#the sheer joy he brings to his roles sells the whole thing

[shitpostingkats]

Freddie Wong really makes this special breed of character that I’m obsessed with. Actually competent bar owner who dresses like a slut but his deepest desire is a cool pillow. Beefing with a child who leaves polite sticky notes on his door. Accidentally killed the chief of police and in the SAME AFTERNOON got voted mayor. Literally none of his plans worked in the entire campaign and he was the only pc to almost die. Who is doing it like him.

#also the character is named Dan Fucks #Freddie makes guys who are just Giant Losers and it's great #rolling up like 'This is the Coolest Guy' and then five minutes later he's doing the family guy death pose #the sheer joy he brings to his roles sells the whole thing #dimension 20 #mentopolis #mentopolis spoilers #dan fucks #freddie wong

[drshebloggo]

how to make WW84 a stronger movie

As sort of requested, here’s a beefed-up version of the list of notes I made watching WW84 because I was getting cranky with the execution of this movie and couldn’t help but jot down ideas. I WANTED to love this thing but the script was not selling its ideas to best effect.

For me, I think there were a few challenges inherent in the movie they wanted to make. BUT with a few different choices here and there in the way the story was told, it would’ve improved its impact without sacrificing what they were going for with tone and characters. 

CHALLENGE #1: this movie is set SO far in the future from the events of the first film. 65 years have passed, and Diana is still just gliding somberly through her life and that makes me SAD. All her friends are dead! She’s on her own and cursed with immortality!! She lives in an ‘80s decor sadness chamber surrounded by photos and memories of people she’ll never see again!!!

And yet the film gave us no real textual information about that. They did the laziest thing possible, which was pan the camera around a million photos on mantles and told us NOTHING. Literally WHAT has Diana done for the past, say, THIRTY YEARS since her Earth Friends all died without her??? Has she literally made NO OTHER friends? She’s still sad about Steve 65 years later and nothing else has progressed?

This lack of specificity leaves Diana fading in the lead role of her own movie despite the fact that there’s TONS of material there that they just... ignored. For me, she read flat, which bummed me out majorly. Her best stuff was with Steve because that actually MEANS something. But it’s all she’s got in this film. They didn’t bother filling in any other information about her life. 

FIX IT: literally just make Barbara already friends with Diana at the beginning. Not only does it make Diana more interesting, it reduces the sheer amount of exposition that the film piles on in the first 45 minutes. This also means you can bring Steve back sooner than the 45 minute mark, which would help grease the wheels in the first third of the movie. And it also means that Diana losing Barbara to inhumanity would actually have a greater impact on Diana beyond “oh my kooky new friend turned into an evil cat; this is vexing.”

CHALLENGE #2: the tone is WILDLY different than the tone of the first. They went from WWI trench warfare to shopping malls and fanny packs. It’s a HUGE tone shift, and it takes some getting used to. But there are good things to it; namely it provides great comedy for Steve, who is a definite bright spot in the movie. 

Overall I’m on board with doing a superhero movie that pivots away from grit and darkness and toward camp and comedy, and it’s cool to do something new rather than reiterate the same tone from the first film. But I think they could’ve done more to sell the tone shift. 

There are HIJINKS inherent in the premise that I’m guessing were fairly unilaterally unexpected. There’s a vaguely historical magic WISHING STONE and three buffoons each made a wish and turned shit upside down. I myself wish that Maxwell and Barbara and Diana were rendered in triplicate, as equal collaborators in this batshittery. I don’t think you’re watering down Diana’s role as lead (no more than giving her no other emotions to play than sadness) by doing so, and it even works nicely to own the idea that Max and Barbara are on equal narrative ground as Diana.

As far as the villainy goes, Max is more recognizably a Bad Guy, but Barbara is NOT, and it’s fascinating to show at least Diana and Barbara working together but slowly falling apart as shit goes SIDEWAYS. Hijinks can be zany and also meaningful! What if a villain is just a friend who wants something different than you and you have to come to terms with that and stop them from doing dumb shit? There’s an element of screwball to this premise and I wanted them to lean in more. This would also give Diana more to do than cry and fight.

FIX IT: show Barbara getting her powers using the same tropes of other superheroes getting their powers and figuring them out. Play it like she’s Peter Parker finding out she’s Spider-man. Hell, do a montage with all three of them using/abusing their powers: Barbara beating the shit out of things, Maxwell manipulating people, Steve and Diana making the fuck out and enjoying the shit out of it. These are the joys of wish fulfillment! 

AND, if they had set up the rules of the artifact beforehand (see Challenge #3), then the audience would know they were watching very happy people who are going to have their LIVES RUINED SOON. And that is good storytelling. (Maybe this is oversimplified, but honestly half of good storytelling is just making the audience feel two opposite emotions at the same time. The other half is dramatic irony, which would also apply to this trio montage.)

CHALLENGE #3: What the hell are the rules of this magic wishing artifact anyways??? The audience should know them before the characters do. The way this movie doled out information was bananas. They waited right before they were going to the tell the audience something to show us what they were about to tell us. Just show us earlier and tell the characters later!!! That way WE’LL already know because we’ve seen it, and THEY’RE not saddled with expositional dialogue to make sure the audience follows the idea.

FIX IT: For the love of humanity, nix the opening sequence with the horse race and make it about the damn stone!! Rip off Lord of the Rings and tell the history of the innocent but dangerous thing. Rip off Harry Potter and the Deathly Hallows and animate something about how it gives wishes at a cost. Hell, let Connie Nielsen and Robin Wright(’s unbelievably ripped arms) tell young Diana the story so they can still hang out and be a part of the film! Throw in some lore about the gods, just to remind us where Diana comes from and her belief system, and we’re good to go.

While you’re at it, toss in the whole point of the film into the moral that Diana’s moms impart to her at a young age. It’s not a spoiler. We don’t wonder if 1984 Diana will do the right thing. She does not need to LEARN this moral. She already knows the moral, but she still has to make the hard choice to let Steve go and of course it doesn’t come easy.

In summary: that horse race had little to do with the rest of the movie and it’s wasted story space, especially for setting up the entire magical premise that the movie hinges on, let alone the actual message of the film.

CHALLENGE #4: Do we care about Maxwell and his kiddo enough to rest the entire movie’s resolution on it? Ehhhh. The glimpses into young Max’s abuse is another example of showing information RIGHTBEFORE it’s important, rather than setting it up earlier to pay off later. It’s a far weaker choice.

FIX IT: Age up Alistair. If he’s a teen or preeteen, then the stakes feel higher because it seems more monumental to undo the trauma of neglect at that age. Much like in his business pursuits, the clock is ticking and Max is running out of opportunities for success in all realms of his life.

Maybe show Maxwell trying to reason with Alistair earlier in the movie, saying that he’s a good dad because he’s not as bad a dad as his own father. It shows us how he justifies his behavior, gives us the information that he had an abusive dad, and gives an actual interaction between father and son other than “daddy you’re not here” and “shhh son here’s a pony.”

Possible other fix-it which connects to other fixes: what if Barbara actually renounces her wish before Max does? It should be more painful to the audience to lose Barbara to her wish because we’ve technically LIKED her at one point. She means something to Diana, and so she means something to us. Honestly, the audience has rooted for her independent of Diana! The scene where she realizes she’s not powerless against her harasser but then completely loses herself in violence against him? One of the movie’s best. It’s pretty dissatisfying that she just goes completely off the deep end and then nothing with her is resolved after the wishes are broken.

But, with the way the movie is set up, the big emotional climax is the scene of Diana getting through to Max/the entire planet, so it’s hard to undo that and give it to Barbara instead, considering that it won’t wrap up the plot. But geez, do SOMETHING with Barbara that’s based in actual emotions. Don’t hinge your entire movie’s emotional resolve on a father-son relationship that’s two-dimensional and doesn’t have anything to do with the main character! You had emotional investment in Barbara; use it!!

At the very least, have Diana get through to Barbara in some way, either before Maxwell renounces or after, and maybe even intercut it with Max and his kid. 

CHALLENGE #5: I experience great existential malaise at watching a mylar balloon drift off into the ether. Was there no better visual for the final moments of the film? Asking for myself, and also the planet. (This one is mostly a joke... but seriously, you guys, the PLANET.)

#ask box #spoilers #uhhhh I should probably keep this out of the tags #I wanted to like this movie a lot #but it came up short for me and it hampered my enjoyment a little bit #so I tried to take note of how it could've been improved with a stronger script #instead of complaining vaguely and dunking on it #WW84 #Wonder Woman

[letterboxd]

Truffle Hunter.

As Pig snuffles its way up Letterboxd’s best of 2021 ranks, Mitchell Beaupre hunts down writer-director Michael Sarnoski for a chat about some of the finer creative points of his Nicolas Cage-starring meditation on cookery and grief.

In a time when audiences know too many specific plot details of films months before they’re even released, the idea of a surprise sensation feels like a fleeting memory. Yet that’s exactly how one could describe Pig, the debut feature from director Michael Sarnoski. With minimal pre-release buzz and no flashy festival premiere, Pig is a film whose status has been created through sheer quality alone.

This is a true word-of-mouth smash, hailed by critics as one of the best films of the year, as well as quickly earning itself a high placement on our Top 50 of 2021. Jacob Knight praises the film as “an existential rumination regarding how people find meaning in a mostly meaningless world”, while Muriel declares it “the most unexpectedly wholesome movie I’ve seen in forever”. Not bad for a first feature.

Written by Sarnoski, from a story he developed with co-producer Vanessa Block, Pig opens on Rob (Nicolas Cage), a loner isolated in the woods with his truffle pig. Rob makes his living selling truffles to the eager and ambitious Amir (Alex Wolff), but when two people break into Rob’s home and steal his animal companion, he must do whatever it takes to be reunited with his only friend.

A rough day deserves a decent vin rouge.

