach out and touch the push bar, hear what sounds like street noise outside — but your body won’t let you. Your clouded mind won’t focus, your bloated legs won’t lift, your wobbling arms hang limp by your heaving, flabby chest. Exhaustion and despair rise within you in equal measure as you hear the gurney chair being rolled across the room, feel your body being jiggled and manhandled back into a sitting position, and see the exit doors and all hope of help receding as you’re rolled back to center stage, defeated.

Numb and indifferent now, you offer no resistance, sensing the tube and mask being fitted into your mouth as if watching it happening to someone else from a distance. You utter little more than an involuntary groan of complaint or protest — it doesn’t concern you, any more than does the flow of something cold you can feel pooling in your stomach.

“…typical example has a maximum capacity of barely two to four liters. However, consistent overfeeding with a diet that includes a sufficient volume of fiber at appropriate intervals has demonstrated the ability to reliably expand stomach volume to a maximum capacity of 14-16 liters, with p of .05 in our internal studies…”

The sound of the lecture flows past you, mixing with the buzz of the pump filling you with more and more of the chilly slop, and the low creak of the gurney as it takes the added weight. Your eyelids droop, drowsy with the food and your exertions; and you drift away to sleep, the gaze of the audience trained on the slow, relentless expansion of your tumescent belly the last thing you see before your tired eyes close shut.

Credit to the incomparable Mairari/@hyenaddict for the original post that inspired this story

#feeder fiction #gainerfiction #gaining #ssbhm #weight gain fiction #wg fiction #extreme weight gain #wg story #gainer stories #weight gain story

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ilguna · 1 year

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☼ trick question pt1 (Finnick Odair) ☼

summary; Finnick admitted you were his celebrity crush in his last interview, this year, he has something to reveal.

warnings; swearing

wc; 1.9k

part two

–

“Ladies and gentlemen, tonight we have the up and coming model from California joining us today!” Caesar Flickerman shouts with a wide grin on his face, hand extended out in the direction of Finnick, “Finnick Odair!”

Finnick takes the steps one at a time, being careful as to not let his dress shoes get caught on the carpet. He’s watched Caesar’s show plenty of times before, and he’s seen plenty of other people make the mistake of dragging their feet. All it takes is the top of the brand new shoe and you’ll trip.

Finnick smiles brightly, waving at the live audience. There’s only one stray whistle that comes from an audience member in the back. From what he remembers from the last time he was on the show, there shouldn’t be any loud noises in order to prevent the sensitive microphones from blowing. The fan should be let off easily.

“Welcome back!” Caesar says, Finnick extends his hand.

“It’s great to be back, Caesar.” They shake hands, and then Finnick settles on the couch, “I thought that the last time I was here would be the only time.”

“Why’s that?”

Finnick makes a face, “I didn’t think I’d be popular enough.”

“Well, congratulations on being popular.” He laughs, sitting in his chair, crossing a leg, “We have a lot to talk about.”

“Oh great.” Finnick muses, “We should get started then.”

“Yes, I wanna ask you about your latest experience with fashion. You’ve been doing a lot of shows recently, especially with the fashion designer Cinna.” Caesar becomes more serious, “What’s it like working with him?”

Finnick nods, “Cinna’s brilliant, really. I’m lucky to wear more of his tame ideas, rather than the bright and shiny ones.”

“Yes, because we all know how Cashmere and Gloss feel about them!” He laughs, “I do have a question, since you work very closely with other models. How is the young Katniss Everdeen? Is she adjusting well? I heard that the flammable piece was almost a break for her.”

“I can’t say, exactly. I wasn’t present for the conversation between her and Cinna. I did hear from their contract manager that she was looking into other stylists if they couldn’t accommodate her.” Finnick tilts his head, “Since she is—as you said—young, she’s very careful about how she approaches revealing her body.”

“That’s right, those contracts can be very demanding.” Caesar agrees, “I remember you telling me that it almost cost you your job to ask for different clothes.”

“I’m very lucky that I have wonderful friends that would take the fall for me like that, even if the outfits aren’t designed for their body types.” Finnick nods, “As unfortunate as it is for the stylists to have their clothes stretched, it’s not worth a model's discomfort. I did explicitly say that I wasn’t comfortable exposing my body.”

Caesar nods, “Would you have worn that second flame piece if Cinna had asked you?”

Finnick lets out a laugh, “Well, Peeta and I are two different sizes. It surely would’ve been uncomfortable to wear. However, if he had told me that he couldn’t do it, I would’ve tried to make it work.”

“Peeta and Katniss are very lucky to know you.”

“I’m lucky to know them.”

Caesar tilts his head, “While we’re on the topic, I heard that you and Johanna Mason are working on your own line.”

Finnick tries to hide his smile. He’s been asked about it in every interview under the sun lately. They don’t know what the line is, and neither him nor Johanna are planning to release it to the public just yet. They’re working on a beauty line that’ll cover most of the bases. Finnick wants to cover skincare, and Johanna wants natural dyes for hair so it’s less damaging, since she changes her hair color often.

“We’re working on something, yes.”

Caesar raises his eyebrows, “Are you open to discussing any detail about it?”

“It won’t surprise the public when it does come out. That’s all I’ll be saying as of right now. Johanna likes to keep her projects secret, and I’m not trying to get on her bad side.” Finnick laughs, Caesar joins in.

“That’s fair, okay.” There’s a mischievous smile that crosses Caesar’s face, “Do you remember the last time you were here and I asked you about your celebrity crush?”

Finnick lets out an audible sigh, he can feel the heat returning to his face. He doesn’t know how Caesar has such a way with words, but he managed to get Finnick to admit who he likes in front of a live audience. Which then proceeded to trend on Twitter, and then further get the attention of the girl that he’s liked for a while now.

“Don’t remind me.”

“I will be, actually.” Caesar laughs, “Remind me, who is it?”

“Do we have to do this, Caesar?” Finnick chuckles, but complys, “Her name is (Y/n) (L/n).”

“And what is she known for?”

It’s a good thing that Finnick knows where he’s going with this, “For those of you at home and in the audience that don’t know who (Y/n) is, she’s an actress. Show them what she looks like, Caesar.”

He laughs, and the screen behind him changes to be a picture of you from the red carpet a month ago for a premiere. There’s a pretty smile on your face and your body is halfway turned to give them the illusion that you were going to walk away, but it was just a pose that most do.

Caesar clears his throat, “Everyone, (Y/n) plays a number of characters across tv shows and movies alike. She has a liking for the darker themes, and she leans towards apocalyptic and dystopian movies the most, and shows that have repeating criminal activity that centers around the character.”

Finnick nods, rubbing his neck, “She normally plays the gruesome characters and she does it beautifully, alright?”

There’s a few laughs, Caesar raises his eyebrows, “What about her do you like, Finnick? Be more specific.”

Finnick rolls his eyes, “I said that she captivates me every time she’s on screen. She’s a wonderful actress and I find myself being pulled in with the story.”

“But only for her, right?” Caesar teases, “Not for someone as handsome as Beetee Latier?”

“I’m sure Beetee is also an amazing actor, but we’re talking about (Y/n).”

“That we are. I saw a number of tweets of hers from the last time you were here.” Caesar laughs, as the screen behind him changes to be the screenshots they took of the interaction.

Finnick shakes his head, “Don’t do this.”

“We’re doing this. Ladies and gentlemen, it seems to me that (Y/n) had a lot to say.” Caesar flicks through the screenshots. It’s mostly of you replying to other people talking about the interview that took place last year. The slideshow quickens, “A lot. But from what my crew gathered, she was very flattered.”

“Very. What can I say? I’m a flattering man.” Finnick smiles.

“So flattering that you somehow managed to get her phone number.” Caesar raises his eyebrows, “Can I tell them?”

Finnick motions, “Well you’ve basically told them already.”

Caesar turns suddenly, slapping his hands on his thighs, “Finnick and (Y/n) became official. I want everyone to give a big welcome to (Y/n)!”

You peek your head out from behind the curtain with a scrunched nose. You follow Finnick’s directions from earlier, warning you about tripping on the carpet, especially in these heels. You’re sure to lift your feet and walk carefully. Caesar and Finnick are now on their feet.

You hug Caesar slightly, give a wave to the audience, and then turn to Finnick. He knows that he can’t touch your face, he’s got in the bad habit of doing it lately, and it’s been hard to break him out of it. You wish it wasn’t that easy to ruin your makeup, but there’s not much you can do.

You press a kiss to Finnick’s lips, and pull away giggling when the audience cheers louder. Finnick sits, and watches you carefully as you tuck the dress under you, turning your legs to the side so that your knees almost touch Finnick’s legs. The worst part about wearing a dress is sitting down.

Finnick takes your hand, squeezing it tightly.

“(Y/n), I believe this is the first time we’re meeting.” Caesar says.

“With the exception of backstage, I’d say so too.” You laugh, they do too.

“Tell me, what was it like meeting Finnick for the first time in person?”

You tilt your head, “He’s a gentleman through and through. I could’ve asked for the world on that first date and it was clear to me that he would’ve found a way to do it.”

“And you didn’t ask for the world?”

“I decided to save that for the second date.”

“What was it like hearing that Finnick had a crush on you?”

You make a face, “Weird, if I’m honest. He’s a celebrity in the modeling world. I’m a celebrity in the acting world. It’s almost as if we shouldn’t collide, and yet we’re still here. You can see weird couples all across the Capitol, it’s really something else.”

“That’s very true.” Caesar agrees, “Someone told me that you were trying to get Finnick into acting.”

“Yes, I am.” You give a look to Finnick. He’s already shaking his head, “He thinks I’m lying when I say that he has potential. I think he could be phenomenal outside of modeling if he wanted to. If he decided that he didn’t like acting, modeling will still be there for him.”

“You think that Cinna would allow him to come back?” Caesar asks curiously.

“I’ve talked to Cinna on a couple of occasions. He’s a very understanding man, and he would do a lot for his models, including letting them come back from a break. For a lot of other companies, it’s a one-and-done sort of deal. Finnick’s fortunate that he has Cinna.”

“What do you think about acting, Finnick?”

“The idea’s growing on me, I’ll admit.” Finnick smiles, “I don’t think I’ll feel comfortable doing it if (Y/n) isn’t beside me to help, but it’s hard getting a job beside her because they’re looking for a certain level of expertise.”

“And that’s true, but a lot of actors and actresses get weird roles all the time. I’m a good example of that. I was told when I first joined the industry that I’d never get the gory roles, and now those are all I get.”

“Out of spite, I presume?”

“Partially.” You laugh, “But also because I set my mind to it. That’s why I believe Finnick can do it too.”

Finnick softly smiles at you, “I love your confidence in me, but I’m not feeling the same way.”

You shake your head at Finnick.

“Well, I think it’s about time we took a break.” Caesar says, you and Finnick nod. Caesar turns to face the camera, “When we come back, we’ll discuss (Y/n)’s brief experience with modeling and why she chose not to go on. I’ll see you in a few minutes.”

