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whumpster-fire · 4 years ago

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Extremely Hot His Dark Materials Take:

The conventional wisdom that daemons’ settled forms represent who you truly are as a person and are a unique, symbolic representation of it is what’s said in-universe but it isn’t true, or at the very least isn’t the whole truth. IDC what Philip Pullman’s said is actually canon, stuff like “Servants usually have dog demons because they have a submissive/servile nature” is really not plausible fite me.

Animal symbolism is a social construct and is not universal among cultures, and just like the alethiometer symbols, an animal species can have many meanings. As a result, for any one person there are usually many species which are a “valid” representation of their soul, and which one their daemon actually settles as is not set in stone from birth. Daemons don’t consciously choose their settled form - and humans certainly don’t - but it reflects a variety of influences, including symbolic “nature” but also cultural influences, social pressures, what animals the daemon actually knows about, the nature of the relationship between the human and daemon, and what forms are physically comfortable or practical. But the common uniting factor in all of those is that a daemon’s form reflects what you want and need as much as what you are. Not superficial wants, but deep deep psychological needs and what’s important to you. And sometimes fears as well.

Factor #1: Societal Bias

Strong cultural predispositions toward settled form, combined with form stereotyping. I think it was said in the books that “most servants had dog daemons because deep down they wanted to be told what to do.” Think about this: is this likely to be true? Given that people generally wind up in jobs by luck of the draw and by what’s available, and most people even in the most socially mobile modern societies usually don’t end up in their “true calling,” and in Lyra’s world your occupation seems to very often be determined by your birth. Do you really think all the kids like Roger Parslow, who’s working as a kitchen boy because his aunt who was a servant at Jordan College raised him, are naturally subservient? Well, is everyone who works in a service industry job IRL naturally subservient? Hell no! However, this is a very, very convenient lie for a classist society that teaches people that they were born into a “station” in society to tell. If your daemon settles as a dog, obviously you were meant to be a servant all along, and you and your daemon spending your entire childhood being told that because this is the station you’re being born and raised into your daemon should be a dog or some other “appropriate” form and couldn’t possibly cause them to be biased towards canine forms by this.

But if a daemon takes a form that’s obviously unfit for their station, clearly your true calling is elsewhere and it was never truly meant to be. It’s hard to falsify as long as most daemons are settling in “expected” forms. And most do, at least to an extent. A daemon’s form is influenced by drives and desires, and while most people don’t necessarily want to be bossed around and told what to do, most people do want to fit in.

And having fairly broad categories of “expected” can help that, because that gives room for daemons to find a form within that category that genuinely fits their nature. Someone extremely independent and strong-willed but growing up always expected to be a servant might end up with a husky daemon. Someone with a leading (or even controlling) personality might have a herding breed. The same goes for Gyptians and Witches being expected to usually have bird daemons.

On the other hand people with certain daemon forms might also be actively recruited for certain jobs, based on both symbolism and the physical abilities of that form - e.g. the Tartar mercenaries and other soldiers seem to almost all have wolf daemons. These may be very common in their culture to begin with, and then there’s further selection based on the symbolism of “You’re a wolf, you’re powerful, noble, and a natural killer but you’re a loyal pack animal, you’d make a great soldier.” But then in addition to that, because of the no touching rules, people in jobs where they fight other people are at an advantage if their daemon can fight other daemons.

Factor #2: Age

Settling age is... around early-to-mid puberty it seems like. I’ve seen speculation that it would be later in more modern societies as the age of maturity drifts over, but it seems like 12-14 is fairly common. But brain development continues until around 25. Like... seriously. Daemons are settling when their humans would be middle-schoolers in our world. People mature and change a huge amount in that decade of “settled but not fully mature.” Unless daemons can presciently predict how they’ll change over time - or if the soul’s nature is fixed and people tend to change in away that approaches that over time - your daemon’s form may be based on what you were like at settling age.

Factor #3: Knowledge and Familiarity

His Dark Materials is mostly based in Europe / Northern Eurasia, and the vast, vast majority of the settled daemon forms in the novels are native to that region. Off the top of my head the exceptions are Stelmaria (a snow leopard, native to the Himalayas but that’s still an animal she and Lord Asriel could have encountered / read about as a child), Mrs. Coulter’s daemon (a monkey, I don’t think we’re ever told what species. Not native to Europe but again Marisa had the resources to travel, read about exotic species, visit zoos, etc and everything about them is weird, IIRC the African soldiers in Amber Spyglass had various african daemon forms (so, where they’re actually from), and Hester. Hester’s the most important because while she took the form of an arctic hare, which is native to North America where Lee’s from, her form is native to a completely different part of North America, that she and Lee probably wouldn’t have been familiar with, and it took years for anyone including her to even notice.

This suggests daemons may be able to take forms that are unknown to them, but we never see a raccoon or an oppossum or a bobcat or some australian animal as a daemon as far as I know, so my best guess is that they had some secondhand knowledge of the arctic and had at least seen what an Arctic Hare looked like but forgot how to tell one apart from a jackrabbit, Hester had an unconscious longing for the North that neither of them were aware of, and she had a strong and possibly less-unconscious desire to get the hell out of Texas at sometime around settling age. And they assumed she was a jackrabbit because daemons usually don’t take forms they’re not familiar with.