While that setup led many to give Sarnoski’s film the moniker “John Wick with a pig” when the trailer dropped, the story ends up charting a course away from genre thrills and towards something else entirely. Pig is an exploration of grief, loneliness and compassion, featuring one of the finest performances of Nicolas Cage’s illustrious career.

Raised in Milwaukee, Sarnoski and co-producer Block met in college before working together on the documentary short The Testimony, which focused on the largest rape tribunal in the history of the Democratic Republic of the Congo. That film made it onto the shortlist for the 2016 Oscars, putting the two of them on a path that would lead to their breakthrough opportunity with Pig.

Sarnoski spoke with us about the origins of Pig, the long-term impacts of loss in his own life, the joy of hand-cranked pasta and Bruce Springsteen.

Congratulations on the film! How has it felt seeing this outpouring of love coming for your first feature? Michael Sarnoski: It’s been amazing. Everyone who made this movie felt for themselves that it was special, and we all put a lot of care into it. We also knew that it was a risk, a strange film we figured would hit right for some people, but then plenty of others would think it was boring and weird. We’ve been very pleasantly surprised that it’s a small minority of people who feel that way.

What was the seed of the story that would eventually sprout to become Pig? I had this image in my head of an old man in the woods with his truffle pig. There was something sweet and tragic about that. Then I began asking questions about who this guy is and why he’s out there alone in the woods. What’s his backstory? It all evolved from there.

While the first act inhabits that “John Wick with a pig” space that people were perhaps expecting from the trailer, the story then takes a swerve and becomes a somber, thoughtful character study. Could you speak about navigating that unique arc with your storytelling? We never set out to try and subvert that John Wick sort of genre. We knew that we were playing with that lone-cowboy idea of a film and some of those tropes, but we never wanted to poke fun at that or switch people’s expectations in some sense by choosing Nic to star. We never wanted to “surprise” people by making a quiet Nic Cage movie. It was always just about these characters, what this story is, what we’re trying to explore. I think if we had tried to be subversive it would have come off as hokey.

Silence plays a key part in the film, as so much is being said in those spaces between the dialogue and action. How did you want to utilize the impact of saying more with silence? From early on, we always knew it was going to be a very silent film, and that followed all the way through the edit. Some of us wanted that opening to start out the way it’s done in the movie, where it’s totally silent and the music only comes in at the very end, while others were worried that people would get bored with it. The argument against that was that if they’re going to get bored with that, then they’re going to get bored with the rest of the movie. So, we might as well just lean into it, and let them know what it’s going to be.

From there we gauged how we wanted to approach the silence throughout. There’s some beautiful music in the film that Alexis Grapsas and Philip Klein did an incredible job with that allowed us to bring this beauty and splendor into the scenes. But there were also a lot of really quiet moments where we wanted the audience to be focused on the faces of the characters, and really be feeling the space and letting the sounds of the forest, or wherever we were, come across.

Nicolas Cage, his knife skills, and cinematographer Patrick Scola.

Along with the faces, you focus a lot on hands in the film. Whether it’s in scenes of violence or making food, there’s a real emphasis on what hands are capable of. Where did the inspiration for that come from? Nic was very into the idea of conveying artistry through your hands. He spent a lot of time with local chefs to try and get the vibe of how they moved and how they worked. He was always practicing knife skills in his room. I was constantly waiting for the AD to come up and tell me that we can’t use Nic today because he cut off a finger, but thankfully that never happened. Nic really sold that emphasis on the hands. Those shots could have felt empty if it wasn’t for him. I still am surprised watching some of the little hand choices he made.

I remember there was one shot where we didn’t get it on the day. So, we set it up with his stand-in, and just had him wearing his gloves. We all watched it, and it just wasn’t the same. Nic agreed, and so we reset the entire thing just to get that one shot with his hands in there instead. It was totally worth it. He’s an incredible actor, and it comes through every part of him.

Cage is an actor with an almost otherworldly mythos about him, which allows people to sometimes forget what a tremendous performer he’s always been. What was your experience in building a relationship with him, not just as an actor, but also as a human being? I only have positive things to say. That’s not just a gimmick. From the moment he read the script, he was interested, and he really responded to the character. He was committed to bringing the script to life, and was extremely respectful towards everyone on set. He had no reason to respect me. I’m a first-time director. He could have been a total diva. He could have been whatever he wanted to be, and we still would have paid him and been happy with his performance.

He was very kind, and maybe some of this came from the character, but he was also kind of somber and quiet in general on set. At the same time, he can also be very playful and sweet, even though he was trying to remain in the mood of the character. He set the tone, in a way, for the whole crew. A crew could easily look at a first time director and decide to just slack off and scrape by, because I wouldn’t have even known the difference. The fact that Nic treated me and the material with such respect really trickled down, and was so valuable to the film.

We shot the whole thing in twenty days, so if there had been any weak link with someone not doing their job or not being totally on top of it, we would have been screwed. I credit a lot of that to Nic, and him treating this with an incredible amount of professionalism. I think that’s where a big part of his long career comes from. He’s an incredible actor, but he also takes the art form seriously, treating it as both an artist and as this being his job, knowing that you have to do both in order to get what you need across.

Do you have a favorite Nicolas Cage performance? Other than Pig, of course. There are so many incredible ones. I really love Moonstruck. I saw that a couple of years ago, right before we officially cast him, when I was going through some of his ones that I hadn’t seen. Part of it I think is because I’m half-Italian, and I felt like it was showing me a side of my life that I never realized because my Italian family is on the east coast, and we moved out to Wisconsin when I was very young. I never got to be a part of that kind of thick Italian family, and seeing that on screen gave me a taste of what that would have been like. I loved him in that role. He was the perfect balance of sincere and sentimental, and also over the top when he needed to be.

Grub’s up.

Speaking of being Italian, Pig gets deep into the transformative power of food, and of the right meal. Has food always been an important part of your life? Definitely. I’ve never worked in restaurants. The closest thing was when I worked at a snack bar at a summer camp, which was very fun and also kind of a nightmare in its own way. I think most of the importance of food for me came from when my grandma lived with us. It was after my dad passed away, when I was a little kid, and she became this sort of old Italian cook in the house who was using food as this language of love and also as a sort of control. It had a lot wrapped up in it, this sense that we’re going to have family dinners to prove that everything is fine.

I think any Italian family is that way, but especially in that situation, having that presence come into the house when I was a kid, it made food quite charged for me. It was both a form of bonding and love, but also that control. That was very important to me. As I got older she taught me how to cook some things, and I became interested in that. I had a lot of friends who were great cooks and taught me how to do different things. I’m not an amazing cook, but I love cooking.

I love that act of making something that’s about to disappear. I think if you can be okay with that, and put a lot of time and care into that, it’s kind of a therapeutic thing to do. Accepting transience is a big part of cooking.

What’s your favorite dish to cook? I would say over the pandemic I really got into making lasagne. I had my grandma’s old hand-crank pasta maker, so I was enjoying making my own pasta and lasagne with that. I don’t know if I could pick one favorite dish, but that is definitely one that contributed quite a bit to putting on the Covid pounds.

Rob (Cage) and Amir (Alex Wolff) discuss their business relationship.

There’s a scene in the film where Rob and Amir go to a restaurant and Rob has a conversation with the chef there, who used to work for him, about the idea of losing our sense of identity when we give up on our dreams in order to fill this role that society expects of us. Is that something that you personally connected with? Yeah, people ask me a lot about what I think of the high-end cuisine world, and I have to say that I wasn’t trying to solely express that this world is garbage and phony. I was looking at it as another kind of art form. Any time you have an art form that combines someone’s personal passion with some sort of economy there are going to be conflicts to navigate. Whether you’re a painter, director, writer, whatever, those are going to be things you have to juggle. How true to yourself are you going to stay?

For myself, I’ve definitely found that when I try to focus on doing something that I care about, that’s kind of all I have control over and that’s what I should focus on. Pig was that for me. This isn’t the kind of script that you write where you’re expecting a big payday. It’s this weird movie that for some reason really means something to me.

The scene climaxes with Rob saying the line, “We don’t get a lot of things to really care about”. What about this movie exemplifies the things that you really care about in your life? It’s so many things, and even more things came from going through the process of actually making it and falling in love with Portland. It’s become even more than what it was initially intended to be. I mentioned earlier that my dad passed away when I was a kid, and the most personal aspect of the film for me was exploring that idea of what grief does to us long-term.

As I’ve gotten older I’ve been watching how my family members changed the way they interact with the world and built their perception of the world around some aspect of grief. It’s not those immediate effects of shock or sadness. It’s how those things ingrain into your worldview. I became much more conscious of how I was doing that in my own life. That was the deepest, most general thing that I was bringing to it, and that I was exploring personally through the film.

As far as specific things that I care about, I think I have all the classic things. I care about my family, and my friends. I care about the world, which is why this year has been so devastating. I don’t have one single pig. I think we all have a few different pigs in our lives.

Director Michael Sarnoski on the set of ‘Pig’.

Another scene that really stands out is the one in which Rob returns to his old home and sits with this young boy, having a conversation about a persimmon tree that used to be there. Talk to me about the significance of that moment for Rob. One of the things I love about that scene is that it seems so simple, kind of quiet and basic, but it’s getting into a lot of different things. I will say one thing about that scene. That was the first scene that we shot on the first day of filming. That kid was great, but filming with a child on your first day of your first feature was very much a moment of wondering what I had gotten myself into.

That scene does a few things. I won’t get into spoiler territory, but for starters he’s going back to his old house, so it’s his first attempt to really look at his past in the face, and to acknowledge that. I like that in that moment this is also one of the first times that we hear him speak romantically of food, because those things are very tethered to each other.

We get both the sense that there was a past, a personal path that he left behind, but intricately involved in that was how he interacted with food and his art. It’s the first time that we hear him acknowledge who he was in a way that’s okay. He tells the kid his name, and he’s acknowledging his identity that he’s been trying to hide from or ignore. Through doing that, it’s engaging with his passions and how that tethers everything together. I also thought it was cute explaining what persimmons were to a little kid.