#ilguna #finnick odair #finnick odair imagine #finnick odair oneshot #finnick odair x reader #finnick odair fanfic #finnick odair x you #finnick odair x y/n #finnick odair x yn #thg #the hunger games #requested #fluff

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morsmordream · 1 year

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fight club (kinda), but it’s hogwarts

severus snape saw himself as a realist, honestly. the other hogwarts staff members saw him as way too pessimistic, but, frankly, he believed they were just too optimistic.

severus was shocked at how intently the rest of the professors truly believed that the declining animosity amongst the student body was a secret, unanimous agreement of inter-house unity.

severus, of course, knew otherwise. being, shockingly, the youngest member of staff had its perks, you see.

the room of requirement wasn’t the well-kept secret that the other staff members believed- knowing of its existence but not it’s location. the room was used widely by students in severus’ time in hogwarts, primarily as a duelling room- where students settled their quarrels with an audience, away from the watchful eyes of their professors or even just practiced duelling for fun.

having, naturally, been challenged to countless duels during his time in hogwarts, severus recognised the decline in aggression between the houses for what it really was- this well-kept secret has been passed down from parents to students again once more.

severus knew that these duels should be running along proper duelling etiquette, but he also knew that any curse bar the killing curse was free game. if someone could heal it, or cast the counter-curse, you could use it. if not, you couldn’t. simple as that. most students have the common decency not to use the remaining unforgivable curses- but the key word was most.

severus could tell the rest of the staff, but where was the fun in that? all students present at a duel, not just the duellers, likely will have taken a vow of silence so it couldn’t be revealed to staff. multiple students with a solid grasp of healing would be present at each duel. different nights held different year groups. it was surprisingly well-organised.

most importantly, though, it severely lessened the amount of detentions severus had to give out.

maybe it truly was a good thing, severus mused, as he rounded a corner in the dungeons on his way to his next class. double potions with the slytherin and gryffindor fifth years.

there had miraculously been a slight improvement in inter-house relations between the two usually feuding houses. it seemed that this duelling had sparked a grudging respect and severus had noticed a steady decline in the amount of his students in the hospital wing for gryffindor-related incidents.

severus had also noticed an obvious distance between potter (potter-black, he amended in his head) and granger and weasley since that demented sorting hat had demanded his resorting at the beginning of the year. the combination of potter-black’s change of legal name, his sorting into slytherin, his certain involvement in illicit duelling (which granger was very against- her loud protests outside his classroom was half the reason severus worked it out) and his close friendship with nott and zabini (and shocking civility with malfoy) had certainly spelled the end of the golden trio.

severus heard the chattering outside his classroom abruptly stop, and he swiftly disillusioned himself despite not being in sight yet.

“heir theodore nott. i, hermione jean granger, challenge you to a wizard’s duel at 8pm tonight on the grounds of the horrific injustice you and your housemates are doing by corrupting one hadrian potter-black to your dark magic ways. i nominate ronald weasley as my second.”

oh merlin, severus thought. out of all the students granger could pick a duel with, she goes for the death eater’s son who reads dark arts books like they’re bedtime stories.

“and what’s in it for the winner?” came nott’s voice.

“if i win, you stay away from harry. if you win, i- i’ll leave harry alone,” granger said.

“granger,” severus recognised potter-black’s sharp tone, “renounce it. you can’t duel.”

“what, harry? you think a mudblood like me can’t handle myself against one of your new death eater friends?”

“get your head out of your arse, granger,” zabini chimed in, “that’s not what hadrian’s saying and you know it. you hate the duels because the dark arts aren’t off limits, yet you want to duel someone who can wield dark spells when you have no duelling experience? you’ll get hurt, hadrian’s trying to stop that from happening.”

“sounds like a threat, zabini. you won’t scare me. nott, do you agree?”

there was a pause, and severus was sure he could hear a harshly whispered warning to nott from potter-black. similarly, he could hear weasley pleading with granger not to go through with this. severus imagined the latter was down to his fear of potentially having to duel nott himself.

“i, heir theodore tyr nott, formally accept hermione jean granger’s challenge to a wizarding duel tonight at 8pm on the grounds that she needs to mind her own sodding business. i nominate hadrian potter-black as my second.”

severus felt a rare twang of pity for granger, as he recognised the barely suppressed glee in nott’s voice- clearly, he had been itching for something like this for a while. whatever happened tonight would not be pretty, and, as he cancelled his disillusionment spell and set off towards his classroom, severus decided he would brew some quick speciality healing potions to send up to poppy in the hospital wing as a little gift.

for the first time in all his years of teaching, severus almost wished someone would create a disaster in this classroom. that way he could throw out as many detentions as remotely possible, and hopefully prevent this disastrous duel.

he was almost tempted to ruin granger and nott’s potions himself as an excuse to punish them, despite the fact granger was competent in potions and nott was top of the class, but he soon scrapped that idea upon remembering exactly what kind of father nott senior was. young theodore, as terrifying and powerful as he may be, would not survive a summer with his father if he failed even one potions class.

severus sighed to himself as he stalked around the classroom towards its end, pretending not to hear the furious whispers or see the rapid hand gestures that potter-black was directing to nott beside him or nott’s hands held up in innocence as he swore he wouldn’t try to kill granger. severus also really ignored the quick kiss nott pressed to potter-black’s cheek when he was focusing on the gryffindor side of the classroom, and he also ignored the way potter-black stopped his protests and settled for merely glaring at the boy beside him.

he did, however, deduct fifteen points from gryffindor after weasley’s hands shook hard enough for him to mess up his potion to the point of the cauldron melting through the table.

severus sighed to himself, as the last of the class left the room. he wouldn’t say he had ever been particularly impressed with potter-black in potions, but he did have to admit- he had never seen a functional draught of peace brewed with quite so much aggression.

he shook his head as he readied himself for his next class, telling himself that whatever happened in that duel tonight was not his business to stop. he was, however, quite eager to see just how it would turn out.

oh, to be a fly on the wall of the room of requirement.

#harry potter #hp fandom #theodore nott #hermione granger #severus snape #ronald weasley #blaise zabini #slytherin #dark harry #slytherin harry potter #nottpott #(if u squint maybe)#slytherin headcanon #harry potter drabble #grey harry potter #golden trio be gone #can u tell i’m clearing out my drafts atm

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starsickkk · 10 months

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Teen Vogue Excerpt – Why Queer Characters in LGBTQ Movies and BL Dramas Find Solace at the Beach

BY K-CI WILLIAMS JUNE 29, 2023

The Eighth Sense, a BL drama from South Korea, lives and dies by the beach. Oh Jun-taek plays Jihyun, a college student from a small town who struggles to acclimatize to metropolitan Seoul. When Jihyun joins the surfing club, he bonds with his senior, Jaewon, played by Im Ji-sub. As they fall in love, the beach becomes their spot for sleeping under the stars and even kissing in the ocean. “The beach is kind of like a tool that connects us,” Ji-sub tells Teen Vogue over Zoom, in his native Korean. Jun-taek adds that the “beach is very wide but Jihyun has been living in a world that has been very small,” and although “the ocean itself is very cold, the ocean was actually very warm for Jihyun.” It’s a site of transformation for them both, just as water metamorphoses between its forms.

Ji-sub names the beach as a “special spot” for Jaewon, “where he can relax and heal mentally as well.” Jaewon’s younger brother tragically passed away a number of years before we meet him in the series, and the trauma still sits with him. “I didn't realize how broad a range of emotions can be felt when you love someone until I played the character Jaewon, because it's something that I personally didn't experience,” Ji-sub says. Jaewon welcomes Jihyun into his place of significance, illuminating his dark spaces and ultimately bringing the pair together.

Jun-taek alludes to the title of the series, recalling our senses as human beings. Interoception, often called the eighth sense, is the brain’s perception of the body’s state, thanks to signals transmitted from our internal organs. Understanding these signals can help us regulate our physical and emotional state, though at the same time, trauma can inhibit those pathways. “The beach kiss scene was the sequence [in which] someone with pain and bad memories, PTSD in the past, turns into love and being healed by Jihyun,” Jun-taek says. “Although you have bad memories or trauma…you can be healed. Do not remain, do not stay with the pain.”

Inu Baek, one half of The Eighth Sense’s writer/director duo, attributes the beach to a specific cultural symbolism. He refers to the United Nations Human Rights Committee’s 2015 advice for South Korea to adopt comprehensive protections for all citizens, which would prohibit discrimination against the queer community. “We have not been able to enact the anti-discrimination law in Korea yet,” Inu tells Teen Vogue. He wanted to “give the Korean audience a message because Korea has experienced lots of disasters in the ocean” that are still ever-present traumas for citizens, such as the Sewol ferry tragedy — the show even pays tribute to those lost with a covertly placed yellow ribbon. “The beach symbolizes the hope of the harmony of this country,” Inu says.

A still from The Eighth Sense. COURTESY OF THE EIGHTH SENSE

The show’s other writer/director is Werner du Plessis, who offers the beach as a representation of “the ebb and flow of relationships, the way that they move, the way that they’re never consistent,” but also a “space that is simultaneously peaceful, while being extremely dangerous, like the ocean is such an unknown.” And also, quicksand exists. Intrinsic to our genesis as queer people is navigating identity, from day dot. As the intersection of two worlds, toeing the line between who society expects us to be and who we truly are inside, the beach is “such a beautiful metaphor for queer people,” Werner says, “because it’s exactly the way that we’re designed.”

#the eighth sense #the 8th sense #t8s #t8s articles #lim jisub #oh juntaek #inu baek #werner du plessis #t8s meta #kbl #korean bl #mentioned alongside portrait of a lady on fire??#i am unwell

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ripaxed · 8 months

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shed tell me all of your opinions on the tdroti ladies right now. this includes svetlana if you skip her i will scream. /lh

Oooh the gen 2 gals

Staci: She’s a fairly funny character in canon! I get a good chuckle from how other characters react to her (especially Dawn. I think it’s so funny whenever they get mad or annoyed). Also I think it’s cute that she styles hair :]. Though more of my affection for Staci comes from fanon. I greatly enjoy the idea that Staci is insecure socially and uses her lies to try to find validation from her peers. She’s sadly my least favorite of roti’s cast but that’s much more about of how much I like gen 2 than anything else.

Dakota: Dakota is genuinely one of my absolute favorite characters in all of total drama. I love her character concept because of just how popular Total Drama is in-universe of course a teenager would look towards it for fame. The additional idea of her returning as an intern is genuinely creative and well executed. I think genuinely all of her jokes land and they capture her personality perfectly to make her flawed and in need of growing but still completely likable throughout. Her and Sam’s romance is well developed and genuinely sweet, and love that it actively makes both characters better in my opinion. I have some mixed feeling about Dakotazoid, but I do like how plays into her character arc and I think her being a wrestler and living her dream of being famous through a new angle is delightful.