Factor #4: Physical Preference

A daemon is not a shadow or a heraldic crest - they’re not just an insubstantial symbolic reflection. A daemon is an integral part of a person’s being, and they are one, but at the same time the daemon are a living, breathing creature even if their physical body is unstable. One soul, two bodies, two minds, two personalities. Their form subjects them to some - although not all - of the physical abilities and limitations that animal would have, and the same sensations.

Again, a daemon’s form is often influenced by what’s important to them, and to the pair. Most daemons take on a huge number of forms throughout childhood, and there are some things about those forms that are important to them. For some daemons the freedom of movement of flight is a fun, childish thing to play around with, and perhaps tactically useful, but it isn’t torture to give it up. For others, flight and the freedom it represents are their very heart and to be bound to a grounded form forever would be unbearable. Some can’t give up the ability to take small forms that can hide and go unnoticed, but some hate the vulnerability and helplessness of small size and could never be happy in a form that can’t walk alongside their human without fear of being kicked or stepped on. Some can’t give up the joy of swimming, or climbing, and for some their humans can’t. The daemon of someone who is a mountaineer and climber in their soul won’t be a snapping turtle. And... this is complicated, because part of it’s the human’s nature, but part of it is tied up in experiences which the human can feel too, and that are important to them, but they don’t experience in quite the same way.

Sometimes it’s just too convenient. Witches’ daemons are nearly always birds because witches spend much of their time in the air and can separate from their daemons, and only with flight of their own can a daemon take advantage of this power; in a flightless form they would take far longer to travel any distance, and their witches would have to land every time they separated or reunited. Another animal, like a fox or a mink or a rabbit, might fit with a witch’s nature too, but a witch’s daemon will become a hawk or a heron or a dove instead.

And sometimes a certain from is just comfortable and it just feels right even though the symbolism might not fit the stereotypes.

Factor #5: Human-Daemon Relationships

This is something I talked about a bit in my post about autism and daemons: the form a daemon settles as is often affected by the nature of their relationship with their human.

First of all: barring severe internal conflict or mental illness, while a daemon’s settled form is not chosen by the human and does not follow their whims, they don’t take a form that makes their shared life inconvenient and miserable. Out of how many sailors, John Faa and Farder Corram knew what, one guy with a dolphin daemon? Usually sailors’ daemons would be seabirds or otters, or animals like cats and rats that aren’t technically aquatic but are well-adapted to living on a boat. Does this mean that the sea isn’t their true love? No: it means no matter how much you love the sea being trapped on a ship for their entire life (and not even the entire ship: how high in the rigging can you climb without going too far from your daemon who can’t leave the water?) sucks and is actively dangerous. Imagine your ship is wrecked and your daemon carries you to shore through the storm (because humans die of hypothermia if left in the water too long in many parts of the oceans)... except you’re literally unable to get out of reach of the crashing waves that will drown you, sweep you away, or batter you to death, without dragging your daemon up the beach and then they’re stranding and dying, and you can’t go get fresh water which your body needs because your soul is an anchor binding you to the water. How many things that are a sailor’s job are you unable to do because you can’t go more than like ten yards from water deep enough to swim in?

Daemons do not consciously choose their forms, but their subconscious is not stupid. Taking a form like a dolphin doesn’t mean the daemon is symbolically expressing their nature, it means the human is denying it to the point where their own daemon is afraid of being torn away from it and cannot trust their human. But again, this event is happening at middle-school age, so what’s likely happening is something like a 14-year-old cabin boy falling in love with a girl in town and wanting to marry her and move inland and abandon the sea forever, and his daemon being horrified by the idea and wanting to make sure it can. not. happen. ever. And then both of their lives are ruined. Meanwhile the other cabin boy on the boat had a non-dysfunctional relationship with his daemon, who settled as a seagull and trusts that when he goes to visit family a little ways inland for a couple days it won’t be permanent.

Anyway: disregarding dysfunctional people like Mrs. Coulter, some humans and daemons are more physically affectionate with their counterparts than others, and in different ways.

Some pairs are happy spending most of their time at the edge of their not-painful range. Some pairs are perfectly comfortable with the daemon taking a tiny form and hiding in their human’s coat pocket most of the time and sneaking around the rest, and with the daemon hardly ever speaking to other humans, and that closeness and the moments of being held in the palm of their human’s hand and being stroked gently with one or two fingers is perfect for them. Some pairs are content with the distance a form like a bird of prey imposes, where the daemon must perch near their human because their claws would injure them if they landed on their shoulder or arm without protective clothing.

But many people and daemons are more “touchy” with each other, for whom the physical nature of the bond between human and daemon cannot possibly be given up. Some daemons settle in the forms they took to fly, or to hide, or spy, or fight, but many settle in the forms they took to rest, to soothe and comfort, to lick wounds and let their fur or feathers be stroked, to share body heat, and sometimes to help hold their humans upright or drag them to safety. Some pairs are content with the daemon sleeping on windowsills or perched on bedposts or on nightstands, or under beds or at the feet of them, but some curl up under the covers together whenever they can.

In less poetic terms, daemons settling in fluffy, huggable forms because they and their humans have a deep-seated need to cuddle with each other is just as valid as daemons settling as birds because they need the freedom of flight.