I’ve got to ask you about the use of Bruce Springsteen’s ‘I’m On Fire’ in a very meaningful moment. What made that the perfect song choice for that scene? Obviously, who’s singing it is very meaningful. I liked that song, though, because it’s different from the sappy direction we could have gone with that moment. There’s something very passionate about ‘I’m On Fire’, of course, and it’s a pretty sexual song. It’s really charged, but it also has this kind of ethereal quality to it that’s seductive in a non-sexual way. It washes over you, and it feels very mystical. This sounds so “film talk”-y, but I liked that meeting of that transcendent, abstract feeling with that immediate sense of passion and love and obsession.

Finally, what’s the film that made you want to become a filmmaker? Probably Sam Raimi, his first Spider-Man movie. That was the first time I realized what directors do. I had a very strong association with Spider-Man growing up as a comic-book fan, and I was seeing how someone was filtering their own understanding of this character. Raimi coming from his horror background and being into the nitty gritty filmmaking with practical effects and everything, I got this understanding of how a director touches a film and shapes it.

Related content

Steve’s list of pigs in film

Melissa’s list of films featuring food, chefs, bakers, restaurants, cooking, hospitality, hotels, wineries, grocers

Rachel West discovers Nicolas Cage is her most-watched actor of all time

Letterboxd’s Official Top 50 of 2021—Jack Moulton’s list

Follow Mitchell on Letterboxd

‘Pig’ is currently in US cinemas via NEON, and available to buy/rent on digital.

#nicolas cage #pig #pig film #neon #neonrated #neon rated #nic cage #cooking films #cookery film #films about chefs #truffles #truffle pig #truffle hunter #letterboxd #filmmaker

[stevenuniversallyreviews]

Episode 123: Room for Ruby

“It's sunny now, but it can always rain later.”

Catch and Release really did change everything. I’ve already discussed it as a paradigm shift, transforming the concept of what the Crystal Gems are: before, a quartet with Steven as the rookie, and after, a fluid group where Steven has some seniority. We’re in an era where Connie, a full-fledged human, is a Crystal Gem. Bismuth, who already was a Crystal Gem but got reintroduced and then left behind, will return as a member of the modern iteration. And two former enemies, Peridot and Lapis, have joined the group (the latter unofficially). So who’s to say a ruby soldier wouldn’t fit in?

Granted, Charlyne Yi’s performs a ruby that’s a little too forgiving, and power combo Raven Molisee (of the highly expressive Molisee’n’Villeco) and Jesse Zuke (of the barnmaster duo Zuke’n’Florido) exaggerate her face and words to the point where it’s at least a little suspicious from the start. But Navy, cleverly named for the gem on her navel just as Army is named for her arm gem, has always been friendly and chipper compared to the other rubies in her squad. It’s believable, despite us never witnessing it, that the other rubies are mean to her for this attitude. And because this is a ridiculous character, it was always possible that her ridiculously jolly attitude was sincere.

That Navy is lying the whole time is irrelevant to the wonder of a show that makes us believe that she might join up. Her betrayal might be predictable, but our status quo is as capable of change as the planet our heroes love; it’s a similar sensation to Alone at Sea, where even though nothing drastic happens there’s a real possibility that Lapis might relapse and go back to Malachite. It’s so much better than an episode where we know from the start that the character-of-the-week will depart by the end of the story.

Navy’s chipper behavior is variably cute and questionable, but I love the massive hint that is the rain sequence. Gems become Crystal Gems when exposed to water, so Navy gets her own little baptism as part of the orientation. But because she’s a false convert, we get artificial rain for her artificial reaction. Yi sells absurd joy as well as absurd frustration, but there’s a cloud hanging over this moment that becomes clearer on rewatch. 

Despite beginning with Steven and Garnet, then bringing Navy along for the ride, Room for Ruby becomes a Lapis Lazuli episode as soon as we head back to the barn. Navy is as one-dimensional as it gets before the reveal, blithely accepting everything that comes her way and seeming incapable of feeling negative emotions, so she needs an external opponent if we want this episode to have a plot. Yes, it’d be fun to see this goofball being a goofball for eleven minutes, but thankfully Steven Universe is willing to go deeper.

Peridot’s bossiness and desire to impress makes her an excellent candidate to teach Navy the ropes, and both can bond with fellow shorty Steven over a shared go-get’em mindset. So it makes sense that our wet blanket is Lapis, who first distrusts Navy and then gets fed up with how easy everything is for her. She’s trying, but seeing another foe-turned-friend have such a smooth go of it isn’t easy, and exploring those emotions of jealousy and inadequacy allows for a wonderful last hurrah before Lapis abandons Earth in Raising the Barn.

Lapis has a tricky role to play here, as she’s straddling the line between protagonist and antagonist depending on how much you trust Navy. Our hero/villain is portrayed sympathetically, as we’re reminded of her traumas and her slow but steady recovery process; she might come across as petty, but it’s understandable pettiness when Navy breezes by in areas where Lapis has struggled. And it helps that unlike fellow Ornery Lapis episode Barn Mates, Navy doesn’t seem to get upset at the negativity; this isn’t Peridot trying to win over a stubborn holdout, it’s a spacy ruby who ignores the venom. But at the same time, Lapis is the only protester in the Navy Parade, and her clash with Steven’s goal of bringing in a new friend makes her a huge bummer. 

Which is why I love this episode’s lesson so much: that it’s sometimes okay to be a huge bummer.

It’s okay because everyone’s going through the world at their own pace, and whether you’re clinically depressed, a survivor of trauma, or you’re just plain sad, it doesn’t make you less worthy than folks in a happier mood. Lapis attempts patience and understanding despite her annoyance, and only snaps when Navy’s attitude turns sickly sweet; feelings of inferiority are hard to work through, but it doesn’t make it okay to be a jerk the whole time. Even after the outburst, Lapis is quick to reassure Navy, acknowledging that it’s an internal problem and apologizing. She wants to like the newcomer, but as soon as she senses the forced perkiness it’s hard for her not to notice that something’s off.

A good twist is something that makes you rethink the plot, but a great twist does this duty while being enjoyable as a plot point on its own merits. The execution of Navy’s betrayal is marvelous, even as it becomes more and more obvious that it’s coming. After spending the whole episode geeking out about Earth stuff, Navy not-so-subtly suggests that she wants to go back to her ship. Steven not only falls for it, but is down to press a huge button without asking follow-up questions; it may seem inconsistent with his growing maturity, but it makes sense that an excitable kid is lost in the joy of making a new friend. The stranger area for me is his exclamation that the Crystal Gems “finally” have a pilot, as if Pearl hasn’t been successfully navigating spaceships this whole time, but again, he’s caught up in the moment.

The twist-within-a-twist is that while Navy has been plotting against our heroes this whole time, her demeanor isn’t part of the act. Yi's transition from earnest giddiness on land versus manic giddiness post-betrayal is worth the price of admission, especially as she merrily explains that she opted not to just steal the ship because she wanted to watch the Crystal Gems suffer. 

And of course, this brings about Lapis’s triumphant laughter at being proven right. Jennifer Paz is awesome throughout the episode, restraining herself when necessary for big bursts of energy to hit home, and it culminates in the sheer joy that comes from righteous vindication. We could’ve gotten a somber moment of Steven’s anguish at being tricked, similar to what we got after Peridot’s duplicity in Message Received, but Lapis allows us a sense of relief despite things going horribly. 

In an episode featuring a character as unsubtle as Navy (being tricky doesn’t stop her from being loud and hammy), I love the quieter story we get from Garnet. We only get a nudge that Navy’s story appeals to Ruby and Sapphire, but we don’t need more than that, so I’m glad we don’t get more. Yes, it would be fun to see Ruby hanging out with Navy, but the episode’s focus is elsewhere and we don’t indulge in fanservice that would take away from the plot. The two balloons Garnet brings at the end are color-coded for convenience, so we don’t need anyone to tell us that the optimistic red message is Ruby’s hopes and the apologetic blue message is Sapphire’s realism. It’s not a novel observation that Steven Universe respects the audience enough to not hold our hands, but it’s still appreciated.

(Also appreciated is a soft moment of Garnet bonding with Steven independent of the plot as they make wishes; Steven may be growing up fast, but he’s still allowed to be a kid sometimes instead of spending every episode in teen angst mode.)

In terms of criticisms, I’m a little torn about the pacing: Room for Ruby meanders a bit in that second act, even though I understand its purpose. Lapis needs to have her tolerance for Navy strained to a breaking point so she’s not throwing a tantrum out of nowhere, so we need multiple examples of frustrating glee. But it does get a little boring on rewatch to have the point driven home again and again that Navy is a perfect little angel, even if it’s all building up to the twist that she’s anything but.

Still, I can’t help but enjoy the nostalgia this structure provides, because major plot points aside, the episode fits right in with classic Season 1. We get a simple story that primes us for an obvious conclusion. Steven will find an unusual solution in his cheeseburger backpack. Steven will learn patience when Pearl takes a while to reform. Steven’s beach party with the Gems and the Pizzas will teach the Gems to respect civilians more. Lapis will grow to accept Navy’s differences. But instead, Steven’s improvisation only goes so far, and he’s impatient again as soon as Pearl returns, and the Gems still don’t care about Fish Stew Pizza, and Lapis’s negative outlook was correct. Steven Universe first made its mark by toying with the conventions of episodes with straightforward morals, and it’s nice to see that legacy continue so late in the series. 

The implications of Navy’s actions are soon made clear, as the loss of the Crystal Gems’ only means of space travel (stolen from the very barn where Steven, Greg, and Pearl first experimented with space travel!) makes Steven’s imminent sacrifice that much weightier. But before that shoe drops, we can enjoy one last glimpse of our favorite little ruby.

(I’m kidding of course, our Ruby is the best ruby.)

We’re the one, we’re the ONE! TWO! THREE! FOUR!