Dawn: TD D&D SWEEP Dawn is such a unique and funny character. I think she could interact well with basically any other character in the series. I absolutely adore how the writers used her as a tool for the audience to learn more about other characters. They’re a fun little oddity to think about. Easily one of the most memorable early (or earlish) boot characters in the show. My thoughts on Dawn that aren’t just rambles are rather concise but do not think that means I adore this character any less.

Anne Maria: Anne Maria is a very funny character that I think is under appreciated in a wide sense! She has such a fun little personality and I like this line she balances between being either very sweet or brash. It makes her a rather well rounded character in my eyes! She has so many memorizable lines More like Queen I’m-A-Dorka! and just moments in general. This is rather small I do like how Anne Maria sticks up for Cameron and Brick, it’s very sweet to me. Speaking of Anne and Brick I also like how she took his early position as being Jo’s opposition! They have a fun back and forth. Anne Maria is a very fun character that I wish had a bit more focus in the season proper. Also her and Vito are cute :>

Svetlana: Svetlana is an entertaining character! I have a notable enjoyment of athletic td characters that can dominate challenges. I wouldn’t say necessarily say she’s my favorite of the system but she does have my favorite moments of them I think. Svetlana helps you now. Yes, I am knowning this! Svet steals the show whenever she shows up and I like that its a genuine character trait. She’s a showboat! She knows she’s talented and is going to make sure others know!

Jo: What a standout character Jo is! Easily one of my favorites in the season proper. She’s such a bulldozer she easily directs the whole season into how it turns out. I realize I’ve. said this multiple times but Jo is genuinely such a hilarious character, I love her nicknames and I think she has an amazing va! Jo has a plethora of amazing rivalries between Cameron, Brick, and Lightning and I think that’s apart of why she’s so vital to ROTI’s dna! And I do appreciate an episode dedicated to showing off her insecurities! It makes her so much more two dimensional and an interesting character to think about! Jo’s amazing.

Zoey: What an odd character Zoey ended up being. A character that was presented with often conflicting personality traits that were quite possibly made unconsciously by the writers. Still however, I find those conflicting personality traits to be exceptionally interesting and makes Zoey a more complex character to a degree. I do find it disappointing her label as the Indie Chick wasn’t always used to its full potential, there’s elements of it in Zoey’s scenes of course, but she doesn’t wear her stereotype on her sleeve like her castmates do. Over all, the best way I can say how i feel about Zoey is that she’s an enjoyable character when not in the presence of her love interest. Which is unfortunate of course. However, I’d rather not leave this on a poor note so I’ll say this, I do really like Commando Zoey. I like that Zoey realized her own vulnerability in the game and did something about it. Her frustration with Scott and even with herself possibly manifesting in a hardcore challenge beast. She gets so in her head about surviving the competition however, she loses herself and puts Cameron into harm’s way. I like that she snaps out of it and effectively abandons her place in the game for her friend. I like Zoey when I think about her, but I don’t think she was used to her full potential in the season proper

#thank you for the question ren my friend ren #ask #tdroti #I love talking about roti #also #people say dawn’s overated I say no gen 2 character is overrated #and #to be honest. if I cared more about all stars it would make me dislike zoey more overall

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thatgirl4815 · 2 years

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Nature & Setting in KinnPorsche

Natural environments have been lacking for the majority of KinnPorsche. I’d argue that this only makes the wide open spaces in Ep6 that much more impactful. This also draws attention to a few specific scenes highlighting the symbolic contrasts between the natural and the superficial.

Eps 1-5 have emphasized industrialization (in the sense that most scenes occur in interior settings with a metallic/mechanized appearance) and neon colorization/lighting. I don’t want to say there’s been a total absence of naturalization, as we have been privy to some beautiful nature shots in these episodes, but these have all been superseded by the industrial aspects. This has, overall, led to an emphasis on darkness over lightness. For example:

It goes without saying that nature often symbolizes purity while industrialization represents corruption. There are a variety of potential meanings, but nature is typically associated with peace, strength, freedom, and independence. Conversely, industrialization has more negative connotations of greed and, as I said before, corruption.

None of this to say that nature is inherently good and industrialization is inherently evil. I don’t think the show is making a particularly strong case either way, but I do think there is some compelling evidence that leans into these cultural associations between nature/purity and non-nature/corruption. We’ve seen already that the mafia is corruptive; it strips away the core of a person and replaces them with a cold, oppressive shell. As Ep6 Kinn states while in the forest, “Being here, I got nothing on my shoulders. [...] It’s like I can be myself once again.” Unsurprisingly, the mafia’s strength is depicted visually through material possessions: their clothing, their accommodations, and--of course--their money. Case in point: the mafia falls under this industrial umbrella. The way they present themselves reflects a close connection to high class society. Perhaps society is the special word here, as it seems to offer--at least to me--the most distinct contrast to nature. The mafia is shady and undercover, but their roots are planted firmly in the heart of society. That is precisely why Ep6 is such a breath of fresh air.

It comes as no surprise to me that Kinn and Porsche’s deepest, most open conversations have taken place in natural spaces. Which got me thinking...how have more natural spaces been used in previous episodes (and vice versa with more enclosed spaces)? What is their purpose? I immediately thought of one specific scene.

Pool Chess (Ep5)

I’ll call this shot a mix of these two extremes. It’s intentionally deceptive in that it depicts an expanse of clear water and trees, but there are buildings caging it in on all sides. This deception fits well with the scene itself, particularly with Korn’s manipulation of Kinn. He presents himself as open, calm, and well-intentioned, but we sense something sinister in the exchange (or at least, I do). His words are very precise, targeting Kinn for his feelings for Porsche, but they’re never outright malicious. We can see from Kinn’s reaction that he’s deeply affected by Korn’s semi-lecture, but Korn doesn’t yell or snap at him at any point. Bringing it back to the setting, I think it reflects how we--the audience--are intended to view this scene. At first glance, we see the blue water and green trees and are lured into a sense of false security. But upon closer inspection, we see all the buildings crowding in, looming over the characters. Korn specifically relates to this setting--initially pleasant, but clearly shady. *As a side note, we also see an outdoor conversation between Korn and Porsche in Ep5 that could be interpreted similarly.

And now for some contrasting examples.

Flashbacks (Ep5)

To start: Porsche’s bathroom flashbacks in Ep5. I’ve talked about this scene specifically in this post, but I want to look specifically at the setting. Porsche is in an enclosed space. There’s limited lighting save for a golden light; if I’m remembering correctly, gold has been interpreted by others in the tag as the mafia’s color. That makes sense as Porsche feels cornered by memories. Again, I won’t spend too much time on this scene besides to point out how the setting pairs with the content.

Porsche experiences similar flashbacks later in the episode.

Again with the gold. We see an enclosed space with spare lighting. The audience knows Porsche is in a bad place here because of Kinn, but we must remember that Porsche’s involvement with Kinn is all related to the mafia. Everything connects to the mafia to some degree, which seems to be the point: the mafia infects everyone. We know that from the plot, but also from the subtleties of the setting.

Am I getting too off base? I mean, why even bother pointing all of this out? First and foremost, I think these scenes demonstrate the attentiveness of the show runners. But I’m attracted to the contrast they offer, specifically with Ep6. I mentioned it earlier in this post, but all of Kinn and Porsche’s most meaningful, raw conversations occur in open spaces. In turn, they experience their lowest moments in crowded, dark spaces. It all relates to the interwoven threads of nature and industrialization.

Like here, we see Kinn and Porsche sitting beside the water in a wide open space. Unlike the Pool Chess scene, the lights and signs of civilization are in the distance--not oppressively close and crowding. This, to me, represents the beginnings of their openness with each other. They can still sense the oppressiveness of their situation, but it’s easy enough to ignore. Ep6 is where we truly see this openness between them, because civilization/industrialization is no where in sight.

I’m interested to see what the show will continue to do with setting in the future.

#kinnporsche #kinnporsche the series #kinn porsche #kinn x porsche #kinn and porsche #kinn #porsche #kinnporsche meta #porsche pachara #kinn anakinn #kinnporschetheseries #kinnporsche analysis #Can you tell I'm obsessed with this show yet?#kinnporsche ep 6

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helloanxietyattack · 2 years

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I think the serenade is so viscerally uncomfortable because it’s supposed to be. Choices by the cast and crew force you to sit in the intense vulnerability of the moment with the characters and confront it with them, one of the most overwhelmingly uncomfortable experiences in the world.

Many have pointed out that, on paper, the situation is objectively not that bad. Whistler can sing, it’s a fairly private location, there are max fifteen people who all know each other reasonably well and have some level of context for the situation, and no one except Lucy and Ernie are even aware anything is happening until halfway through. Sure, it’s unexpected and there’s a question of situational appropriateness, but Whistler’s misguided earnestness is endearing and her occasional inability to read a room is part of her charm.

But it's well established that Kate “my pantsuits are my armor” Whistler and Lucy “if you saw me crying, no you didn’t” Tara are extremely unwilling to be vulnerable in front of other people. They’ve made a lot of progress individually and particularly with each other – it’s probably the most significant character development across the season – but Officer “It’s only a flesh wound” and Special Agent “My heart would like to change the subject” still have a long way to go. This is still really hard for them.

Leading up to this scene, the writers go to great lengths to establish what is at stake. The question here is not, “does she love me?” Lucy and Kate both know the answer to that. Jane knows the answer to that. So do Ernie, Jesse, Kai, and probably the night security guard, the janitorial staff, and that one random extra who sits at the fourth desk in the bullpen. The question is, “is love a good enough reason to try again and risk getting hurt?” On some level, the audience, Ernie, and Lucy all know the answer to that too. It feels like an inevitability and Kate is really the only one who isn't aware of that.

This is where the acting and cinematography transform a foregone conclusion into a nausea inducing trip into Kate’s headspace. For the sake of comparison, consider the scene where Patrick serenades David in Schitt’s Creek. There are contextual differences in terms of situational appropriateness and relationship status, but otherwise the scenes are surprisingly similar. Look at the difference in presentation though:

Patrick is tucked in the corner of a low-ceilinged, well-lit room with his back to a wall. It’s a tight shot from a low angle to force a perspective that makes him appear larger than life. Noah Reid is relaxed and confident, and he has accompaniment. The guitar is in this with him, filling the silence and offering support. Even though David is vocally apprehensive, and his expression is inscrutable at best to start, everything about it feels safe.

Whistler, by contrast, is totally alone and completely exposed in the vast darkness. Tori has us trained by this point to understand this body language – the wringing hands, the unconscious attempts to make herself smaller, protect her center – means Kate is distraught. The shot is wide and angled down, which, coupled with height of palm trees and torches in the background, makes her look so small and fragile. And she’s completely unaccompanied, a solitary voice singing into the void. The whole situation feels extremely raw and incredibly vulnerable.