This is often the case for children whose need for touch is not met properly by others, or those for whom it is too much, or it cannot be trusted. Parents, friends, and lovers aren’t always there, but they are always there for each other. But there’s not always trauma or neglect involved, and it’s not always people who have few or no close and intimate bounds outside themselves. Plenty of content, well-adjusted people still have relationships like this with their daemons because we’re human beings and touch is important to us, and it doesn’t really matter if you share a soul.

#His Dark Materials fandom #daemon #silly headcanons

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atimburtonfan · 4 years ago

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How Tim Burton influenced my life

I haven't posted very much on here in the past months so I tried to find the reason why and thus decided to write down how Tim Burton's films and art have influenced my life. I also like to divide his films into three distinct periods to explain how his works have changed over time and what might have been the catalyst behind this.

First period: 1982-1999/2000 These above mentioned years I like to classify as the first period of Tim Burton's films and fame. It started in 1982 with the production of his short animated film, Vincent. It was during this time that Tim Burton started to produce/direct films for a world wide audience and that he started to build up a name for himself.

The short films of Vincent, Frankenweenie and Hansel and Gretel are nowadays true Burton classics and show his distinctive style of art. The beginning of the 80's were basically the beginning of the imagery that nowadays people call Burtonesque. It's this period during which Tim Burton could truly be called an outcast in the film industry, making eclectic films that would captivate millions.

Each of the three periods is also defined by a woman and it was during the first period, 1992 to be exact, that Tim Burton and Lisa Marie met each other, they got engaged in the following year until the start of the second period which is defined by another female actress, the woman most people associate with the name Tim Burton.

In my opinion it was during this period that Tim Burton made his most personal and creative films, my all time favourite film was made during this period. It's clear that Tim Burton was able to express himself quite purely before he got influenced by the studio that once rejected him. Some of these personal and creative films include: Ed Wood, Mars Attacks, Beetle Juice, The Nightmare Before Christmas, Edward Scissorhands, Pee-wee and his adaptations of the Batman films.

It was also during this period that I was born and introduced to his films at an early age. The first Tim Burton film that I have ever seen was Mars Attacks, an underrated comedy that I still love to watch these days. Even though I saw his films during the 1990's, I never really concerned myself with learning the names of directors or even be remotely interested in the background of them or recognize their distinctive art styles.

Second period: 2000-2012 These years are what I like to call the 'golden age' of Tim Burton's fame and influence. During the late 1990's and early 2000's, alternative music such as metalcore, nu-metal, gothic and industrial metal started to become incredibly popular in mainstream culture. Many teens became obsessed with this type of music and it was especially the explosion of the Emo-culture that introduced many teens, including myself, to Tim Burton's distinctive artstyle.

Shops like Hot-Topic became incredibly popular and many people began to dress themselves as if they were a character of a Burton film. Therefore it isn't very surprising that Burtonesque merchandise started to appear in the same shops where Emo, alternative, gothic and metal teens liked to shop, further fueling his fame as the lonesome different gothic filmdirector.

Why 2000 you might wonder? As I have said earlier, each period is defined by a woman in his life and it was during this year that Tim Burton met Helena Bonham Carter on the set of Planet of the Apes. They quickly fell in love with each other that eventually resulted in them having two children and living inside two homes that were connected to each other. Helena Bonham Carter and Tim Burton together formed one of the most eccentric couples that Hollywood has ever seen and they were much beloved by their fans.

It was during this period that films such as: Corpse Bride, Charlie And The Chocolate Factory, Sweeney Todd, Big Fish, Alice In Wonderland, Dark Shadows, Planet Of The Apes and Frankenweenie were made. They captured the hearts of millions of people throughout the world who felt like an outsider in this society and gave them a place they could call home. This was the era of the golden trio, Burton, Depp and Carter.

I myself became an awkward gothic teen at the age of 12 when I first entered high school. It was a time before youtube, the internet was still a relative new thing therefore it was incredibly hard to get your hands on anything remotely Burtonesque. I can remember reading magazines of alternative shops like Large and the McFiber and begging my mother to buy me some stuff.

As I grew more awkward and awkward, eventually getting an autism diagnosis, I got deeper involved into the alternative scene. All of my friends were exactly the same, different, alternative and thrown out by mainstream society. Many of us had serious mental problems which resulted in self harming and even episodes of attempted suicide.

It was then that I started to find comfort in his works. I could identify myself perfectly with the characters of his works and I adored the image and lives of the adorable couple, Tim Burton and Helena Bonham Carter. I became truly obsessed with some of his films and started to finally learn English in order to write fanfictions about Sleepy Hollow. The alternative/emo scéne reached its highest moments during this period and it was almost fun to be that weird outsider who liked the art and films of Tim Burton.

Third period: 2013-present day This is what I like to call the decline of the alternative scéne and thus also the decline of Tim Burton's popularity. There are of course multiple reasons why Burton eventually became less popular but I think the most important reason is the fact that the alternative scéne is slowly dying. Most of us who were teens during the early 2000's have now grown up and most have shed off their unique gothic/ alternative/emo skins and entered adulthood life.

The internet has also changed. Platforms such as myspace, vampirefreaks and the countless of forums have died, these spaces were havens for alternative kids. Youtube was by then well introduced and started to commercialize quite badly, I honestly miss the times during which Youtube was just a free platform to share your videos without any intent to make money.