Charlyne Yi hamming it up and Lapis’s grouchiness paying off? What’s not to love?

Top Twenty

Steven and the Stevens

Hit the Diamond

Mirror Gem

Lion 3: Straight to Video

Alone Together

Last One Out of Beach City

The Return

Jailbreak

The Answer

Mindful Education

Sworn to the Sword

Rose’s Scabbard

Earthlings

Mr. Greg

Coach Steven

Giant Woman

Beach City Drift

Winter Forecast

Bismuth

Steven’s Dream

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Warp Tour

The Test

Future Vision

On the Run

Maximum Capacity

Marble Madness

Political Power

Full Disclosure

Joy Ride

Keeping It Together

We Need to Talk

Chille Tid

Cry for Help

Keystone Motel

Catch and Release

When It Rains

Back to the Barn

Steven’s Birthday

It Could’ve Been Great

Message Received

Log Date 7 15 2

Same Old World

The New Lars

Monster Reunion

Alone at Sea

Crack the Whip

Beta

Back to the Moon

Kindergarten Kid

Buddy’s Book

Gem Harvest

Three Gems and a Baby

That Will Be All

The New Crystal Gems

Storm in the Room

Room for Ruby

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Onion Friend

Historical Friction

Friend Ship

Nightmare Hospital

Too Far

Barn Mates

Steven Floats

Drop Beat Dad

Too Short to Ride

Restaurant Wars

Kiki’s Pizza Delivery Service

Greg the Babysitter

Gem Hunt

Steven vs. Amethyst

Bubbled

Adventures in Light Distortion

Gem Heist

The Zoo

Rocknaldo

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

Super Watermelon Island

Gem Drill

Know Your Fusion

Future Boy Zoltron

Tiger Philanthropist

No Thanks!

     6. Horror Club      5. Fusion Cuisine      4. House Guest      3. Onion Gang      2. Sadie’s Song      1. Island Adventure

#room for ruby #steven universe #su #steven universally #review

[blueroseblaze]

The Bookkeeper (V + female!reader)