But that’s the situation, and we’re right there with her. There are only two options here and both are equally terrifying. One: Lucy says no, again, and leaves her exposed, alone in the dark with her broken heart in her hands. Two: Lucy agrees to try again. But the relationship they’re coming back to is not the one they left – they’ve said too many things they can’t take back. Things like, “you are responsible for safeguarding my heart and happiness because I love you” and, “concern for your wellbeing profoundly affects my executive function and, on some level, the value I place on my own life.” Things like, “your existence caused me to fundamentally reprioritize my life and turn my back on a decade of dreams without a second thought,” and, “I will keep showing up for you, over and over, without being asked and in ways you didn’t know you needed, because I love you even if I don’t have the words to say it and even if you don’t love me back.” You can’t go back to a fun, flirty, “whatever this is” after saying things like that. In their absence, the relationship has evolved into something different and much more serious.

There’s a moment in all life-changing relationships, as they transition from something casual to something real, where you finally admit to yourself what you really want and what you’re willing to risk to get there. The most gut-wrenchingly terrifying thing to do is to then admit that to the other person, to ask for what you want. You have to expose yourself completely, admit how much you care, place your heart in their hands and hope they don’t let go. That’s where we are with Whistler in this scene. That’s the discomfort and uncertainty we’re being forced to sit in, and they honestly did an amazing job of bottling the “I need to throw my phone into a ravine and then back it over with a truck because I just admitted something that absolutely terrifies me and I don’t have the emotional bandwidth to handle the aftermath right now” feeling. Just took me a few days to really appreciate it.

#kacy spoilers #kacy #kacy analysis #ncis hawaii #lucy x kate #ncis hawaii spoilers #lucy tara #kate whistler

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gillianthecat · 1 year

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Thoughts While Watching Boys Planet: in which I discuss the contestants, muse over K-pop and reality tv, and go off on many tangents

Reality TV here I come! I don’t watch it that often, but I don’t avoid it. The main things I’ve watched at any length are Dancing with the Stars, So You Think You Can Dance (but mostly only watching routines, I don’t think I’ve seen many full episodes) and the Great British Baking Show. So basically I watch dance and low stakes fun competitions. (I can’t stand any lifestyle or dating reality tv, it makes me sooo uncomfortable on behalf of everyone involved and I have to hide away.)

The most recent reality tv thing I watched was probably my favorite. After The Untamed I got into a Xiao Zhan phase and watched the singing “competition” show he was in Our Song,which was lovely and non-stressful because everyone was already a working professional singer at various stages of their career, so a) they all sounded good and knew how to put on a good show, and b) it felt like they were all going to be just fine, no matter what happened. There wasn’t the angst of contestants’ dreams dying when they get eliminated, as I suspect will be the case for Boys Planet.

I don’t know a ton about K-pop, although I’ve absorbed some stuff through tumblr and the general atmosphere. I do feel like this could be, in an oblique sort of way, a useful introduction to the K-pop industry for me. Not that I think they’re going to present an accurate picture of what it’s like, but I find that I can learn a lot through the stories that they try to show, and the things that slip through the cracks, and all the assumptions made. My impression of the industry is that it is very competitive, and an intense, heavy-workload training process that starts way too young, and that idols are under heavy pressure to look and present themselves a certain way. So actually a lot like the ballet world, and I’m a big fan of ballet, but for some reason young K-pop idols make me more worried. Perhaps because they seem so much more exposed, the K-pop audience is enormous and these kids are hoping to get famous fast, whereas even the Maria Khorevas and Isabelle Boylstons of ballet stay pretty safely unknown to most of the world. Yes, the training is unhealthy in many ways, but at least the reward for it isn’t losing your private life.

Caveat before I get into the show itself: the contestants are all really good dancers, much better than me. If I sound judgmental sometimes, well, that’s because I’ve watched a lot of top level dancers of a variety of styles, and have developed Opinions. Are the Opinions necessarily accurate or fair? No, but I still have them.

Like @petrichoraline, I get stressed out when the judges are mean, and worry about the contestants being exploited for their dreams. So many of them are still teenagers! With these kind of things, especially with the contestants so young, I actually tend to hope it’s more staged than not, because that feels more protective of these idol hopefuls; their raw selves aren’t hung out for everyone to see.

The beginning is cute with us discovering the Boys Planet world and how things work with these two dorky contestants who only feel worthy of one sticker star. They feel like the plucky wide-eyed farm boys setting off on an adventure in a fantasy novel. I wonder if they’re hear just for this role—with NINETY-EIGHT! (sorry I still can’t get over it) contestants, and I think half of them being eliminated right away (?) there must be some of them who are just here bascially as seat fillers, or reaction shots, who knowingly don’t have a chance, right? Just to make things easier for the judges/audience voting. I just hope that those contestants know that that’s their role and aren’t getting their dreams crushed by surprise.

I’m not a big fan of this editing choice of all these double takes. It’s distracting and I keep feeling like it wastes time when there are NINETY-EIGHT contestants to go through. I’m generally not a fan of the quick cuts and constant switches to reaction shots—I want to see them perform—but I realize that’s just a part of how reality tv is done. And it’s true that some of the reactions are great.

With NINETY-EIGHT idol hopefuls, there is no way to keep track of everyone and I am already lost. It doesn't help that so many of them, especially in the K Group, are dressed so similarly. I am glad for my sake that they’re at least organized into groups by… agency? training school? I’m not exactly sure what their relationships to these corporations are, although I have heard of many of them. I’m also glad for the contestants' sakes they’re in groups, that seems a lot less terrifying than doing a solo. Also, frankly, group performances are usually better, a solo performer needs a lot of charisma to hold the stage alone.

I feel (sort of) qualified to evaluate their dancing, but not at all their singing. I am giving their voices a lot of leeway. I know in music videos the voices are recorded separately from the dancing, get a lot of processing before being released, and I suspect it’s true to some degree or another (from instantaneous digital enhancement to full on lip-syncing to a prerecorded track) of all the live professional performances. Here it sounds like they’re not getting any of that, we’re just hearing their unmodified singing, and while they’re vigorously dancing, which is really hard! So I know it’s not going to sound “professional,” but I don’t know enough about singing to be able to evaluate their raw voices.

I’ve paused halfway through to type this up, and I’m trying to remember who I’ve seen already. I’ve mostly lost track of our original duo; it seems the show has dropped them as guides.

There is the Last Contestant, Lee Hoe-taek, already a K-pop idol, just back from military service. Being largely ignorant about Kpop bands, I’m not sure if he was a Big Deal or in a small band most people don’t know, but either way his big dramatic reveal at the end was entertaining. All the contestants sure seemed to recognize him and be shocked that he was there.

I always suspect with these things that the company knows going into it pretty much who they want to hire. I mention that now, because I’m guessing Lee Hoe-taek is here to either to anchor the group that forms at the end, and so is definitely getting in, or is just here to provide veteran (no pun intended) presence in the competition, and is definitely not getting in, because they want a group full of young unknowns.

On the other hand there is audience voting, so… are they manipulating it somehow? Or are they actually going to abide by audience choice? (It’s possible there are rules I could look up. But I’m just gonna speculate instead.) I suppose if they don’t care so much about the group produced but just the competition to get there that would make sense. I am very intrigued about what this show is trying to do, especially given the Korea vs. the rest of the world framing, which they occasionally play up. The message seems to be, “We in Korea are the originators of Kpop and have training down to a science and therefore are the best at it” but also, “Isn’t it exciting how far K-pop has reached and how many people want to be a part of it like us.” They’re not hitting us over the head with it (so far), but some of the judges masters’ comments are implying that. But I also don’t feel qualified to talk about what’s going on in the international cultural politics of it all, other than to notice it’s very present.

And of course there is also that time honored method of audience vote manipulation: editing! Which they’re already using extensively (they really have no choice with NINETY-EIGHT contestants) so perhaps they’ve a short list of candidates they want for the final nine and are willing to let the votes work out the details. I honestly wouldn’t be shocked if Lee Hoe-taek selflessly pulls out at the last moment to give a younger contestant a chance, or something like that.

Where was I? Oh yes, the contestants. First up was the K Group quartet from Jellyfish, presenting themselves as extremely confident (they each took seven stars stickers!) which felt put upon to me, like someone (Jellyfish? BP producers? the boys themselves?) decided that would be their “brand.” Like their swagger didn’t feel natural, but who am I to say. Anyways, I thought they were quite good! And the fact they didn’t get 4 stars, and others did, had more to do with the story the show wants to tell, either the Jellyfish group’s redemption from being down, or some complicated politics about K Group vs. G Group, than it did with the actual talent of the contestants. But also, it’s hard for me to evaluate the dancing with all the quick cut editing, and I can’t speak on the singing at all, so the judges masters could be seeing something that I’m not. They did go quite hard, and that one master made a good point about needing some nuance, needing to let the voices be heard. It just seemed Jellyfish was being held to a higher standard than others. I’m not personally super into their style, but they’re very skilled. Park Gun-wook seems to be getting the main character treatment, with his solo and all.

Next up: Team WakeOne from G Group. From Japan, I think? I forgot the details, I have to re-watch. They start with this little warm up thing, I think they’re trying to make themselves stand out with it? I don’t really get it tbh. But in the actual performance they’re also quite good. One of the things I was worried about going into this show was that there would be a lot of embarrassing flailing around on stage, but so far everyone shown seems very competent and well trained. It really does feel like a nearly professional level group, ready to transition to being an actual idol. I guess that’s the difference with SYTYCD, which had people from so many different dance backgrounds trying on new styles; here everyone has trained for this specific job they’re going for. I don’t have other thoughts on this group specifically, the edits are too fast for me to really evaluate other than “they know what they’re doing.” Oh, right! Haruto was the ballet dancer. Thirty fouettés. In socks! I’m very impressed (even if he no longer has a ballet dancer’s form.) He is a very expressive performer though. And the first all-star!

Next: Ah yes, the four from Taipai, with the contemporary-trained extremely flexible main dancer. I don’t remember much about them other than they were also very competent. And the contemporary dancer was quite skilled (even though I don’t particular enjoy that style of meaningless trick based competition style “contemporary” choreography that he did). But it impressed everyone, so that’s what counts, and luckily for me that will probably be the only time I see it here. And it got him all-star! They do love their cross-trained classical dancers, lol.

Oh this part was kind of odd. Next up was a duo from Vietnam, another from Thailand, and four from China… and they just sort of talked around their performances? I thought they were building up to a big reveal, but it seems like they did poorly and so the editors just decided not to show them? I do appreciate on one level if they’re protecting the candidates from embarrassment. But in the tiny clips they showed they seemed reasonably competent. Perhaps the big reveal will come later. They are getting the hardworking underdog with big dreams treatment, so I can’t imagine they’ll disappear just yet.

Ah the Americans! My countrymen. I wasn’t intending to be all patriotic, but Jay is kind of adorable. As that other contestant said, he has amazing reactions to everything. I was racking my brains for who he reminded me of: it’s Zeng Shun Xi, who played Wu Xi in Ultimate Note, especially when he smiles. These two are also well trained, danced well and sounded good. They seem more singing focused; I think the choreo was simpler compared to the others, the voices more highlighted. And Jay uses his face wonderfully! I’m totally charmed. I have a variety of thoughts and feelings about non-black people doing hip hop, and their style felt especially… imitative of R&B somehow? idk, I don’t really know what I’m talking about. But the influence of black hip hop and R&B on Korean music and dance is another large (and fascinating) conversation I don’t know enough to say much useful about. I guess the fact that he’s from the US makes it stand out to me more here.