Like I said at the beginning, each period is defined by a woman in the life of Tim Burton and it was around the end of 2012 that the relationship between Burton and Carter started to wobble. It was also during this year that Eva Green made her debute in Dark Shadows. Rumours quickly rose that Eva and Tim were having an affair and in 2014, Tim Burton and Helena Bonham Carter separated, which was absolutely stunning news to their fans as they were long viewed as the ideal 'gothic' couple.

In my honest opinion, the quality of Burton's works started to drop dramatically after the separation. The period of the classic Burton/Carter films was now officially over and this era is defined by films such as: Miss Peregrine, Big Eyes and Dumbo. None of these films really felt like a classic Burton film and I feel like he has sold his soul and creativity to Disney. Where he once was the outcast, the one who opposed Disney in order to produce his own unique works, he is now fully part of the Disney company and his distinctive style is now barely visible.

He also has made barely any works since 2012, the aforementioned films are basically the only ones he directed since the last decade. At this current moment, there is no work in production, although there are rumours he is making a sequel to Beetlejuice and his own adaptation of the Addams Family but this can't be verified. Most of his original fanbase have grown up and either shed the alternative scéne skin entirely or are still stuck loving his older works.

I can place myself in between. Truth be told, I also lost most of my interest after 2012. I became an adult and the emo scéne I once loved so much, was now officially dead. I didn't like the films he produced after Frankenweenie (2012), it somehow lacked that classic Burton magic. Not to mention that Tumblr itself has also been dying, and still is.

I still love his early works very dearly and rewatch them quite often until this day. I have however stopped obsessing about them, with the exception of one film, Sleepy Hollow. Tim Burton created a home for teens and young adults who didn't fit into modern society. I was one of those teens and his films have really helped me get through an extremely difficult period of my life. He made me feel that I belonged to something and the weekends I have spent holding Tim Burton marathons with my alternative friends were the best moments in my life.

I'm so sorry for this incredibly long post but I wanted to try to explain how Tim Burton influenced my life and how this eventually led to me barely posting anything on this tumblr account in 2021. What do you think of Tim Burton currently? Do you agree with the three periods that I have defined?

#Tim Burton #Personal #Influence

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onestowatch · 4 years ago

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Your Grandparents Manifest a Cinematic, Soulful Debut Album With ‘Thru My Window’ [Q&A]

Photo: Jordan Perez

Inspired by everything from ‘90s boom bap artists like Digable Planets and the Pharcyde to modern funk legends like Outkast and D'Angelo, Your Grandparents have quickly proven themselves to be their generations' torchbearers for the psychedelic soul movement.

Using a variety of recording techniques to get the desired effect for their genre-blending debut album Thru My Window, the group credits their uniquely cohesive sound to their years-long friendship, which began in their early teens. With their lush grooves, breezy, clear vocals, a sonic aesthetic built on unwavering authenticity, and of course, a deep love for their roots and deep musical traditions passed down from their grandparents, Your Grandparents embodies what it means to be an artist to watch.

Ones To Watch had a chance to talk with the trio, comprised of DaCosta (vocals), Jean Carter (vocals), and Cole, aka ghettoblasterman (producer), to discuss their inspirations and the long days and nights that went into creating their debut album.

When you last spoke to Ones To Watch, it was for the release of your single "So Damn Fly," and now, a year later, here we are talking about the release of your debut album, Thru My Window. How are you all feeling, and what have you learned about yourselves in this last year through the album-making process?

DaCosta: From a personal outlook, I've learned that making music is heavily dependent on my mood, or just how I'm feeling and what's going on in my personal life. When things are a little too stagnant, it's a little harder to write. On the other hand, when things are flowing, and life is being lived, it's easy fuel. It's good fuel. It doesn't burn too quickly.

GBM: I've learned that no idea is too wild. It's usually less wild than I think it is.

Jean: Yeah, it's better to start at the extreme and take away. I realized I feel like a lot of artists feel like they have to put themselves through turmoil or allow certain situations to write meaningful things. Like it's not necessarily good music, but it's something that means a lot to them. I think I realized that that's not the case and inspiration comes in many different forms. It could be a person or something completely random and inanimate that makes you feel something.

What were some of those inspirations?

Jean: Definitely films.

GBM: A lot of films!

Jean: Yeah, we're all pretty big film people. We do all our own videos pretty much, and it just comes from this love of film that we've had that got nurtured in high school. We were blessed enough to have a really dope film program that Sony funded and stuff, and so we got like an impromptu film education before we graduated. So by the time we graduated, we knew how to get our own projects done without reaching out to someone else and then taxing us because they want to hire their friends and all that stuff. So because of that, we had complete creative control. I've also been watching a lot of Korean movies lately. Not during the album—wait, actually, during the album, there were a lot of old kung fu movies and blaxploitation movies from, like, the ‘70s. Also, my friend got me this Curtis Mayfield record, and "So Damn Fly" is definitely heavily influenced by that whole record.

GBM: I feel like the ‘70s in general, the ‘60s and ‘70s, definitely had a big inspiration on the aesthetic and the kind of sound we were going after. Especially with "So Damn Fly" and "Tomorrow" and those kinds of songs.