Request: I forgot 😓

Word count: 2006

Warnings: none

Summary: V enters a bookshop owned by a shy and nervous young woman but she is not as she appears

~~~~~~~~~~~~~~~~~~~~~~

The tip of V’s cane ticked against the cobblestone street as he walked underneath the dim street lights. The brisk night air didn’t bother him much. Unlike the reason he was out here so late at night. That part did indeed bother him

“That idiot,” V growled to himself and he scrunched the loose sheet of paper in his fist.

One of V’s more important books had been destroyed when Dante decided to use it as a shield against a demon that found itself inside Devil My Cry. Shredding the book into ribbons of paper and cover. It took a great deal of strength in V’s part not to stab Dante through the chest with his cane.

Finding a replacement for the book, or at least something similar, would be near impossible. However, venturing out to find one have V the opportunity to clear his head and find his composure.

Off in the distance a faint light came through one of the windows that lined the empty streets. V approached it if nothing but out of sheer curiosity. Literally every other store front on the block had been blacked out and locked up tight. The shop keepers most likely trying to protect themselves from any looming creatures of the night looking for foolish prey.

V continued down the street growing closer to the lit window. As he reached it he peered inside. Seeing piles and shelves of books filling the space inside. From his view he could see that many of the books were old. Worn and antiquated. This gave him a glimmer of hope he may come close to what he was searching for. He tested the door handle which he found unlocked and let himself inside. A jingle came from above his head as the top of the door creaked open and knocked into the bell fixed above it. As he opened the door the smell of aged leather and antiquated parchment filled his senses. A warm and welcoming musk overwhelmed him giving a homely feel.

Stepping inside V took note of how the warm colored lights in the ceiling illuminated the stacks and shelves of books, he saw how the dust floated and danced in the air when the light made it visible, how the darkness of the street through the store front window only made the aesthetic of the inside more appealing.

V was snapped out of his thoughts as he heard the creaks of the floor boards coming from the back of the shop. He readied himself for a old crotchety and cynical shop keep to yell at him that they were closed and to get lost. However his ears were met with a much more pleasant sound.

“I’ll be with you in just a minute,” a timid yet clear voice rang out from behind the towering shelves. The voice was feminine, sweet and musical yet soft and gentle.

V stood patiently as the presumed shop owner came into view. A young looking woman dressed in a comfortably large sweater and simple pants and boots. Her hair was tied up and away from her face and her eyes were adorned with a thin wiry pair of glasses that clung to the tip of her nose. Which she corrected by pushing them further up her bridge.

“Hello, can I help you find anything this evening?” She asked.

V stood still for a moment while still looking over her form. She grew visibly flustered at his silence and asked him again.

“Sir? Can I help you?”

V was snapped out of his thought and answered her question.

“Oh yes. Though I’m pretty positive you won’t have exactly I’m looking for.”

The woman let out an adorable giggle.

“I can most certainly try. Now what is it you were looking for?” She asked.

“A demonology book. First edition, bound in demon hide and written in demon blood. No particular author, main subject is summoning and vanishing spells,” he explained. V’s voice held an air of humor, fairly confident that she did not have what he needed.

The young woman looked down at the floor boards as her brow knit together and he bend of her index finger found her lips as she slipped into deep though. Her glasses once again fell down to the tip of her nose as she tapped her foot. V smirked at her amusedly as his adjusted his grip on his cane. He tilted his head as he waited for her to continue.

The girl snapped her fingers as her face lit up with remembrance and joy.

“I think I have exactly that,” she declared as she turned away from him to walk back into the maze of shelves.

“You... you do?” V asked in shock. Taken aback by her response and her confidence in it.

“Yup, just give me a minute,” she replied.

V followed her from behind and watched as she pulled out an aged ladder and hooked it to the top of one of the higher shelves. The ladder roles down rail as she pushed off. Reaching the end of the books much faster. She climbed up the ladder, the old rungs bending underneath her feet and the sides darkened and worn from her grip on them. She ascended the ladder her eyes trailed on a particular book on the highest shelf.

“I’ve been waiting for someone to come in looking for this,” she said as she pulled the book from where it was nestled. A cloud of dust rose from the tops as it was disturbed.

She descended the ladder and walked past V to the front desk gesturing for him to follow her. He did and he stopped at the front counter as she moved behind it, placing the heavy text on the glass counter. She brushed away more of the dust and pulled the book open. The satisfying crackling of old dry adhesive as the pages separated after who knows how long of no use. She flipped through the pages, making sure they were all undamaged before regarding V once again.

“Demonology: The Summoning & Banishment of Unholy & Otherworldly Entities. Volume 2 of the set. Is this it?”

V stared at the book before him in utter shock. This was the exact book that was destroyed. As he flipped through the pages reading the text he found it to be exact. Word for word. This was a find he’d never even hoped of obtaining. This book probably cost a fortune.

“I’m sorry it’s not the first edition. Not many copies of these books exists at all, I’m surprised I even have this one,” the girl said.

V was still speechless as he gawked at the book and then at her. Accidentally making her slightly visibly uncomfortable. He saw her visible shrink back timidly.

“This is incredible. You actually have this,” V said, “And it’s in pristine condition for its age. You take great care in preserving your collection.”

The girl behind the counter relaxed slightly and smiled as a pink dust crept its way up her cheeks. She adjusted her glasses before responding.

“Oh, why thank you. Yes, books are a passion of mine. Especially antique occult books.”

“Are you by any chance selling this one. It was on a high shelf after all?” Asked V.

The woman looked down at the book again.

“Yes I can definitely sell you this one. Although it would be a pretty steep price. A book like this is so rare and with its condition. I don’t want to extort you but I-“

Her sentence was cut off by the smashing of glass from behind her. Tiny crystalline shards shit through the air as a winged he’ll heat crashed through the window. Both V and the woman immediately hit the deck as the demon rampaged through the shop. Knocking over stacks and shelves with reckless abandon. An ear bleeding shriek rang out as the creature continued its assault on the place.

Upon locking its eyes on them the demon dove for the woman behind the counter. Latching its talons into her shoulder it lifted her off the ground with ease and made its escape out the shattered window. The woman’s cries of pain met V’s ears as the demons claws dig deeper into her skin which was pulled down by her weight and gravity. V stood at attention and without a second though he leapt out the store front window and followed them into the night.

His eyes didn’t break from the creature as it soared through the streets dragging the screaming shopkeeper along with it. V was about to ready one of his familiars. Perhaps Griffin’s flying ability would even the odds. However, before he was able to summon any of them he watched as the young woman hoisted herself up by grabbing the demons ankles. With a a tug and a swing she was able to concert her foot with the beast’s underside. Stunning the creature as it began to make a fast descend.

The demon had crashed into a pile of garbage that had been sitting on the cobble stone street, but it’s former captive had managed to tuck and role as the thing hit the ground. Breaking her fall and keeping her on her feet and at the ready. As the creature slashed around trying to regain its standing amongst the debris, the woman had grabbed a metal rod that had been lying with the garbage. Grilling the staff with two hands she readied herself for the hell beast to attack again.

The creature lunged for her, it’s massive jaws extended, ready to clamp down on anything within its reach. The claws at the end of its leathery fleshy wings ready to read any fabric and flesh.

The woman waited patiently, her stance not wavering once as she winded her arms back and shot them forward bringing the metal rod with them. With a loud pang and sickening crack the metal connected with the monsters face. It’s head reeled to the side as the force of the swing through its whole flight pattern off course. The demon flew to the side of the street, landing within another pile of garbage. However it’s seemed to only shake off the attack. It made another attempt to lunge at the girl, only for the girl to step aside and out of the way with the most perfect of timing.

With the creature distracted it was her turn to go on the offensive. With her metal rod in hand the woman vaulted herself towards the demon, leaping high into the air with a flare and a spin she impaled her trusty metal rod straight through the beast’s back. The sound of breaking flesh and snapping bone rang out into the dark accompanying the demons last gasp of life and it shrieked its final hellish cry.

The woman grabbed the rod with both hands and pulled it out of the demon’s corpse. Letting a sickening sound of viscera full the space. With panting breath the woman turned her attention towards V who had hobbled over to see what had happened.

With an embarrassed smile on her face the woman said, “I’m so sorry you had to see that. I get targeted by demons quite often.”

V was utterly speechless as he stared at this woman who was now covered in demon blood.

She awkwardly rubbed the back of her neck and adjusted her glasses which somehow didn’t fall off in the chairs that just occurred. She dropped her metal rob and began walking away from the beast’s corpse. She turned to V who had pried his eyes away from the scene and turned to face her. He smirked as she asked, “Now... do you still want the book?”

He began limping towards her, his cane jabbing into the stone street as he caught up with her.

“Oh I never caught your name,” she remarked.

“You can call me V,” he realized.

“Pleasure to meet you, V. I’m (Y/N).”

#devil may cry #dmc #devil may cry 5 #dmc5 #V #dmc v #devil may cry v #dmc fanfiction #devil may cry fanfic #fanfiction #dmc fanfic #my post

[pubtheatres1]

ONE GIANT LEAP Brockley Jack Theatre 2 – 27 July 2019 “That’s one small step for man…” Neil Armstrong INTERVIEW WITH WRITER & DIRECTOR OF ARROWS AND TRAPS THEATRE, ROSS MCGREGOR LPT: Hello Ross, We’re rather pleased to have another chat with you about your company, the award nominated Arrows & Traps but also wanted to grill you a little bit on your new writing, ONE GIANT LEAP. How long did it take you to write it? Hi there, how lovely to be asked. I have a somewhat unusual process in that I pitch the idea to the Jack, book the slot, design the artwork / poster, get the show on sale, start selling tickets and only then start writing the script. This is partly due to the quick turnaround of shows and my lack of time between, and also that we have to book these things quite far in advance as the Jack is a popular and sought-after space, but also because I have an issue with self-discipline, and so if I didn’t have a concrete deadline, I think I’d still be tinkering with Frankenstein, a show I wrote and produced in 2017. One Giant Leap is the first completely original piece that I’ve written without a source material, and it took me about two weeks to get onto paper. ONE GIANT LEAP is celebrating the fiftieth Anniversary of the Apollo 11 Moon Landing but it seems you have got your own spin on it. Could you tell us the story in nutshell? Yes absolutely. It’s a comic take on the greatest conspiracy in history. It centres on Edward Price, a producer of a failing 60’s sci-fi show called Moonsaber – which is basically a poor man’s Star Trek. Edward’s life has fallen into a rut, his wife has left him, he’s lost his house to the IRS, and Moonsaber has just been cancelled in its first season. All looks grim, until a representative to President Nixon comes to his door with a suitcase of money and a proposition. The Apollo 11 Moon Landing is four days away, but due to the moon being about a hundred degrees too hot for photographic film; they can get there, they just can’t film it. And what is a massive propaganda exercise without proof that you actually did it? So they ask Edward to fake the footage by any means possible, if he can do it, he can bring Moonsaber back to life for another season, if he fails – he loses everything. Where does the comedy come from? Mainly from the people that Edward employs in Moonsaber. They’re a ragtag bunch of actors, stage managers and technicians, and due to the show being cancelled – they’re falling apart at the seams – it’s down to Edward to keep it all together, to pull off the greatest lie in history, whilst trying to save his marriage, salvage his career, and keep the lies he’s telling intact. It’s a study of the creative industry, a satirical and loving homage to theatre. We’re not trying to say anything serious about whether the moon landing was or wasn’t real, but more provide a raucous night out at the theatre, and keep you laughing about it on the Overground home. Why is it important to offer a lighter comedy in theatre right now? I think, at times, theatre can take itself too seriously, and become too myopic about tackling the dark and dreadful issues that are affecting society – I’ve lost count of how many shows there are about Brexit playing right now – and whilst that’s great, and admirable - speaking for myself, after the last year I’m sick of the darkness, I’m