And Jay gets another all-star! Poor other American, in Jay’s shadow. I do wonder how everyone feels about getting separated from their original group, as some get eliminated, as I imagine is going to happen. Have they worked together long, or were they thrown together just for this? I’m not “shipping” any of these people, but I can also see how these situations are rife with drama for good stories. I understand why Cheewin set part of War of Y in an idol competition show—so much potential here!

Halfway through! I’m impressed if you’re still reading my ramblings; I’m not really sure why I have so many thoughts about this show that I want to share, but I do.

Eavesdropping on the “private” conversations as the contestants are on break. I’m just assuming (hoping) that they know they’re being recorded. The chatter is about what you’d expect, admiration about how talented and good-looking every is, worry about how they’re doing. It’s a bit boring, but I hope the show continues to mostly avoid interpersonal drama.

The annoying thing about competition shows is that the contestants are forced to come up with these inane and vaguely xenophobic statements like “Group G can’t beat Group K. Why? Because are roots are different.” Just to build up the “rivalry.”

Ok! Now we’ve got the two groups from YueHua! And Gasp! They end up doing the same piece. If they were from different companies I would acknowledge the possibility of coincidence. But I can’t image YueHua wouldn’t know, so it has to be intentional. All the better to make comparisons! Group G YueHua is full of charming bluster, and both seem at the top level in terms of training and skills, but, sorry Global group, the Korean team wins this round. That 16 year old dancer everyone is fawning over really is very good. But I don’t think Group G Yuehua is going anywhere; they’re all too charming to be kicked off yet. (And here’s the “and ollie.” of that first post I reblogged! I’m still awaiting the “heterophobe” with bated breath.)

Oh yes, the violin! No one’s even listening, lol, there just impressed he can play! Which I am too, tbh. (I do wonder what twosetviolin from youtube would have to say about it, is he any good?) Zhang Hao gets himself an all-star with that and his high notes.

Ok, but I love 29 yo Lee Hoe-taek’s reaction when Han Yu Jin says he was born in 2007. Me too buddy, me too. (I just googled, he was actually FIFTEEN in the English way of counting age when this was filmed. He turned 16 last week. Holy shit.)

OMG. I just checked and that contestant who looks so much like the actor from Roommates of Poongduck 304 IS that actor. Kim Ji Woong. I kept thinking they looked so alike whenever the camera focused on his reaction (as it often does) and then I remembered I’d read there was a BL actor on the show.

Anyways, onward. Ricky and Zhang Hao are more nervous watching their Korean label-mates than the were performing themselves, but I can’t tell if it’s because they want them to do well or are worried they’ll beat them. Do the two teams train together at YueHua? For some reason I get the feeling they’re being supportive, but maybe its just because I like that idea better.

Omg it’s so annoying when they interrupt and restart and restart and restart the choreography to build dRAmA. Once again I say, I am not a fan of reality tv style editing. But Yu Jin really is a captivating dancer, and this choreo serves him well. I think maybe the group isn’t as good vocally as the Chinese team? but are collectively better dancers.

These little tidbits from the Chinese YueHua team about seeing the Korean YueHua team rehearse are fascinating to me. That’s what I like most about dance reality shows, these little glimpses behind the curtain. The Korean team had such stage presence, I could see it only coming alive before an audience, and hard to access in the rehearsal studio.

Now seems as good a place as any to share one of my theories about why most K-pop idol dancers I’ve seen (which I admit is still not that many), despite being incredibly skilled and talented, do not quite cross over to the WOW level for me of really inhabiting the movement. Part of it of course is that they are singers and celebrities as well, and the nature of that is that most of them end up being really good at two two things instead of absolutely amazing at one. But also I think a lot of them have mirror head. I don’t know if it's a real term or I just made it up, but it’s a real thing—when you train you spend so much time watching yourself in the mirror, perfecting every move, but you forget to learn to move your head naturally, so the dance doesn’t seem full-bodied in the same way. My hypothesis is that Yu Jin’s training has been so rushed (1 year!) that he’s largely relying on his natural talent and movement quality, and hasn’t accidentally frozen his head. Obviously there are many other little details that turn a performer from extraordinarily competent at dance to dancer, and of course the whole idea could be bullshit.

Four all-stars for them! It would have been sad if the last guy got left out, lol. First time I watched I wasn’t sure what I thought about Kim Gyu Vin asking to also do a solo dance, but this time I thought it was cute.

Tangent from all my tangents—I find it hilarious how they’re blurring out their signs. I know it’s to avoid spoilers about how many stars everyone has (since I assume they’ve edited this into a different order than how they actually performed) but because the stars are right over everyone’s crotch while seated, well…

Next up a solo act! This is adorable how he messes up his little intro line. I like how supportive Lee Hoe-taek seems. I’m finding myself grow fond of this guy for absolutely no reason. I just like his reactions. Perhaps it’s the “old folks” solidarity? (I’m a decade older than him, lol.)

I can’t tell what I’m supposed to think of blue satin shirt’s performance here. To me it’s the most high-school-talent-show level of singing and dancing they’ve showed yet, but also performing solo is a lot harder and more exposing. So I don’t want to judge too harshly.

This has got to have been staged… there is no way two contestants that just happened to be the only solo acts just happened to do the exact same piece and oh look! they’re also the only two wearing black slacks with slutty satin button downs in complementary colors! Spontaneous idea! Why don’t they dance together? It’s a cute bit though, so I don’t mind.

Oh yes! The master going to help red satin shirt fix his earpiece was also adorable. (These guys seem to be the comic relief of the episode. Hopefully for their sakes it’s on purpose.) I enjoyed his performance more, although it felt equally amateurish, I think because he seemed more relaxed and having fun. I liked the way he smiled through it, even if the judge master thought it was odd. “Something feels very loose about it. But I don’t want him to fix it and do it properly.” Same sis, same. Somehow it works, lol. I also love that he takes off his shoes and socks.

OK! I’m back to where I was when I paused to “jot down a few notes.” 😂 Several hours later:

The master is right, it does look better as a duet (this whole thing was definitely planned). They’re still no superstars, but at least they look respectable.

Oh dear. I was just thinking oh he’s kinda hot when the master said, “oh he’s handsome.” But he is!

Did these two really do the choreography for most of k-pop, or did the producers somehow set it up so all the groups keep doing their choreo? Since supposedly the contestants didn’t know these would be the judges until they walked into the room. This is where my industry ignorance makes it hard to evaluate things. Either way it adds a nice frisson of tension to the proceedings.

Oh dear. They’re bad. I do appreciate the editing and reaction shots making it clear it’s not just me who thinks that. But I do feel for any contestants who come on and get the you suck edit.

Another solo! I feel pacing-wise he needs to be good after comedy bad and just plain bad. Crossing my fingers. The soloist is right, both masters are very handsome 😄 This little bit is cuter than it has any right to be. Oh, I guess bad contestants are not over, instead we’re going all in on the bad singers 😬 I had such hopes for this dude after his dramatic start, but that was painful to hear. All of these singers are. It's not quite as kind about bad performances as I thought earlier, but at least we're only getting short clips.

At moments like these I wonder, were these bad singers deliberately chosen to pad out the NINETY-EIGHT and make it easy to cut? And give an excuse for this speech on the importance of singing the lyrics? As a non-singer I do find it interesting how performers balance the singing and dancing. But I feel bad for all these kids who came on with hope. Did they think their singing would be good enough? Or that their dancing was all that mattered (I can’t tell if they were good dancers because the clips were so short.) Or were they in on the trick of it all? I hope for the last one, but I suspect Mnet is not that kind.

Yeah it’s a long day, there are NINETY-EIGHT trainees here. (Seriously. I want to understand the point of that decision. Are they charging contestants for participating? Do they think it increases the drama for the television audience? We’ve barely seen a quarter of them so far and it already feels like a lot.)

Matthew, that was a bold claim, that you speak French! You had to have guessed they’d ask you to speak it. Good thing none of the judges seems to understand. (Not that he’s terrible, just trying to speak yet a third language that you’re not fluent in while under pressure. Difficult.) Anyways, I can’t decide now if he’s going to be good so they can keep him around (along with Jay) for the North American crowd, or if this is a sign of imminent disaster. They’ve certainly managed to endear him to me, I find myself hoping he’s amazing. Aw and this background story about his friendship with Sung Han Bin is adorable. He has to stay at least one more episode after this editorial treatment. Yay! He’s good :-) Not like mindblowing, but good enough to seem like he belongs there. Hmm. This is the first time we’ve seen the judges give normal actually useful feedback. I wonder why that is? The editors certainly seem to be promoting Matthew as "the one who will grow."

Sung Han Bin. I’m pretty sure it was him I saw on a video here who was dancing like amazingly well, so I’m looking forward to this. His very stiff nervous posture isn’t a good sign, but they are saying he used to be a dancer so I have hope. Oh yay! We get to see one of the choreographer judges dance! Oh boo it’s mostly just reaction shots. But she is good. And so is he, in the little bit the actually let us watch. Yay!

Oh interesting. They get to check boxes on what they think they’re good at and what they want work on. Did all those poor kids come thinking that they didn’t need to be good at singing yet? Also, they keep saying, “he’s singing this live, right?” Does that mean that some of them actually weren’t?

He seems good, but they won’t let me watch him long enough to actually seeee anything 😾. Honestly, he doesn’t seem quite at the level as I was expecting for having worked as a backup dancer for two years, but singing at the same time and being a solo act is a whole different ballgame. And his voice seems pretty good, considering that’s not his specialty. I wonder, are he and my arbitrarily beloved old guy Lee Hoe-taek the only ones who have worked professionally as performers before, or are there many of them? Oh wait, our BL actor friend with the kissable lips, Kim Ji Woong, was also a working idol at one point. Now I’m finding myself curious/nervous to see how he does. I bet out of the NINETY-EIGHT contestants, at least a few of them have experience.

Ok, a trio from Tokyo! And they too are doing a song by someone in the audience, although this time it’s a fellow contestant. The producers have to be arranging this for the drama. There are a lot of possible K-pop songs, right? I don’t know, I’m new here. Ahh. they made it a mandatory practice song. Maybe they just hoped someone would get the hint and pick it on their own.

Aww, why do I love Lee Hoe-taek so much? His reaction is adorable. He’s sitting all alone there in his center throne. I hope the show is kind to him and he’s able to use it purposefully rather than be used by it.

I’m not a big fan of this trio’s voices, but it’s a fun song, and it’s fun having something that the whole audience knows well. Aww, my beloved is crying over the whole upcoming generation dancing along to his song. I don’t know what conversations are had about mandatory military service in S. Korea in general, or specifically about the experiences of Kpop idols going in and then returning the world nearly two years later, but I could imagine that being intense for them in so many ways. Ok, that’s it, I’ve found my guy. I’m not necessarily rooting for him to win, because I suspect he has career path options that fit him better than a debut group with teenagers, but he’s still my guy.