Do you feel like this album has a linear story the same way a film does, or do you feel like it's more of an anthology of the band's personal experiences?

GBM: It's kind of a mix of both.

Jean: Yeah, it started off as an anthology, and then we pieced together the story, which was largely done by Cole by sitting there and being like, “Hmmm.”

DaCosta: Yeah, it was a lot of Cole dissecting the words and putting them on the tracks.

Jean: When we're writing the words and trying to be free-flowing and expressive and stuff, we're not fully conscious of a bigger picture situation. Instead, Cole is sitting there producing everything and putting in the music and being just more of a listener than anyone else could. So he has the context, and he could find a story that we didn't know we were doing together with our three minds and in our three different lives.

GBM: It's like a puzzle almost, because I'll be sitting there at like 2 a.m. in my bed, listening to the songs, and I'm like, "Ok, Kyle said, that in the hook, so this song has to go before that," and so on and so forth. It's like a storyboard kinda.

Right, to keep the record's "plot" cohesive and self-referential.

GBM: Another big consideration was playlists. I love making playlists, and I know Kyle loves making playlists, too, so it needed to flow. It just has to flow. We didn't want songs that juxtapose each other or have opposite vibes be back to back.

DaCosta: Yeah, I think we even switched around the playlist a couple of times before we had it set in stone.

GBM: There were like fourteen songs originally, and then we got talked down to ten.

Jean: Fourteen tracks woulda went crazy!

I'm sure fans would love a deluxe version of the album at some point! So what were some of the rough draft ideas before you set these ten tracks in stone?

Jean: There were more modern-sounding tracks. The more time we spent on a project, and this being our debut, we wanted to be true to the name. We wanted to be true to the artistry that had gotten us to this point.

DaCosta: There were a couple of heavier hip-hop tracks there too.

Jean: We had been doing that, and a lot of people haven't even heard those because they're like heavy hip-hop stuff from when we were in high school and like early college.

Were there any tracks on the record that challenged you?

Jean: "Intoxicated" challenged me. I had a whole different verse. The conception of that song—I was just venting about whatever I was going through at the time, and one of my homies was like, "It's not sexy enough!" So I was just like, "What? No! I've done sexy stuff on all the other songs. Just let me vent!" So I tried another verse, and we ended up going with that one instead.

DaCosta: I mean, it worked out great though...

Jean: I mean, yeah, it sits nicely on the song, and now I have a verse for something else one day when it's time for it.

GBM: Yeah, that song went from being all of ours and everyone on our team's favorite song to our least favorite song. I will say that recording the instruments for the album was fun, but there were definitely some long hours. We had a drummer and bassist come through, and they played for like twelve hours straight doing all the songs. So the songs that have live drums on them were all done in that one day, and they even did songs we recorded that didn't make it on the final record. I think we started at 1 p.m. and we ended at 1 a.m. It was crazy.

What song are you most excited for people to hear when the album drops?

Jean: I think people are gonna like "Comfortable" a lot. Honestly, I haven't listened to the record in a while because it's existed in our world for a minute. We had just posted the visuals for that song today, and I was feelin it.

DaCosta: I think people are gonna really like "Digest." For me, it gives me that "it" factor.

GBM: I think "Red Room." It's my personal favorite and one of the more fun ones to me. It's just a good time!

youtube

You mentioned earlier that you try to maintain creative control when making your music videos and coming up with concepts for visualizers. What is your creative process like?

DaCosta: We definitely sit down, and we go through everything from storyboard to shotlist and just take and grab inspiration from all over the place. For "So Damn Fly," there was that That 70's Show shot where they're all sitting around the table, and it's spinning. So there are all types of really cool influences, and we just try to use those and make everything unique to us.

GBM: I think we kind of go through a three-step verification. The idea has to go through all three of us before it becomes something else or moves on to actually being tested out or put into picture. So that kind of attributes to the very solid identity we aim for.

It sounds like that impromptu film education you mentioned earlier has really set you up for success in creating your videos.

Jean: Yeah. My high school film teacher, Miss Butler, I took that class for two years, and then when I couldn't take it anymore, I became a TA. So then I took the after-school class, and I just spent hella hours pretty much ruining the way I enjoyed cinema and teaching myself like—she would have us look and watch these classic movies and be like, this is what they did wrong.

Can you give me an example of a classic film you would watch and critique?

Jean: The first one that comes to mind is Rear Window. I watched it a few times, just because I had taken the class a couple of times. She talked about how the set that they made and the world that they created, they had full control over. Just seeing older films and how simple things were a lot more complicated then. Like you can't just delete a take and wipe your card. Everything had to be so planned out and so intentional. You gotta do shit on purpose. It's just a lot of thinking and planning, and sometimes, I feel like it's more challenging to have more people involved in a film production sometimes because of the growing degrees of communication. With the small groups that we usually keep, everyone's on the same page as us. All of us took this same class, so we all have a similar workflow.

DaCosta: Yeah, our organization when it comes to films, we're all pretty much on the same page. You know, with what was going to happen, who's doing what, who's in charge of what, etc.

Jean: And pre-production is the biggest thing and finding the right team because we can't shoot it and be in it. Although Cole can somehow!

GBM: I'm in one scene, and I'm like, "I'm just gonna kill this scene right now, and then I'm gonna jump back." That's why I'm only in the last scene.