bored by the constant stream of depressive updates about the rise of the Right, I can’t engage with it, the European elections gave a victory to nationalists, we gave a state visit to a racist, homelessness is at an all-time high, and we’re literally cooking the planet to death. There are sometimes when I just want a great night out and forget how scary the world seems right now – laughter is the best medicine – not as a retreat, but a reminder of the good in us, of the joy, of the light. As the company is repertory, you’ll be working with some actors you know very well. Did you have any of them in mind when you were writing the script? I certainly wrote two of the eight roles with long time company members Will Pinchin and Lucy Loannou in mind. And whilst yes, the roles are tailored to suit both of them - I did write the roles of Howard and Alchamy to stretch and challenge Will and Lucy, because I’d never seen them play characters like that. Will is nothing like Howard, and Lucy isn’t at all like Alchamy, but in way, they’re made for those roles, and for me, they’re perfect choices. I do like working with the same actors repeatedly, it is true, because you build up a short hand of technique and approach, but also you build up a trust. The actors in the company come in on day one, sort of knowing what to bring me, and what kind of vision I’ll probably have, since my style is something of a constant, but also I’m able to, as their director, cast them in roles that perhaps play against type, or test their flexibility and skillsets. I’m not an actor, but if I were, I’d hate to play the same roles every time, to only get the “intense one” or the “dopey one” or the “awkward one” – I’d want to think I could play anything that was thrown at me, and I think our rep system allows for experimentation and exploration. What has been the hardest part of the whole process to date? We’re only in the first week of rehearsal, so nothing too taxing thus far. Hands down, the hardest part of a comedy is when you’ve rehearsed it so much you no longer find it funny, at which point we need an audience. One Giant Leap hasn’t hit that point yet, obviously, but I think most comic work benefits from the response and energy an audience gives. Theatre can be electric when you have that to play off, but in terms of where we are – One Giant Leap’s greatest challenge is the analysing of why something is funny, and making sure it’s that way every time. It’s all about timing. For many years I laboured under the misapprehension that stand up comedy was just a funny person being funny with a microphone, that was until I saw Dylan Moran do the same set twice in the space of three weeks. He has a very casual, off the cuff, almost improvised way of performing, and I assumed that it was just his natural charisma and quick wit, until I saw the set the second time, only to find it was identical to the first. All the pauses, the stresses, the tangents, the quips, all of which was honed, polished and a work of precision. It was funny because he’d worked out the best way to get the laugh, every time, and that’s beyond art, it’s science, it’s music. Traditionally Arrows and Traps have produced a selection of brilliantly adapted classics, including Dracula, Frankenstein, Crime & Punishment and Anna Karenina. Have you got a soft spot for one of them? I loved the breathlessness and breadth of Anna Karenina, the precision and murk of Crime & Punishment, the thrill and gothicism of Dracula, and the humanity and pang of loss in Frankenstein. I think my favourite adaptation, if I had to pick one, is probably Frankenstein – but that’s purely subjective, and there was something about the biography of Mary Shelley, which we incorporated into the show, that really spoke to me – in the sense of a creator and a creation, a parent and child, a sinner and the terrible revenge. You’ve also got THE STRANGE CASE OF JEKYLL & HYDE coming up at Jack Studio in September. Your adaptations of the classics have been Arrows and Traps main focus, so does ONE GIANT LEAP herald a shift away from this? No, in fact because I know the next season of shows, One Giant Leap is perhaps the anomaly. Our work normally has a dark bent, we favour drama with funny lines as opposed to an out-and-out comedy. We’ve only ever done one full comedy before, The Gospel According To Philip back in 2016, so this is something of a return to that. I knew that the company was changing, and wanted to make a swansong to the current phase of work, I had originally planned for it to be TARO but that story ended so sadly, I wanted the last one to be lighter, more celebratory – there’s something inherently amusing about the various tropes you usually get in the theatre world, and so I thought a comedy would be a fitting homage to where we’ve come from, and a clean break to where we want to go next. The company has been going from strength to strength, what are the things of which you are most proud? Mainly, that we’re still going. Most theatre companies on the fringe don’t make it to their third show, we’re on our seventeenth. Part of that is sheer stubbornness, there have been points where any rational person would have thrown in the towel, but there was always something in me that would never bend, never break, never give up. It’s part ambition, part not wanting to fail, part wanting to make my father proud of me, part bloody-mindedness, part theatre-addiction. I think production-wise I’m most proud of The White Rose, to what that achieved, all the five star reviews and the Best Production Offie-nom, but of course I’m also very proud of the other twelve times we’ve been nominated for Off West End Awards, the relationship we’ve built with the Jack, the bond I have with my creative team and my casts, and just the fact that people seem to like the work. It’s still always funny to me when a reviewer calls us “critically-acclaimed” or “renowned rep company” – to me it’s just me, telling the stories I want to tell, with people I want to work with, you don’t always think about how it looks from the outside. I’m just producing the theatre I’d like to go and see. It was rumoured that you would be leaving fringe theatre for other careers, partly because of problems with funding. Was there are truth in that? Absolutely! And in a sense, this is still completely true. I am indeed done with fringe. I think I got to The White Rose in 2018 – where we got the Offie-Nom for Production, we had eight 5-star reviews, four 4 star reviews, we’d completely sold out, and done it the cheapest way possible, and we still didn’t break even. Which was very hard to take, and forced me to face the truth – you cannot hope to attain best practice ITC rates for your casts / creatives / yourself if you only do 15 shows in a 50 seater and you don’t have subsidising support from an arts grant scheme. It just isn’t possible. So I made the decision to stop producing work. Now obviously, with the shows being booked so far in advance, there were still three productions upcoming in the diary that I had to honour. But knowing I was quitting, and that this was the end for me, was too hard to bear - ultimately I had to face the fact that theatre is my life, and I could never leave it – so I had to find a way to make it work financially, not just for myself but for everyone else in the company, particularly the actors who are so often completely screwed over in fringe, and often end up working for nothing. Which is where the idea to change the model came from. Shrink the casts and sets to a more tourable model – 14 people down to 4 – and engage a tour booker to take the productions out of London to larger spaces that could widen the potential revenue. The Jack is our home, and we will always premiere all our shows there, but then we will take them into the provinces. The vision is still the same, adaptations of literary work, and biopics of iconic figures of history, but the remit and scale of the endeavour has changed. I don’t see it as an ending, just a moving from one phase into another. But yes, absolutely, the 8-10 handers, movement-heavy, ensemble, big music, huge shows – this stage in our trajectory is ending with One Giant Leap, and whilst I see why it has to end, a part of me is sad to see it go, because there was something so wonderful about doing a massive 15-hander like Three Sisters. Are you one of those people who is meticulously planning the future? Yes indeed, because really we have to plan ahead in order to book the shows with the venues. We’re doing One Giant Leap next month, and then move to Jeykll & Hyde in September, both at the Jack – and then Hyde goes on tour for about six months, with an opening of our next biopic Chaplin coming about halfway through the run in February. Because I’m overseeing contracts, and touring plans, and writing the scripts as well as casting each show and most likely directing each one, I need to know where we’ll be and when we’re doing it – I’m trying to build a book of shows, a repertoire that is constantly touring, moving forward, and ever-evolving – reaching more audiences, and engaging with new communities. In the meantime, we can’t wait to see ONE GIANT LEAP. Could you give us a little flavour of what’s to come? In terms of shows after One Giant Leap, we have Jekyll & Hyde - a dark, political thriller set in a post-Trump America – a gritty examination of the corruption of power, then Chaplin – which tells the story of the 20th Century’s most famous clown, documenting his path to becoming the iconic Little Tramp – and his meteoric rise from Victorian poverty to Hollywood fame. After that, we’re bringing back one of our most successful productions of 2017, Frankenstein, revisited and rewritten for a more tourable model, and then a biopic of Marilyn Monroe, called Making Marilyn, which covers the Norma Jean origin portion of the star’s life. After that – who knows? I’ve always wanted to tackle Madame Bovary – and I’d like to bring back TARO as it was one that I was particularly proud of in terms of its style and poetry. Finally, your shows at Brockley Jack are becoming legendary, it’s a great partnership. What are the things you’ve learnt about theatre whilst working at Brockley Jack? So much. The Jack has been a great place to develop my approach to stagecraft, and how to tell stories as clearly and engagingly as possible. Since we joined the Jack, we’ve built a vision of the style we want to have, and how we approach each difficulty, or tricky moment to stage, how our work with movement and text interconnect, and what we look for in our ensemble for each show. And, I guess, ultimately, I’ve being able to return to my training as a writer, and I’ve been so lucky to have so many opportunities to experiment with my writing, and get to think about how to tell a story and how to build each character. Playwriting is not something I’ve tried before, and I’ve loved delving into each of the worlds that the Jack has opened the door to. But I think most of all, I’ve been honoured by the patronage and support of Kate and Karl – and they’ve shown me the power of hard work, diligence, and care – if I ended up with anything like the talent and acumen they have, I’d be very happy. @June 2019 London Pub Theatres Magazine Ltd All Rights Reserved THIS SHOW HAS ENDED ONE GIANT LEAP Brockley Jack Theatre 2 – 27 July 2019 directed by Ross McGregor produced by Arrows & Traps Theatre Productions Box Office > Below: Rehearsals at Brockley Jack Studio "We’re not trying to say anything serious about whether the moon landing was or wasn’t real, but more provide a raucous night out at the theatre, and keep you laughing about it on the Overground home." "... speaking for myself, after the last year I’m sick of the darkness, I’m bored by the constant stream of depressive updates about the rise of the Right, I can’t engage with it, the European elections gave a victory to nationalists, we gave a state visit to a racist, homelessness is at an all-time high, and we’re literally cooking the planet to death." "Most theatre companies on the fringe don’t make it to their third show, we’re on our seventeenth. Part of that is sheer stubbornness, there have been points where any rational person would have thrown in the towel, but there was always something in me that would never bend, never break, never give up. It’s part ambition, part not wanting to fail, part wanting to make my father proud of me, part bloody-mindedness, part theatre-addiction." "... knowing I was quitting, and that this was the end for me, was too hard to bear - ultimately I had to face the fact that theatre is my life, and I could never leave it – so I had to find a way to make it work financially, not just for myself but for everyone else in the company, particularly the actors who are so often completely screwed over in fringe, and often end up working for nothing. Which is where the idea to change the model came from." " ... most of all, I’ve been honoured by the patronage and support of Kate and Karl (Jack Studio Theatre) – and they’ve shown me the power of hard work, diligence, and care – if I ended up with anything like the talent and acumen they have, I’d be very happy." In celebration of the Fiftieth Anniversary of the Apollo 11 Moon Landing, Arrows & Traps Theatre bring their critically-acclaimed approach to a brand-new comedy set in the back streets of a Hollywood lot. One Giant Leap is about the power of having an impossible dream, realising it’s impossible, and then trying your hardest to fake it and hope no one notices.

[zuka-themed-username]

z-t-r: Phantom 2018

Phinally! (sorry - but I spiced it up with some stage photos this time, creds to eternalyjun/searching the tags)

I had the absolute supreme pleasure of seeing Snow Troupe’s Phantom twice during my trip to Japan in November. I had arrived with a ticket for an opening day s-seki seat in Takarazuka, but during my travels a wonderful fan club was able to provide me a b-seki seat the following morning, and holy smokes am I glad I saw it twice. I don’t know why I thought I could handle an s-seki seat - the sheer force that is Nozomi Fuuto is completely overwhelming that close up - but it was nice to not have to use my opera glasses!

For all that Thunderbolt Fantasy/Killer Rouge was my favorite show I’ve seen live, Phantom was the best I’ve seen in Japan. In terms of technical execution and emotional power this show takes the cake. While I was a bit surprised they would have Phantom near Elisabeth as they can be seen as tonally similar from a distance, I see now why they were not concerned. 