And now we transition into his moment. My boy is going to make me cry. And I never even heard of him before this morning. But he gets to come baaaack! To the staaage! And he has to do it all alone. “How is a trainee?”—that’s right Ollie, you tell them, don’t let them diminish my boy. Aww, and he’s encouraging everyone in his pre-performance speech! But someone is asking The Question—why is he here as a contestant instead of a master?

Arg, this teasing editing is so frustrating. But it looks like yes, he is a PERFORMER. Such presence in those brief clips. I love it when unassuming-looking people turn themselves on on stage. Oh god, they’re building the drama as much as they can. Obviously he did well though, they’re all crying! And it seems like the official answer to The Question is that he just wants to someone to finally tell him he’s good at what he does. Aww. Break my heart why don’t you. Like, I’m not sure how much this character of Lee Hoe-taek has in common with the real person, but the character is compelling.

And of course that’s the cliff hanger. Well now I have to watch episode two to see my beloved perform. I won’t (shouldn’t) blog about it though. (I shouldn’t, but I might be tempted.)

And that wraps up day one, with less than half of the NINETY-EIGHT contests seen. And that was with speeding through some of them. I'd already forgotten the beginning, how are they going to get through it all. I remain curious.

#this was not EVERY thought that went through my head while watching but it was most of them #my ramblings #i wrote almost 5000 words about this episode #why i don't know #sometimes my brain is weird #living with adhd #boys planet #lonely boys #honestly i think i'm just going to keep calling it that in my head #kpop #reality tv competition #reaction by gillianthecat #kind of like liveblogging

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margridarnauds · 1 year

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top five characters/moments/things from irish mythology you wish had more pop culture traction?

Thank you!

One thing I’m going to say, off the bat, is that I know that my idea of what has pop culture traction is going to be very different than what the general public sees -- When you spend a solid chunk of your life looking....and looking...and looking at pop culture retellings, that’s pretty much all you see, but I’m aware that what might be relatively common in depictions of this stuff might still be relatively obscure to the general public. (Especially if it’s not, say, banshees, selkies, or, God help us all, leprechauns. Even though those are all folklore, I know I’m never going to win that fight.)

1. The Tuatha Dé being dicks in general. Like, with all respect to the Professor, he did possibly the worst possible thing to Irish material (and that’s including when he dissed “Celtic materials” as being like shattered stained glass) that he could have done by sheer accident when he created Lord of the Rings. Because, since that series was published, every single low quality fantasy writer has been trying to shove the Tuatha Dé into Tolkien’s elves (and a specifically bowdlerized version of them.) And the TD are...they’re fascinating to me. I love them very dearly, I’ve been going back to them for years because they’re this group of superhumans who are also petty and spiteful and sometimes rigid in upholding distinctions. They haven’t always forgiven the Milesians for taking Ireland from them, they will do everything they possibly can to screw people over, they are sometimes only loosely tolerant of the mortals (and, on Samhain, for example, they sometimes lose even that loose tolerance.)

Like, I want the Tuatha Dé to be complicated and hypocritical and petty and spiteful while also being capable of being the best of humanity as well while ALSO being distinctly Off. I want Lovecraftian Tuatha Dé who are always just beneath the surface, I want comic relief Tuatha Dé who are still in denial over having lost Ireland and refuse to adapt to the modern world at any cost to truly ridiculous standards, I want the Tuatha Dé to be a big, high stakes family drama/reality show/soap opera with the entirety of Ireland having to deal with the fallout, I want tragic Tuatha Dé who are these kind of living artifacts in a world that’s more or less outgrown them. (I am obviously aware that they have modern worshippers -- I am saying that the TDD are drama queens and will still be mopey after having lost the entire island. Unless you have Brehon law actively being around still, they are still going to be mopey.)

2. Related to that, bruighean tales. This is not a term you hear very often outside of Celticist circles, and part of the reason for that is that these tales often haven’t been translated yet into English (though some of them have been translated from modern Irish), even though they had a wide currency in the folk tradition. What these are is, essentially...a story in which the Fianna are tricked by the Tuatha Dé to go into a magical fort, where the Tuatha Dé proceed to attack them throughout the night with a series of spells, illusions, and the odd monster or two. (The most famous of these is probably Laoi na Con Duibhe -- The Lay of the Black Dog.) Like, I feel like there’s a lot that a modern audience could appreciate about this, from the perspective of horror and the gothic. I think you could do a lot with the claustrophobia and the tension of it, with this group of legendary heroes possibly, for the very first time, being in over their head.

3. The Fir Bolg! It is so ridiculously easy for these guys to get adapted out of depictions of the battle between the Fomoire and the Tuatha Dé, but they’re so important! (Also, more Fir Bolg who are accurate to how they’re presented in Lebor Gabála Érenn -- so many pop culture references, when we do get them, have so much....uncomfortable baggage. Like, I don’t want to say too much because there are some papers coming out on this, and it’s like...I don’t know how much I can say, but it’s just...please can we toss away the idea of them somehow being these primal “primitive” people who are associated with the earth? Can’t we let them be competent and clever and strong settlers of Ireland who established the kingship?) Especially my boy Sreng who is quietly one of the single most fascinating and complex characters in the entirety of the medieval and early modern Irish literary tradition.

4. I firmly believe that we have never gotten enough Bres as a character, which is a little shocking when you consider how important he is to the Tuatha Dé -- so many central figures are related to him (the Morrígan is his aunt), he has a fairly interesting arc in Cath Maige Tuired (which is just a text that...I can never have enough adaptations of), and he gets a relatively large number of appearances across medieval and early modern Ireland. And, like with the TD, I’d really like to see him be done....well. Like, don’t settle for “he’s evil because he’s evil”; I want to see him get a large amount of interiority, I want to see him be complex, I want the audience to sympathize with him even as they realize that if he succeeds...it all goes down. Authors almost seem...intimidated by him, and I think part of it’s that heroes like Lugh are easy, especially when you remove the inconvenient little bits about them that might make them unpalatable. Villains like Bres, though...it’s like they’re having to hold up a mirror. We want to be like Lugh, we want to be that kind of superhuman, hypercompetent master of all crafts who is beloved and is able to conquer all the enemy. In reality, though, I feel like Bres is more...realistic. More human. And that’s why people struggle with him in adaptations, whether they excise him entirely or make him a caricature of himself. People don’t want the reminder of their own flaws. (Also I believe that he should kiss men.)

(On the mouth.)

(With both parties consenting to it.)

5. Relating to #2, I feel like there’s a thick pseudo-Gothic (pre-Gothic?) vein in a lot of the Irish material that could be a lot of fun to work with. @effervescentdragon once compared Crimson Peak to Togail Briudne Dá Derga, I personally love the incident with the dead men and the Morrígan from the Boyhood Deeds of Cú Chulainn, I was recently rereading the plot summary of the short story “Don’t Wake the Dead” and was reminded of the story of Sín in Aided Muirchertaig meic Erca, the Dead Man in Echtra Nerai, this one description of a bruighean tale...I think it was Eochaid Bhig Dearg, where every single one of the Tuatha Dé is described as having a smile on their faces as they surround the fort....waiting....while the Fianna can only look on in horror and dread whatever nightmares they summon next...Medieval Irish material is often likened to fantasy and, for what it’s worth, I do understand it, especially since all the great fantasy writers were very well in-tune with world mythology and Irish is an Indo European literary tradition (albeit one that, as of the time of it being written down, had intertwined itself tightly with Christianity.) Still, I would really like to see more of that Gothic element being teased out, because a lot of my roots are in the gothic tradition and I would love to combine my two favorite things.

In general, I suppose my tl;dr is that I would like, in general, for more nuance, more complexity, I’d like more writers to have fun with the material and to think outside the box that this stuff gets put into, I’d like to see less bowdlerization, less need to apply a Nationalistic brush to these things that hasn’t really been necessary since the 1930s. (Also, give me more Cath Maige Tuired adaptations.)

It’s funny a lot of the time, when I see, say, arguments about Arthuriana or Greek Mythological adaptations where people will be saying “I HATE when adaptations--” and I’m just kind of in this perpetual state of “What do you mean ‘adaptations?’ Y’all get your favorite works adapted more than one time?” Don’t get me wrong, I can sympathize with seeing your favorite material butchered, but I’ve had to read a LOT of really bad self published novels, Wattpad fiction, and MySpace RPGs from back in the day in order to get *anything* for my favorite characters. And if I was ever really, deeply personally offended by seeing my favorite characters done badly....I think I’d have gone insane at this point. I think people often expect me to be very strict but the truth is that I’ve never had the luxury of being very strict. Our most accurate representation of the material thus far’s been an animated film where the day is partially saved by a spirit cat attacking a Viking warlord. Our second most accurate representation’s been Assassin’s Creed: Valhalla, where there’s an evil cult of human-sacrificing druids in 9th century Ireland that ends up spurring an Irish Inquisition and the 50 foot tall Lia Fáil, which is an alien artifact, exploding into smithereens. And I think that it’s fascinating to see what the public is really interested in and what authors and creatives are putting into their stuff VS the material as we understand it. So, a part of me’s a little sad all the time, but a part of me’s also always interested in seeing how these trends play out.

But, anyway, I hope this answers the question! Thank you again for the ask!

#long post

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eowynn-bagels · 2 years

Text

Top Gun, Propaganda, and Art

Can propaganda be good art?

As of the time of writing, Top Gun: Maverick recently rose to the 6th highest grossing movie of all time, knocking out Avengers: Infinity War. It has been praised for its cinematography, writing, direction, and performances. Tom Cruise once again takes to the skies, this time in an F-16 fighter jet with his (dead) friend’s son to gun down faceless enemies while quipping and laughing the whole way through. When I went to see it on opening night, every joke, every emotional beat, every story beat resonated with the audience. They were cheering when Rooster came back for Maverick, they were cheering when they hit the target, the list goes on and one.

Top Gun: Maverick is a crowd-pleaser. And it’s also the most expensive piece of US Air Force propaganda ever created.

From the Washington Post’s article about How the US Military made ‘Top Gun’, quote “Top Gun: Maverick received support from the Department of Defense (DOD) in the form of equipment — including jets and aircraft carriers — personnel and technical expertise.” And, in the original film “In exchange for DOD backing, the producers agreed to let the department make changes to the script. Maverick’s buddy, Goose, no longer perished in a midair collision because, according to the Navy, “too many pilots were crashing.” Meanwhile, Maverick’s love interest, Charlie, went being a service member to a civilian because Navy regulations forbid officers and enlisted personnel from having relationships.”

The US military directly funded both Top Gun and its sequel. They knew these movies would become hits, and took advantage of that fact to advertise the USAF to the people who watched it. Heroic pilots fight faceless enemies and always win, only the non-important side characters die. When a character actually dies, it isn’t from lack of training. The movie is made as palatable as possible to the average consumer, and at the same time, as much as an advertisement as a movie.