Because he's doing everything else!

Jean: Yeah! Then as soon as the scene cuts, it's like, I go back to directing people, and Kyle goes back to making sure we got the next shot set up.

GBM: There were only seven people on set.

DaCosta: And four out of seven were crew members

GBM: Yeah, the DP was the only person that wasn't actually a casted character. Everybody else is like multitasking.

You'll be making your first-ever festival appearance at Day N Vegas in November. How are y'all feeling about it?

GBM: It feels incredible!

DaCosta: I'm so so excited!

Jean: If I get excited, I get nervous. So I just aim to be focused, or I don't think about it at all.

After the release of Thru My Window, what are some long-term or short-term goals y'all are manifesting?

Jean: I think for the next album, I want it to get Best Rap Album. We went R&B on this one, but nobody knows the way that we—like yes, we rap on it, but nobody knows our actual rap potential. So I feel like that's something that needs to be lived out on the next project. It's been a minute since we were rapping, bro. There are cool people out here doing the rap thing right now, but not many people have impressed me.

GBM: I kind of want this album to open up the door to doing a lot of travel. When we got back from Paris in 2019, what we experienced during that summer gave us fuel to start this project. So I feel like if we just keep that kind of like tradition going, we just travel somewhere and just make stuff, I think it'll never get steered wrong.

DaCosta: I think I want the album to just open up doors in general. I know it's kind of a broad thing, but like, we're so diverse, and between the three of us, we can do literally anything I think in the world if we put our minds to it, and we kind of plan on doing everything that we want to do. So, I kind of want this album to open the door just so that we can you can start striding towards whatever, whether it's directing movies and videos and fucking scoring—

Jean: Or directing other people's videos!

DaCosta: Yeah, all types of shit.

Thru My Window is available everywhere you can stream it.

#your grandparents #album review #interview #thru my window

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popculturebuffet · 5 years ago

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Donald Duck Birthday Special!: 12 Donald Shorts!

Happy Birthday to my faviorite duck! As you can probably guess from my previous Ducktales reviews Donald Duck is my faviorite of the classic disney gang. As an angry but well meaning, sometimes lazy sometimes hardoworing and always out of his depth guy really spoke to me for obvious reasons and my love of him made me check out life and times and well you know the rest. But weirdly, until last month i’d hardly seen any of his theatrical shorts. I grew up as a “Tom and Jerry” and “Looney Tunes” kid, and with Disney never playing them on disney channel for whatever reason (even with the ones they really CAN’T play there’s dozens they sure as hell can), I just never had any real intrest. But then Louie’s Eleven happened , I was starved for Donsy content and thus rewatched Mr.Duck Steps out, and most of her filmography, skipping the ones where she’s the miserable wife from every sitcom... more on that later, and with one exception. So I wanted to review them.. but quickly reailzed that with 6 minutes for most shorts there’s not a ton to dig into, so I decided after finding out his birthday was next month to take a handful and pile them in here, review them and see what makes my boy so great, what dosen’t, and look at the good the bad and the holy shit did he just point a shot gun at that poor defensless animal of Donald Fauntleroy Duck. We get this party started under the cut.

For funsies since, unlike most things I cover, every episode has a gif on here i’m going to use the gif keyboard to look up an image for the cartoon.. and if not well.. whatever’s there will have to do.

1. The Wise Little Hen (1934) A charming little short that I rewatched today to get on the docket, and i’m glad I did. The plot is very simple: A Hen and her 8 chicks are planting, then harvesting corn. For each task they ask Peter Pig, Local dick and the Rusty Spokes of 1934, and Donald Duck, our boy looking very diffrent, for help. Peter just says who me then runs off while Donald fakes a bellyache. Both get their compuance when the Hen and her 8 chicks make a ton of goodies from the corn and decide to eat it all themselves, while donald and peter give themselves an ass kicking.

I genuinely wish this is how life worked: Your bad, take advantage of people and your reward is not taking their beinfits and snickering but having to kick each other in the tuckuss on loop.. you know instead of the Peter Pigs of the world blaming people for getting maced in the face by stormtroopers. Sigh. That aside it’s just a fun, charming short with great animation, and a great look for Donald. I do genuinely love his first look, even if it’d later be eased down to perfection. And there’s plenty of fun gags and great music. Overal a solid A short.

2. Moving Day (1936) As you can see from the GIF this one isn’t strictly donald, we’re still one away from a starring role. After annoying the shit out of Mickey in the classic’s “The Orphans Benefit” and “The Band Concert” , Donald soon became his regular sidekick alongside Goofy. Both would quickly breakout and this short is apparent why as Mickey is a side character in his own labeled short. The setup is somehow, after 84 years, STILL relevant to modern day. Basically Mickey and Donald are tennants who haven’t for whatever reason, paid their rent and are 6 months behind. And sure they could just be obnoxious squatters doing it onlyf or their art who shriek like banshees the moment their asked to actually pay rent, but thankfully this isn’t RENT, or else I would’ve jumped out of a window by now. No given this is the depression, their likely trying to hold onto their house and meager posessions for as long as they can while work is incredibly scarce... not like.. now.. ha .. ha. ha.... I may take the window up on it’s offer after all. Anyways, our valiant heroes decide to try and cram everything they can into their friend Goofy’s milk truck while Pete’s busy putting up signs to advertise him trying to sell their shit to make up his back rent. WHich translates to a bit of mickey doing that and most of the short being spent with donald fighting a rug and Goofy being outsmarted by a piano. Both are utterly hilarious and prove why these two became far more popular, and overall the short’s a damn good timea nd our heroes win by still getting a pile of possesions out while their antics destroy the rest so pete gets nothing! Horay! They can sleep at goofy’s place! Now moving on from crushing reality, it’s animal cruelty!