Quick spoiler-free plot summary: Christine Daaé (Maaya Kiho) is an aspiring opera singer out on the streets of Paris selling her new hit single ‘Melodie de Paris’ when she is discovered by Philippe (cast A - Ayanagi Shou) who tells her to go to the Paris Opera House to meet the general manager Gérard (Ayakaze Sakina). When she arrives she finds that he has been ousted by Alain (Asami Jun), though circumstances allow for her to stay and meet the new prima donna/Alain’s wife Carlotta (Maisaki Rin). Carlotta allows her to stay, where the Phantom (Nozomi Fuuto) hears her beautiful voice. He hides part of his face behind a mask (and has a Black Angel-esque cohort) because of Tragic Reasons but still becomes her singing teacher, and she eventually gets the starring role in the upcoming production of “The Fairy Queen”. Due to Shady Circumstances something happens to her voice and The Phantom is Not Pleased. All hell breaks loose, and yes, a chandelier falls in a really neat way. There’s a whole lot of drama, and then a startlingly peppy finale as with all two-act zuka shows. 

As with my other reviews this will be a total scattershot of notes and impressions. Spoilers will be indicated with a “[s]”. However as this is a show that’s been performed many times, feel free to ask me more detailed questions if they’re not answered here! And yes, you’ll want to buy the DVD/Blu-Ray. If not I might finally figure out streaming and show it.

[s] Right off the bat: in comparison to the 2004 version, Daimon (Nozomi) does not kill the gentleman (Joseph - thanks @daimongumi!) in the beginning. He instead does the tasteful tumble. The moment the set rolls out you see that there is not space for him to stumble down a set of stairs and be stabbed. The Phantom is instead shocked and horrified.

- The start of the show has an elaborate video projection during the overture (including the show curtain shown above). It does a nice job of establishing the extensive catacomb system under the Paris Opera House. I do wonder though if it was used to shorten what I call the “visual overture”, where the Top Star does a dance or some sort of interpretive performance to music at the top of a show as otherwise the plot does not require them on stage for quite some time. While Daimon is a triple threat I’d definitely put dance at #3 - and frankly I’m all for shortening the extensive moody Phantom & co. dances if it allowed her to conserve lung power for the real focus - her kick ass voice! A bit more on this later.

The Phantom pushes away the haters (I’m all three musumeyaku)

- There were amazing / borderline excessive projections whenever the Phantom was onstage, and I guarantee they will not show up well on the recording. I can only hope they do not wash out costuming and lighting. I feel like they were supposed to be tendrils of darkness, though as they were projected light it looked instead a bit like vines. When Daimon was wearing the sage green lounge wear later it was especially noticeable. Again the image doesn’t do it justice (but can we appreciate this shocking apple green color?) 

Another set of Incredibly Insightful and Deep Notes directly from my intermission scribbles:

      - “Carlotta is hilarious”

      - “Maaya Kiho is perfect”

      - “Nozomi Fuuto is perfect”

      - “tiny organ”

      - “hella candles”

      and lastly,

      - “shady swag Willy Wonka” 

which works better with a crossing the silver bridge gif but for now: 

Anyway back to more fleshed out thoughts:

- To the clown and the jester in the far back of the stage during Melodie de Paris: thank you. 

- More specifically, there are about five “rows” of Parisians on stage during Maaya Kiho’s introduction, and there was one performer in the far back right dressed like a jester. They started out juggling. Kind of. There was another civilian with them pretending to be entertained. They juggled for about five tosses, then headed offstage. “Ok,” I thought, “let’s see what else is happening.” I looked to the far left and there was a terrifying old-school clown clowning around. I was impressed with the costume and the commitment but quickly looked back to the right. The jester had returned. With a pillow. And was spinning it like a basketball. Just like a regular couch pillow with tassels. Spinning it on her finger until it started to wobble, then she’d reset and try again. It was riveting.

I have so many questions. Did jesters do this? Are you supposed to be juggling the whole scene? Why did you exit the stage and not just bring the pillow with you at the start? Did this change every night? Whose pillow is this? Are they ok with you spinning it like that? Where did this come from?? How - 

(By then the scene was ending, and thank goodness I knew the plot otherwise I would have been completely lost. Also thank goodness for seeing the show twice, as Maaya’s voice is a golden treasure and if I had been too distracted to listen to it I would have been quite upset with myself.)

- Asami Jun as the new, slightly skeevy general manager of the Opera House is a joy. I had so much fun watching her be so into Carlotta, shooing people away or making a path for her wherever she went. He showers her with compliments and is utterly distraught when he misspeaks. I can’t imagine what Ayanagi’s interpretation would be like, as she was so fantastically sincere as Philippe, but I’m glad they will have a chance to stretch themselves as actors, since there’s really only one solo song between the two roles if I am remembering correctly. 

- There were two musumeyaku Phantom followers and it was nice way to break up the choreography. While I am still not 100% convinced that the followers as a whole are incorporated effectively (I would like to see more interaction between the Phantom and his followers outside of setting them up to make mischief), they executed some interesting choreo well. 

- One thing that really struck me throughout this production is how well Takarazuka as a whole is able to create worlds on their stage, through the simplicity / complexity of having a ton of background people onstage telling silent side stories. Sometimes sheer volume works, as with large city scenes (here Paris, also Guys & Dolls’ New York City), but also in any number of smaller cafe or club scenes. While painstaking measures are taken to ensure it does not interfere with the Top Star or Top Musumeyaku, it is still motion on stage that can draw the eye away (*ahem* jester). I would like to highlight my second favorite set of background characters, the prop guys in “Home”, as an example of how tricky this balance is. Plot Happens and Christine finds herself with some laundry and some music backstage in the opera house and begins the setup for her big solo turned duet, “Home”. Maaya is near the front of the stage, to the right in a light spotlight. Behind her are 4-5 sets of 2-3 people representing different segments of the opera company. There are dancers, some folks around a piano (I think), costume folks, and two guys on the far left checking props - our Spear Guys. They are all doing some light tasks amongst themselves. When Maaya begins singing, they all stop, except for the Spear Guys who are still joking around. As the song continues, they freeze and another group begins moving. This repeats until each group has had a silent solo, moving about behind Maaya until the huge Phantom set piece rises from the stage. The first time I saw the show I was seated on the far right - prime Maaya placement (thank you!!), but also lined up to have the Spear Guys right behind her. The second time up in b-seki it was not nearly as distracting as I could see the 15-20 feet between them and Maaya, but they still didn’t stop at the start like the other groups. I don’t think for a second they missed their cue two days in a row, but I do find it interesting that the direction does not have the entire stage freeze for Maaya’s intro. I wonder if that would be more distracting - to have 10-15 people suddenly stop moving and then have small groups begin moving, so they instead try to smooth out the transition with our Spear Guys. Or perhaps they wanted to highlight that she’s not a big deal yet as a laundry girl, despite this being a big song, so they don’t emphasis it as much with total stage isolation. 

I don’t know why this specific thing stuck with me, perhaps I just wasn’t used to “Home” being staged instead of just an audio recording. But I won’t let this more intensive thought on direction make me forget to mention that: I sincerely hope no one gave Daimon any direction after opening night in regards to her facial expressions whenever the Phantom hears Christine’s voice. Idk if new tumblr will allow the gifs, if y’all pick up what I’m putting down. 

- A quick side note: the sets and costumes feel refreshed and much more intricate. I’m somewhat surprised they were able to load the huge set pieces just four days after Castle of the White Heron. Huge shout out to the Takarazuka Theater Stage Crew/Staff.

- This goes without saying but Daimon and Maaya’s voices were flawless. I have a note that “Nozomi actually out-sung the ensemble”, which, duh? Her voice + microphones? I wish I could remember what I was going for there.

- There’s a song contest in act one, and frankly I think they should make the song the ensemble has to sing the actual contest. Boy does that song not translate well. It’s incredibly fast and while Snow Troupe does their best it’s legitimately impossible to follow. I need to see rehearsal footage to see ensemble folks just be like, “whelp this is fastest I can go, how are you doing?” and the shrugs in response. And then Daimon being like, “well I had a to practice a bunch but when I did it over a decade ago-” *nails it*

[s] When Christine faints from, idk, finally having a chance to follow her dreams and then promptly being poisoned, and the Phantom ‘sweeps her off her feet’ to his underground dungeon palace (with way too many candles - I assume candle maintenance is what the followers do most of the time), it was more of a ‘1 - 2 - hngh” on the Phantom’s part. I heard that it was very quickly taken out and I can attest that it didn’t need to happen if Daimon was going to hurt herself. Also I like that it gives Christine the tiniest bit more agency if she has to stumble through the mirror with him instead of being completely unconscious. 

[s] Speaking of which, Maaya’s approach to Christine. This is another tricky thing that I could write a short essay about. In this version of Phantom, (compared to Andrew Lloyd Weber’s The Phantom of the Opera where Raul, a Philippe-type, is immediately there to try and help with the creepy Phantom situation) Christine is much more isolated, and greater attempts are made to humanize the Phantom. We get the sad details of his birth, upbringing, and current situation, including the weird twist that Christine looks just like his mother. Another essay could be (and no doubt has) been written on that topic, however what I would like to focus on is that Christine is aware of all of this information. She’s aware of how he ended up with a “horrendously” disfigured face and why he is deeply ashamed to the point of violence if discovered. So when she uses her beautiful, angelic voice to convince him to take off his mask, sees his face, then runs off screaming, it’s truly heartbreaking. There are a million ways to play this scene and the character up to this point, but the unfortunate reality is that Christine has to run out of the grotto/garden in order to make it back up to the opera house (somehow, which brings up more questions) for the plot to proceed and for last 40-50 minutes to happen. Therefore the actress is a bit stuck. With that eventuality in mind, I think Maaya makes Christine as ‘modern/realistic’ as possible, in that she screams without too much fear, and her face is a bit.. flat? I don’t mean that in a negative way. I wouldn’t be surprised if she received a few notes along the lines of, “be sure to be really scared by his face” but wanted to treat Christine as a woman that could understand - or simply wanted to have the chance to understand - the man under the mask/scars, so her reaction both times almost looked like, “ok I’m screaming and running because the plot requires it but I’m here for you-” *and gone*. This is reinforced by the much stronger reaction she has when she realized she made a mistake and struggles to go back behind the mirror to him, and her polite but not very enthused duet with Philippe (side note: the Phantom walking up with flowers after that scene - a punch to my stomach). I don’t even think it’s out of true romantic love, but out of a desire to truly understand. For all that they come from different backgrounds, they do have the same goal of making beautiful music, and with this much less murderous interpretation of the Phantom I could root for them. This is in stark contrast to the 2004 version, where I was much more ok with the Phantom’s demise in the end.

[s] That all being said, Maaya’s voice in the song that convinces the Phantom to remove his mask is f*ing beautiful. I am legitimately tearing up just hearing the echoes of it in my memory. When the Phantom is alone and breaks down crying after tearing down the world around him (quite literally), he is perfectly centered on the stage and just so small. It’s an amazing bit of staging that tore out my heart. The use of religious-style themes as well is just crushing. 

[s] Speaking of which, I can’t forget to mention the incredibly long but intense story of the Phantom’s upbringing with this gorgeous stained glass in the background: 

[s] The suggestion of questionable morality by tilting it is clear and fantastic, the dancing and anguish throughout is just flawless. For all that it does not make me sympathetic for the weirdly young dad (yes yes struggs of being nibante and not senka), I could still get behind the raw emotion of it all, which is rare for me. The “Ave Mariiiiiiia” is now ringing clearly in my head as well and I’ll just say good luck buying the soundtrack because I already ordered every copy. 