Oh, and that isn’t even getting to Lockheed Martin funding the movie and actively promoting it. At the start of the movie, Maverick flies an experimental jet, the SR-72 Darkstar, which does not actually exist in real life. Around the middle of the movie, Maverick describes their mission as a “cakewalk for the F-35″, comparing the newer plane to the F-18s they fly in. However, the F-35 was a trillion-dollar disaster. Overbudget and underperforming, one might question why F-35s are describes in a positive connotation if they’re not that good in reality. Well, that’s because Lockheed Martin, who built the F-35s, also, by total coincidence, funded and provided guidance for this film, and even promoted the film and the SR-72 on their website.

But...

Top Gun: Maverick is the most enthralling films of the year. Some of the best action sequences I’ve ever seen on screen, combined with career-topping performances from both Tom Cruise and (sorry Whiplash), Miles Teller. Once again, Tom Cruise proves his insanity and dedication by flying in real jets and doing his own stunts, along with the rest of the crew. It has topped the action movie lists of 2022 by a wide margin, and is honestly a great, well-rounded movie, if not a little lacking in the story department.

But, once again, Top Gun: Maverick is literal propaganda. So, what is it? Is this movie a wildly expensive, but effective propaganda piece? Or is an adrenaline-filled summer blockbuster for the whole family? Can we separate the message of the art, from the art itself? Is the message of the movie inherent to your enjoyment of said movie? In many ways, Top Gun: Maverick will be remembered. In a few years, maybe it will be the mainstream opinion that it was clearly propaganda, or maybe it will be that despite its underlying message, the movie was still good.

When the meaning, or the message of the art that is being presented to millions of people and raking in billions of dollars at the box office, is it moral to ignore the message of the art for the paint, to miss the forest for the trees? Top Gun: Maverick induces a confusing dilemma. On one hand, it is an incredibly fun movie. On the other, it ignores reality, and paints it heroes and villains into tiny boxes of black and white. Villains are hidden behind dark, black masks, to the point where you can’t make out the creases on their faces, or even what they’re saying. Heroes have their visors lifted up, so you can see the face of the good guys. In the end, our reality is mixed too. 5 star reviews accompanied by a cacophony of people pointing out its flaws, and how propagandist in nature it is.

But, we need to remember that the paint of the art only exists within the confines of the artwork. It is not splattered out onto the showroom floor. Similarly, Top Gun: Maverick’s heroic characters do not exist in the real world. They only exist on our screens, through ones and zeroes. To say that Top Gun: Maverick is a good film would be to also say that its message is a good one, because, in the end, you cannot separate the black from the white, the good from the bad.

The reality of the USAF is the thousands of dead Iraqi and Afghani children. The starving teenagers in the streets of Kabul who live from meal to meal. The children of Vietnamese adults who lived through the Vietnam War who bear the marks of a war they never lived through or asked for.

Because Top Gun: Maverick is a propaganda film. And no amount of fun action scenes or flashy volleyball games will ever change what it is.

Final Rating: 35/100

#top gun #top gun maverick #review #movie review #propaganda #us military #usaf

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dkniade · 2 years

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A name is a song that deserves to be sung

August 18, 2022. // August 25, 2022.

Characters: (platonic) Nameless Bard, Venti, Mondstadt bard (OC)

Genre: slight hurt/comfort

Notes: Venti backstory spoilers, implied canon character death, crying, most of the conversation is between Venti and an original Mondstadt character of mine talking about Venti’s friend.

Headcanon: The Nameless Bard was called Carmen Dei, and Carmen Dei is another title of the Anemo Archon Barbatos.

Author’s Comment: This one was inspired by this post about my headcanon of the bard’s name being Barbatos and @teyvats-worst-hero’s headcanon of the bard being called Carmen (from Venti’s constellation Carmen Dei). The idea is that the Anemo Archon Barbatos’ titles secretly refer to the bard rather than Venti himself so when the people of Mondstadt praise Barbatos, they’re actually praising Venti’s friend. All settings and characters except for Azurblau belong to HoYoverse.

See the end for notes.

---

This is a tale of remembrance from eons ago carried to present-day Mondstadt, and now it unfolds… over the perpetual motion of wind...

“Oh, I don’t think I’ve told you my name yet, little wind wisp? I’m Carmen Dei. A fitting name for a bard, right? Though, I guess it’s a little egoistic of me...” The young bard had introduced himself this way to Venti back then.

A fitting name. Oh dear skies, it was so fitting, such a beautiful name must be carried on through the winds’ melodies. But alas, Venti back then was just one wisp in the thousand winds, and the boy was just one boy in a thousand little boys. And yet the two of them became each others’ muse, unbeknownst to Carmen. Venti never forgot his friend’s sacrifice and dreams. Even now, in present day Mondstadt, he made sure that dear name lived on.

The winds blew gently through the wide plaza beneath the great statue, its silhouette clear against a blue sky. A small crowd gathered before a bard with a small can at their feet. Clear notes rang out from a lyre as its master standing before the green bard in performance. They sang of freedom and wine, of dandelions and crystal lakes, and of the Anemo Archon. As people passed by, some Mora were dropped into their can. With the last notes of their song fading, the performer bowed to their crowd.

“Thank you all, my dear audience, for attending to my tunes.”

As the bard looked up, Venti stepped forward with a smile. “That was a wondrous melody you used. May I ask for the name of your muse?” he inquired.

The bard chuckled, and bowed again. “High praise, high praise… My muse is Lord Barbatos, of course.” They strummed their lyre gently as the crowd disgrouped. “The God of Song never ceases to inspire me.”

“Oh yes, Lord Barbatos!” Venti echoed, visibly excited. “Or by a name that’s just as sweet, Carmen Dei, so I’d like to believe!” He hoped the bard didn’t catch the sliver of sadness behind his cheerful tone. “I’m Venti. Prithee tell me your name?”

“You… wish to know my name?” The bard bent down to collect his can of Mora and stood back up to face Venti. “It’s Azurblau.”

“A beautiful name under this beautiful sky!” Hearing it conjured up in Venti’s mind the image of Dvalin, that bejeweled dragon and his good friend. “A name is a song that one is remembered by, wouldn’t you agree?”

Azurblau nodded, and looked beyond him to the windmill-lined sky. “And Carmen Dei… I’m sure his name is a song that’s sung by all the bards of Mondstadt.”

His name is a song that’s sung by all the bards of Mondstadt.

Venti had to hold back the tears that nearly overflowed from his bright eyes. Of course, it’s always been his wish to have all of Mondstadt remember Carmen’s name, but to hear it from one of the very bards that lived in the city struck harder than any chord one could play.

“Indeed he’s a wonderful muse… His past deeds bring hope to present calamities.” Venti looked past Azurblau, towards the large statue’s serene visage through his teary eyes. “I’m sure Carmen will hear your tune...”

“Thank you for your words, kind bard,” they replied. And yet, why was this green bard crying? But it’s true, they supposed, that he’d find comfort in the Anemo Archon.

Now might’ve been an inopportune moment, but Azurblau realized that this crying young bard before them was incredibly beautiful, even bearing the likeness of Carmen Dei himself… Was this how Lord Barbatos looked when he cried?

Venti laughed a little. Oh, it rang clearer than any lyre. “Ahh, please excuse my tears,” he apologized as he wiped some away. “I was just remembering something… A friend…”

A friend so great, the God of Song, Carmen Dei—

“With every night there comes a dawn. I'm sure your friend’s happy where they are,” Azurblau said gently. Venti noted how they clutched the curve of their lyre a little tighter. “And… It was my first time knowing Lord Barbatos also bears the name Carmen Dei. It’s a fitting name.”

A fitting name. Oh dear skies, it’s so fitting, such a beautiful name must be carried on through the winds’ melodies. But alas, Venti is now an Archon who’s part of the Seven, and this bard is one bard in a thousand Mondstadtian bards. And yet the two of them found their muse in Carmen Dei, unbeknownst to him. Venti would never want his friend’s sacrifice and dreams to be forgotten. Even now, in present day Mondstadt, he’s grateful that someone made sure that dear name lives on.

“Yes, Carmen Dei�� A fitting name for an Archon. Though, I guess it’s a little egoistic of me to say this name like that…”

This is a tale of remembrance in present-day Mondstadt, carried by the winds of the past… to that storm-ridden, bright blue yesterday…

---

Notes

I wanted the beginning and the end to have parallels if not be a full on circular narrative. I also wanted it to sound like a ballad. Thus, the first sentence is “This is a tale of remembrance from eons ago carried to present-day Mondstadt, and now it unfolds… over the perpetual motion of wind...” with the last sentence being “This is a tale of remembrance in present-day Mondstadt, carried by the winds of the past… to that storm-ridden, bright blue yesterday…”

Similarly, the intro’s “fitting name” section talks about Venti the wisp and Carmen the bard, with them becoming eachother’s muse, and the outro’s “fitting name” section talks about Venti the Anemo Archon and Azurblau the bard, with Carmen and Barbatos being their respective muses.

And in between the two sections, Carmen and Venti express their feelings of egotism separately. Carmen thinks as a human bard, a name that means “God of Song” would be too elevated, and Venti thinks as a wisp who did nearly nothing, bearing the name of his friend as a god doesn’t give enough credit to him.

When I finished typing the last sentence of this short story, like how I felt when I wrote “In Your Image, the Midas Touch”, I felt like crying…

And lastly, the title. Originally the stand-in title was “A name is a song that one is remembered by” but then I changed it to this based on two of my favourite lines in the story.

A name is a song that deserves to be sung

“A name is a song that one is remembered by, wouldn’t you say?” —Venti

“I’m sure his name is a song that’s sung by all the bards of Mondstadt.” —Azurblau

Thank you for reading this piece. I hope you’re doing well.

#dusk fan writing #barbatos #venti #nameless bard #mondstadt #genshin impact #genshin oc #genshin impact oc #fan fiction #hurt comfort

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martinsenhatcher62 · 1 year

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starplusfourletters · 1 year

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Quantum Leap s1e12 (the trans rights one)

QL set after 1995 is breaking my brain. Ziggy + Party Rock Anthem = blue screen of death for me

OOOOH time shenanigans that make no sense LET'S GOOOOOOO

oh I actually really like the mom character

omigod the writers googled "teenager 2012" didn't they WHAT SELF RESPECTING HIGH SCHOOLER WAS TALKING TWILIGHT IN 2012

Okay. Obviously the thesis of this episode is trans rights are human rights. But I think the way the way that thesis is being presented damages the story and by extension the message itself:

We have straight and queer characters within the Leap reacting to the narrative and trans-ness. We have straight and queer characters OUTSIDE the Leap reacting to the narrative and trans-ness. We have a LOT of different narrative beats (the support group, the basketball games, the running away, the school politics) that all reveal something about the trans experience. All of these elements show this story from a different angle, and they avoid the trap of portraying trans-ness as exclusively painful or negative. I think this is very well done.