3. Don Donald (1937) I wasn’t kidding. Yeahhh this was donald’s first full, not attached to Pluto for some reason or an adorable chicken family or his mousy overlord short. Don Donald. Donald’s in mexico, for some reason and wooing a lady, in this case Daisy prototype, Donna Duck as seen in the header image. I like her, they have a diffrent dynamic, both being kind of tempramental and flirty instead of that being just ONE of donald and daisy’s dynamics. Others being muttually supportive and adorable (Ducktales and Quack Pack) or daisy being the wife from according to jim, or last man standing, or my wife and kids, or king of queens, or the george lopez show, or everybody loves raymond, or ... you know what i’m depressed enough from the last two shorts you get it. But you know without Donald being an obnoxious asshole who views every guy his daughter dates like a horny degernate who just wants to get in there and overreacts to everything involving them and makes me pray for death but death wont come.... I may not like classic daisy very much. Moving on. That being said as you can tell from the donkey abuse donald.. ihs a fucking asshole in this one.. and not the loveable asshole he is in the band concert mind you I mean he’s less brent sienna and more tucker carleson. He laughs at his girlfriends misforutunes and hit shis burro and then tries to trade it in for a car.. which he does. He gets his commupance and all but yeah.. it’s deeply uncomfortable to watch him abuse this animal for half the runtime. Trading it in is one thing, but he’s still an utter dick to it.A short that COULD’VE been fun that instead is just uncomfortable, even given the time it takes place in.

4. Donald’s Ostrich (1937) Donald works at a distant train station taking care of various cargo that comes in and ends up having to care for an adorable ostrich named hortense. Hyjinks, especially once she swallows Donald’s Radio, insue. This short.. is a MASSIVE step up from don donald. INstead of uncomfortable animal abuse donald just gets frustrated with an ostrich and battered round a bit, and tries to cure her hiccups. My faviorite bit is when hortense arrive, and stands up with a box on her,a nd donald goes under her gives a greatly delivered by Clarence Nash “what’s going on around here” before hortense sits on him. Really funny. And yes Hortsense is a regular ostrich. And yes that paradox has been around this long. But this one’s way funnier, way more charming and really damn adorable and dosen’t remind me of the crushing horrors of real life so yeah. A+. There’s only one short I like as much and it’s coming up.

5. Modern Inventions (1937) Another one from his first year and another classic. Basically donald deals with various inventions in a “house of the future” type attractions, gets ruffled by them and the robot butler seen above steals his hat with a dry brtiish “your hat sir” while donald adorably pulls one out of thin air in increasingly creative ways. Again plotwise these shorts are simple but by now they figured out what made donald work: getting frustrated sure but with him being a relatable every man and sometimes trickster as seen here with the hats and him pulling that old coin on a string trick.

He also dresses up like a baby at one point and i’ts weird but oddly funny... but yeah donald is in peak form here and this one is another clear A+, if for the running robot gag alone as donald keeps puttingon new hats and the robot has a truly spectacular design.

6. Donald’s Better Self (1938)

Now for a weird one.. not the most surreal thing on our list, despite you know a devil version of donald popping out of his mailbox, but it’s damn close because you know, Donald as Satan popping out of his mailbox. In short Donald is cast as a school aged child.... you know what’s coming.

And you may say “Well jake they were just experimenting and his age was vauge at first” and to that I say, with no joke Huey Dewey and Louie debuted THIS SAME YEAR. Even given how adaptable older cartoon characters are, and they are it’s part of the charm, and tha’ts fine.. this is a bit over the line. Oh and it gets weirder as donald has the standard cartoon angel and devil arguging over his actions things.. only here the Angel and Devil are donald sized, and again fighting over the soul of a chid in the body of a 30 year old man, literally in some cases, ending with said devil encouraging donald to smoke before he and the angel get into a fistfight. While not an especially GOOD short, you have to admit.. it’s unique.. batshit but unique and worth at least one watch.

7. Donald’s Penguin (1938)

The second in our trilogy within a series of “Donald gets a pet” shorts, this one start’s out fine, Donald gets an adorable penguin named Tootsie from “Colonel bird” and does cute things like immitate it’s walk or what not while Tootsie is a grumpus. Fun stuff. Then tootsie apparenlty eats Donald’s fish, and donald spanks the poor bird. Now this pissed off some people on Letterboxd but me, while it’s slightly distressing, it was 1938: while spanking was NEVER a great thing, it was acceptable back then and as far as Donald knew Toottsie knew not to eat the fish, Donald had told him no adorably, and did it anyway. So donald goes to get an apology trout, which he just.. has for some reason out of the ice box and uh.. things take a turn from “it was accpetable at the time” to “HOLY SHIT”... Tootsie decides fuck it and eats the fish and uh... Donald.. how do I put this calmly.. ahemahem okay... DONALD GRABS A FUCKING SHOT GUN AND CHASES HIM AROUND, THEN ONLY BACKS OUT AT THE LAST SECOND, A SHORT FIRES, AND HE MOURNS WHAT HE THINKS IS HIS DEAD PENGUIN. We then get a cute shot at the end but holy shit.While Elmer fudd is one thing since he’s A) the bad guy and B) is indeed trying to kill a wild animal he has a lisence for instead of his fucking pet whose a protected species if those existed back then, this is just... like the donkey abuse, deeply uncomfortable. It’s one thing to spank a pet, even up to the 90′s that was acceptale and still is in some circles, but it’s another to try and murder it over a slight infraction. Just.. jesus christ. I want Tootsie back too, this was objectivley terrifying. Let’s move on.