[~s] Not quite a spoiler but at one point the Phantom is in a boat with Christine and is wearing a standard suit with tails. Intermission hits and when we come back to to our seats the plot has not progressed and yet they went and Top Star’ed the suit to make it the intricate blue one shown in most of the promos. I chuckled a bit. 

- This happens much earlier in the show but Carlotta’s song introducing the frenzied world of opera is so fun and amazing - I remembered it just now as if my brain was trying to lighten the mood for me. You could tell they really reveled in the lighthearted scenes and nailed all of the comedic shenanigans. 

- Come to think of it there’s a lot of tossed paper, envelopes, letters, music, etc. that is wild yet contained, though there is a letter dropped from the ceiling that juuuust barely made it on stage on the second day. It fell in the slot between the lights and the orchestra pit and I hope there’s a day where a musician has to hand it to them XD.

- Despite the age of the show it felt quite fresh, and the staging did not feel nearly as stiff as say, Elisabeth. That being said, all of the Phantom’s emotional struggles had the same setup of powerful song into a moody dance (except the big rehearsal scene, which is still all dance, though modified). This makes sense given the previous set of Phantoms (Wao Youka, Haruno Sumire, and Ranju Tomu), but I think for Daimon flipping the song and dance would have been beneficial. It would have been a bit hassle in terms of structure and orchestration, for sure, but continuing to shorten the Phantom-centric dance segments in exchange for a smoother and higher emotional peak, along with extended glorious singing by Daimon (also because the Phantom is a composer, not a choreographer) would have been neat. 

[s for a bit] And here I was about to go into the auxiliary musings without detailing Daimon’s approach to the character! It was, in short, exactly how Daimon would approach the role. A total cop-out description, but I still think the most apt, despite me being unsure of how she would approach it before I saw it. Daimon has a way of blending vulnerability and ferocity that is quite unique to her and on full display here. The Phantom as a character is emotionally stunted and traumatized. He has the full strength and rage of an adult that has been wronged, the anguish of an artistic teen trying to find his voice, and the naivety of a boy that has only been loved by a woman that was scorned by everyone else. It is quite messed up when you lay it all out, and yet it does not allow for violent acts such as physical/emotional possession of another person and straight-up murder. As I mentioned before, when I saw the much more intentional murder in the 2004 version I was engaged and impressed by the gutsy-ness of it. “A Top Star is a villain, wow!” The emotional appeal in the second half of the show for me fell flat, until the very end when Hanafusa Mari is cradling Wao because of the sheer power of their Golden Combi. Hence I always saw the role as one or the other. A Phantom that is a villain with selfish desires (2004) or a misunderstood artist that gets swept up in emotion and acts out (2006). Here I can see both existing simultaneously. When Daimon is sad and aching, she is sad. Make no mistake, she was crying, many people in the audience were sniffing - two people on the second day had like racking sobs they were trying to control. No doubt a result of having seen it live, it is difficult for me to look at the character as a whole and cast one final opinion - I’m thinking of core scenes and moments where the emotion - sadness or rage - is just so strong. That’s something I think, whether or not you’ll like it when you see it, you can’t deny. Daimon’s expressive face is conveying every emotion quite strongly. When she goes to kill Carlotta, (RIP, you suck for sabotaging Christine but damn do I love your attitude) the intention is quite clear. Carlotta messed with Christine, so she’s gotta go. It’s terrifying, the calm appearance and slow, methodical style at first. The only thing that makes it mellow out for me is the absurdity of the red outfit and mask. It’s clear he raided the costume department and/or worked on the outfit for sometime despite being so incensed the moment he discovers who is at fault. Regardless of that flash of comedy, the cold intent is classic evil scary Daimon that I wanted to see. 

What then I like about this is that we have three different situations with three different outcomes instead of just “too much emotion = murder”.

In 2004 we have:

someone saw the facial scarring -> murder

Phantom is not a fan of the new way the opera is being run -> murder

someone messed with Christine -> murder

In 2018 we have: 

someone saw the facial scarring -> an accident/fall out of fright (This sets up better how “genuinely scary” his face is when Christine sees it. As an aside, his body still shows up in the glass case later on so I guess someone had to go find his body? I figure the followers had to draw straws, but that the Phantom would capitalize on it regardless is problematic.)

Phantom’s not a fan of the new way the opera is being run -> someone passes out from fright or overexertion during the Phantom panic?

someone messed with Christine -> oh shit, murder

This makes the murder all the more shocking, to the point of nearly being out of place, but the murderous intention comes not out of habit but because of love/infatuation with finding the voice of an angel/their mom. Which is a sentence I never thought I would type but here we are. 

While it’s not as shocking on the meta level and can definitely be seen as making the character more tame, it also makes the incredibly long appeal to his tragic background less out of left field and a bit more of a situation to struggle with as an audience member. This does not excuse the dramatic trope of being shot and then having a solid 1-2 more hours of emotional appeals on the silver bridge, running about the opera house with the most incompetent guards, and entire song reprises before then being shot again, Andre on the Bridge-style. It’s a bit too long, and I wouldn’t mind switching the getting grazed on the side scene with the Phantom/dad reunion scene, if only so we could have a moment where not only does Gerard see his son get shot but is also seen by guards having talked to him, so there is more tension in the final moments. Not to re-write the script, but throwing in a bit of smugness from the guards to be like, “Nah, he won’t shoot his kid,” - then, “Father!”, then - *bang* adds perhaps a deeper shock to the bystanders? Or perhaps it’s 1 AM and I need to finish pontificating on something I saw just long enough ago to forget more interesting details.

Regardless, that aaallllll being said, Daimon’s Phantom is one that seeks to cover every base as strongly as possible. He is the saddest, the most anguished, the most angry, the most vulnerable and the most capable of cold and calculated revenge. Thus it could read as a bit overwrought or youthful, but I think it works with this greater shift in narrative that the Phantom lacks the emotional training one would get from having been raised in a more... conventional mask-free non-catacombs environment. 

[end of s]

- On the finale: y’all, I was so exhausted. This show is so much. I’m never prepared for a mini revue after a two act show and this was no exception. It was fast. I want the script-lettered “phantom” sign in my house. The songs were upbeat and it was jarring. This scene happened:

and there’s a hip move (?) that was real sassy. My face was stiff from trying not to cry and still an eyebrow twitched in surprise. When the gif hits tumblr it’s gonna blow up. Get ready for Music Revolution is all I can say. It’s already better than Super Voyager. 

A few auxiliary notes:

- People were cryyyying. A lot of sniffles. Two people actively sobbing on day two. 

[s] On opening day during one of the final scenes Christine plays, if I remember correctly, a few notes of the “oh you are music” line on the piano and “revives” the Phantom for a final moment. Except kinda? It went up correctly but on the way down she didn’t hit the right note and ended up with a nice jazz remix. You better believe she had it right the next day but I loved the *note, note, wrong note. tasteful pause. a note that sounds like a venturing guess. a pause. another note aaaaand the scene continued* I love knowing that she’s actually playing those notes. 

- I’m not surprised if they didn’t release the opening day curtain call speeches - Rika Masumi could not remember Gaston Leroux’s name (original author of The Phantom of the Opera - and fair, this show is so far from the book I’m surprised it has to be mentioned at all) and Daimon was trying to explain the cast split but got caught up in “ums” (which sounds like “eh”), which led to a funny bit where she was like, “you know, cast... eh... eh... ah, A!” (’A’ also sounding more like “eh”). Then there were two more curtain calls at which point Daimon was literally like, “buy the CD, buy some sandwiches and drinks... go home please” and then was like, “ok let’s do a phantom mask sign-off, everyone put your hand up like this” *hand up like the phantom mask* “ok with me, ‘Phantom...’” *audience repeats* Then Daimon pulled her hand away and said “maerou!” which literally is just like, “Phantom... is over!” I’m sure there’s a more elegant way to phrase it but people chuckled and starting packing up so I followed suit. I really wanted Maaya to speak but alas that’s not how things roll. If anyone has any insight on how she said she was going to approach the role (beyond, “I’m going to support otokoyaku”) please let me know! 

I’m no doubt missing a whole bunch, probably will edit in the morning, and might add some comments if I remember, but otherwise this sums up my trip! So glad to finally have it all out there and finished. Can’t wait to hear people’s impressions of the Tokyo run! 

#takarazuka #snow troupe #phantom #yukigumi #nozomi fuuto #daimon #maaya kiho #murder #i was dead #but in the good way not like *spoiler* #:o

[serenagaywaterford]

Omg your tags are everything 🤣 Personally, I like Luke; we don’t see him enough that it feels like he’s a focal point over the women, but I do like checking in with him. As for Lawrence, I just like the actor lmao But yeah, fuck Nick. He’s not attractive, he’s so boring, he doesn’t emote, and he served his purpose so just go away already cause he’s taking up valuable time that could be spent on the ladies

:DDD You cannot imagine my sheer joy seeing your post! It’s quite a thing to just come out and say it in the tags on this hellsite ;) (I’m not that brave!)

Yeah, I do like Luke in the sense that I understand his purpose, and he is a necessary character (at this point still), and that he’s just such a perfect example of how and why “good” men let and continue to let Gilead happen. And his personal story is definitely sidelined enough that you’re totally right, he doesn’t take anything away from the women who the story is really about. (Although I think 1x07 is one of the worst, most pointless episodes of the whole series. And I say that as someone who is constantly complaining that THT isn’t worldbuilding outside Gilead enough, lol. I just don’t think we needed an entire filler episode to show that there’s some people (1 man, 2 men? Honestly I’d don’t remember much lol) who don’t agree with Gilead and there’s some vaguely organised resistance/escape route/“railroad”. [Please don’t make me call it by it’s name! lol])

Lawrence is interesting in the sense that he’s obviously got a purpose to the larger narrative, and he’s gonna play a decent role in the resistance. But my issue is just that I don’t want them to waste like a whole episode or even half-episode giving us flashbacks and background on him? I mean, I don’t think we need that. We know he is a war criminal; I don’t really care how he got there? (I’d honestly be more interested in Fred if we’re going to learn about why powerful men decided that was the route they wanted to go. That said, I don’t care about Fred’s backstory much at all unless it helps to illuminate Serena’s.) To me it seems fairly obvious? (Aunt Lydia and Serena on the other hand, now there are stories to be told that are more relevant to the themes of the show, imo anyway.) Not to mention the actual current plot(s) that need to be developed. The men are effective characters when used to expand and develop the female ones. Like, character props lol. Just on their own merits? Personally, I’m not all that interested. I can watch any other (dystopian) TV show (or the news or history channel lol) for man stories. I know people disagree so this is just my own perspective and interests in terms of THT.

N*ck tho… (Welcome to my world of unnecessary censorship!) Absolutely everything you said, I 1000% agree with. He’s completely redundant at this point in the series. He brings nothing to the show either as a character or actor, unless you’re a N*ck fangirl or one of those crazy N/J shippers that has made the entire show about him (and them, because it’s him). [Yes, I understand the irony of me talking shit about other shippers, when half my THT content is a non-canon problematic af f/f ship, lol.] There are just so many stories to tell about Handmaids, Marthas, Aunts, Econowomen/girls, and I suppose Wives (though those seem fairly obvious lol) that I’d rather not have to sit through 10 minutes per episode wasted on N*ck brooding (if Mingella could act, that is), or N*ck/June making goo-goo eyes at each other with absolutely the bare minimum of chemistry. (Poor Moss, tbh. It must be very difficult to have to carry 100% of every scene with him on her shoulders. She does her best. Honestly, if it wasn’t for her incredible screen presence, that important part of June’s story would have been a complete and utter flop cos he certainly wasn’t selling it.) And I’m not even gonna touch what a douche (or just not great) the character himself is, cos at this point I’ve been bitter enough, lol.

Frankly, I’d rather go to Subway and watch the guy there make me a sandwich. That has about as much entertainment value as uwu N*ck does to me at this point lol. ;) I’d get more out of that. Like, a somewhat appetizing sandwich.

#drbobbimorse #i wish i could say i'm sorry to nicki stans but i'm not lol. i've had to watch all sorts of reasonable and also completely toxic and #horrible and unreasonable hate towards my fave so fair's fair yeah? #nick bland