What I think isn’t well done is the way the story grinds to a halt every three minutes for the Powers That Be to look directly at the camera and say “HEY! Are you getting it??!? We’re concerned you’re not getting it!!”

The case-in-point of this for me is Ian. Like, if the Powers That Be are concerned the audience isn’t picking up what they’re putting down, Ian is just the OBVIOUS solution. They’re nonbinary, and because this is Quantum Leap they can occupy the rather unique position of being outside the story while still in-universe. Ian can speak-to-the-audience-without-speaking-to-the-audience here. Hell, Ian should be DRIVING this ep. But we’ve got Ian pulling up GRAPHS of statistics about trans people’s mental health? And HOLDING THEM UP TO THE CAMERA? Nonononono.

TLDR: show don’t tell and trust your characters and your story to convey your thesis; that’s kind of the point of fiction, right?

And maybe more importantly, trust your audience. You have an important message you want to convey and you don’t want to get it wrong, I get that. But I don’t think any staunchly anti-trans people are going to watch this episode. And the people whose minds you could change don’t want to feel like they’re being spoon-fed. We’re all going to get more out of sympathetic-but-flawed characters interacting with each other in a way that feels genuine; that, again, is kind of the point of fiction.

okay sorry rant over

Wow this principal is actually terrible at noticing when the door swings wide open in her tiny office. Those lines could have been heard thru the door just sayin

"Your fear is not my responsibility" turns all around in a very cool way. Seriously this ep is full of good lines and ideas and characters at real risk of being smothered by the feeling of being hit over the head by political preaching

...good news folks we solved trans rights

OH SHIT IAN??? WHAT'S IAN DOING??? Legitimately took me by surprise there

#quantum leap #quantum leap 2022 #long post #trans rights

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burn-the-retcon · 2 years

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There’s a thing which struck me in the comments on Sophia McDougall’s post “The Rape of James Bond” which explains an awful lot about the writers’ and fandom’s attitude to Zebruh Codakk.

“The subject I was most interested in was realism in depiction of violence against oppressed/underprivileged. Because it is really difficult to prove sometimes that an author is exploiting and delighting in depiction of such violence, and not (only) tries to arouse a noble anger in his readers. I think that the argument in the post are applicable not only to rape, but to a wide spectrum of violence, e.g. such widespread depictions of abuse of children or cruel murders of animals. Such scenes are common in Dostoyevsky’s prose, for instance.

The trouble with these scenes lies in the declared goal “to induce aversion to such atrocious behaviour”. This goal presupposes its target audience, and it consists of those who by default do not associate themselves (and are not associated by others) with the survivor or victim of the violent act. That usually means a privileged person. The plan is that reading such a scene would let them understand a bit more of the vulnerability of the underprivileged to violence. (It must be said that this will not necessarily be the actual outcome. The readers may enjoy the show and do not feel it as being contradictory to authorial intent.) So the potential readers who are already associating themselves with the victim, because they are also vulnerable, are not seen – are in a blind spot. It is no discovery for them that the victim of such violence is a person with feelings; and the detailed depiction of the violent act, by its design excluding them from the audience, is re-traumatizing, because it makes them re-live or recollect similar acts of violence against them or other members of the underprivileged group with whom they associate themselves.“

Friendsim isn’t meant as some kind of “do not do this” morality play, but they pile on and pile on negative traits which end up contradicting each other to this character with the intention that the players will sneer at him and think of themselves as better than him, without considering that he’s doing these things TO anyone. Sexual harassment and enslavement are used as vaguely abstract bad things for a character to do, and MSPA Reader only ever thinks about them in the context of how they don’t want to hang out with Zebruh, not in terms of how they should be helping his victims. Admittedly they’re controlled by Scratch into focusing on his goals, but it never even crosses their mind even when Scratch’s control starts to break down, except for a brief moment in the doomed timeline which ends up helping no one and is more just present to demonstrate to the reader that enslavement is happening at all. On this side of the fourth wall, the enslaved trolls never get names or faces and no one seems to care.

This is also pretty symptomatic of the anti movement, honestly. A lot of anti-shippers seem under the impression that the problem with CSEM is “bad people like it”, not that it hurts people. They’re under the impression that viewing people who do bad things in contempt is enough in and of itself to make one a good person.

#hiveswap #zebruh codakk #anti ship hate

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niannianyabao · 1 year

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Rick & Morty Recap: Auto Erotic Assimilation

Wubba Lubba Dub Dub, readers.

The Recap: Rick, Summer, and Morty run into a former lover of Rick’s, a parasitic hive mind named Unity who’s recently taken over an entire planet. Rick rekindles the relationship, leading the two of them into a spiral of destructive behavior with disastrous planet-wide effects.

I spent an inordinate amount of time trying to come up with a buffer for this recap, and it fought me every step of the way. This episode is perfectly competent in terms of technical elements – the Event Horizon riff that introduces Unity is a really nice isolated sequence, the simplicity of the alien designs allows for a lot of individual variation while getting across that they’re all pulled by one puppeteer, and as always the show has a good eye for slipping in licensed music stingers as an extra bit of gut punch – but it all feels terribly beside the point, deliberately held back to give the script a chance to shine. Even the sex shenanigans, which feel like a place where the show could easily cut loose, are left at the edges of the proceedings. We, like Rick, are not allowed an out.

So let’s start with Rick and Unity, in the name of having at least a breath of triumph. Because conceptually, there is a lot about Unity that makes me absurdly happy. It doesn’t have a gender, first of all – both Summer and Rick refer to the collective hivemind as “it” no matter what body it’s possessing at a given moment, and at the very least Summer strikes one as the type to use a being’s proper pronouns (fun fact: “it” is something like “queer” in that it has a history of being used as a slur, but has also been reclaimed by some non-binary people; ask before you use it, basically). And the general tenor of Rick and Unity’s mutual attraction, a queer relationship if ever there was one, is an achievement on the level of one Captain Jack Harkness. And this is going to require a little history, so sit tight.

First of all, Rick not being straight has been a confirmed thing since s2 premiere year’s Comic Con. In the middle of riffing about what undisclosed facts the audience might want to know about Rick, co-creator and majority of the voice cast Justin Roiland casually dropped the fact that the character is pansexual (that’s being attracted to someone regardless of gender). And while there was some rejoicing and some shrugging and saying “okay, sure,” there was also a surprising amount of pushback within internet discussions. A lot of “oh, he must’ve been joking,” with a fair amount of implicit “why would you assume a character is queer without it being stated, repeated and then signed in triplicate with infant blood.” Which is a whole bag of annelids regarding queerness as punchline and the defaulting of heterosexuality that we don’t have time to get into today; but suffice it to say, this episode put an extremely satisfying sock into those arguments.

And even better than the fact itself is the execution. The designs of Unity’s hosts (something about those atrocious jumpsuits, I think), not to mention the whole “unified species performance” thing, put me in mind of the famous Star Trek TNG episode “The Outcast.” For those of you who may not know or remember, that was the one where Trek thought maybe kinda they’d like to do a metaphor about homosexuality….only to fumble it completely by making the alien an escapee from an agender race who wanted to present as female, and then casting a cis female in the role so that her ensuing relationship with Riker is basically a vanilla flavored heterosexual one pretending to have something to say (and given the fact that the persecuting aliens have a butch vibe, they might’ve even gone into a wholly different wince-worthy territory. I digress).

The point being that Unity does that sci-fi trope of “the metaphorical queer” one better on every level. Harmon’s mentioned a few times that one of the goals in the writers’ room is to take familiar storytelling devices and then break them, and this is a triumph of that mentality. Because Unity does work as a metaphor: its hivemind nature serves as a comparison and contrast to Rick’s warring need to be alone and to subsume himself in others, and a question of whether the need for community outweighs our often stated preference for individuality. It’s just that the metaphor isn’t an excuse to hide some squeamish expectation that in the wide world of the cosmos every relationship would still somehow manage to fall into a relatively modern form of Western binary heterosexuality. Oh, and as a nice topper on the cake Unity is a really charming character, clearly sketched as sweet-natured and ambitious but lovesick even speaking from all those mouths. I hope we see it again someday.

And – I promise we’re almost done, and then we can move onto the suicide stuff you darling monsters – the extra delightful twist of it is how casual the actual sexual preference part of their relationship comes up. One of the great hand-wringing complaints often levied against the inclusion of queer relationships or individuals in popular media is that it seems “forced,” as though every new introduction would by needs hold the frightened viewer’s hand like some special from the 80s. In response, here are Rick and Unity: Rick’s only gendered request regarding partners has to do with his daddy issues audience, he’s fawned over and appreciated by male and female presenting hosts (and the giraffe, which in the spirit of references I couldn’t help reading as a nod to the Jack Harkness/John Hart conversation about the poodle); and neither Morty nor Summer (of course not, they’re modern teenagers) bring gender up at all when confronting Rick about his relationship. There you go. It’s as simple as a character making a passing comment about someone of the same gender, or referencing a past relationship, and then the adventure story moves on. Can we stop pretending it’s some kind of Herculean feat now, MCU?

Okay. Let me just blotch the still dripping tears from my keyboard, and we can continue.

I kid, of course. The bleakness of those final two minutes defies the catharsis of tears. Starting from the fact that you can see the components of the machine while Jerry is rifling through drawers, meaning that this thing was ready to go at a moment’s notice, and ending with that unspeakably agonizing shot where an entire night and ensuing day goes by without a single soul, not even Morty, coming to check on him. Rick might’ve screwed up his relationship with Unity on his own, but nobody deserves that kind of loneliness.

And the worst of it is that there’s really no support network for Rick at this point in the game: Beth is too afraid that he’ll leave to push him to improve, and too caught up in how she’s idolized him over the years to really pry into what makes him tick; Jerry has a massive inferiority complex over the whole affair, and Rick doesn’t have an ounce of respect for him anyway; Morty is well on his way to becoming a less drunk version of Rick (it was somewhere between horrifying and fascinating to watch the B-plot play out as essentially a season 1 adventure with Summer replacing Morty’s role), and is already starting to pull away from his grandpa; Summer is the closest to understanding what makes Rick tick and is willing to engage with him honestly on it, but she also has arguably the fewest emotional walls of the core cast, and frankly any teenager would get dragged right down into the abyss if they tried to hold up Rick’s decades of issues.

The show’s dabbled in nihilistic sentiment before – the show’s most quoted line, after all, is about how our existence is inherently meaningless – but that blow has always been softened by pushing the relationship between the Sanchez/Smith family to the fore. Pulling that away is potentially a very, very powerful tool, playing on our trust that eventually those interpersonal bonds will eventually come back to the fore. And it’s an issue worth exploring, as Beth and Jerry’s argument calls out the fact that Rick often matters more as a catalyst for other people’s revelations than he does as a human being in his own right. This is a lot of trust to ask from an audience that’s put a lot of emotional investment into this dark little world – I have all my digits crossed that it pays off.

So, how will the preview that seems to be about spontaneously appearing wacky sidekicks throw us all into unplumbed depths of despair next episode?

#tiantalk

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