8. Mr Duck Steps Out (1940)

Ahhhh yes the short about dancing that brought me to the dance. This one is, without a shred of second guessing, which for my anxious self is a miracle, my faviorite both of this batch and in general. The short is about Donald trying to go on a date with Daisy at her house, and his nephews inviting themselves along and trying to ruin there uncle’s every attempt at getting romantic with wacky hyjinks. That’s.. basically the plot.. as you can tell these things are very light on plot but here that’s all you need. A few things to note. 1) The boys are VERY much in their early characterization, i.e., their all assholes instead of “All huey 2k17 but dialed down a notch” or “karmic tricksters working against their uncle’s ego”, though they’d ocassionally dip into this in the 80′s ducktales depending on the episode, especially if webby was around, and shove their face into it and inhale deeply like me with the hidden mountain of cocaine hidden under my basement. The second is that Daisy has a duck voice, much like Donna did for this short and only this one. It’s not too distracting given she barely speaks, though she has more than enough body language to make up for it, it’s just.. odd.. especailly since it means Clarence Nash, donald’s voice actor, is voicing EVERYONE in the short and doing a terrific job of it. Even weirder is Disney would later redub a shortned version for Disney Channel in the 2010′s that had their modern voice actors (Donald Aselmo, Tress Macneil and Russi Taylor, god rest her soul) re-dub it and it just feels all kinds of wrong despite the three being excellent va’s. I dunno the cleaner modern audio just feels wonky coming out of the old 40′s short. But despite it’s oddities the short really has fun, from the iconic little dance donald does at the start...

Serioulsy I freaking love that dance and his outfit. To the little laughs donald gives when telling daisy “HA, I brought my nephews ha” like a 40′s tommy wiseau, to him roaring in a lion skin to the ending which is just pure adorable and nice because Donald actually GETS to win, especially because half of all donald shorts or comics where he’s sympathetic end up with Donald miserable and beaten up and me like this.

Instead Daisy kisses him all over and over again, until the night goes dancing.

Overal a fun, fast paced short about Donald trying to get laid and the gold standard of Donald Duck shorts. Two more things before I move on. This was co-written by disney comics legend Carl Barks, and it shows, and i’d be remiss if Id idn’t mention this bit of Daisy, after playfully shoving donald away when he coyly asks for a kiss, giving him a come hither signal with her butt.. which is somehow hot. Don’t ask me how.

And with that mental image we move on. What do we got next?

9. The Spirit of 43 (1943)

Ah yes propaganda! and the first one I couldn’t find a gif for. I watched this one because it’s another Barks one, he worked on several of these and was also the one who suggested not having HDL be assholes all the time as he felt, rightly, it’d get old after a while, and because it has protypes for scrooge and gladstone, and is thus one of the only shorts Scrooge is in and the only classic one... And like Donald’s Better Self it’s fucking weird. It’s all propganda no joke as ONCE AGAIN, yes AGAIN, two figures battle for Donald’s soul, this time a scottish man encouraging him to save and donate and a sleezy huckster encouraging him to spend for himself.. even though spending in bars and what not helps the economy and gives the bartender money to stay open during such trying times, but whatever. Also the huckster aka proto gladstone turns into hitler.. yes really.. and Donald then punches him through a swastika captain america style because donald duck is hardcore. Trust me this is somehow NOT a cocaine induced fever dream I had. Not a great one but like Donald’s Better Self worth at least one watch, in this case in additiont o the insantiy for the historical value of seeing two prototypes for Carl Barks most iconic characters.

10. Sleepy Time Donald (1947)

As you can tell this one’s way more wholesome and way less of a drug trip. Donald goes sleepwalking and Daisy, realizing it, plays along so he dosen’t wake up and goes thorugh the motions of one of their dates. Very simple, ending with Donald thinking he’s the sleepwalker before she conks him out, and very adorable as while Donald isn’t concious, and has a boot on his head, we see what a standard date for them is like when Daisy is being written well as they strut around the park, he proposes, it’s all really damn cute and if you like these two together, you’ll really enjoy this one. Not much else to say other than it’s really precious and really funny and creative. Kinda hard to follow up Donald duck punching out hitler.

11. Daddy Donald (1948)

Another quick one and the end of the “donald gets an animal” trilogy. First off, while I only got one gif from this short, I DID get this lovely image under “Daddy Donald” in Tumblr’s gif search thing

Awwwww. Anyways, Donald adopts a kangaroo like it was a baby, it’s kind of weird, not as weird as the above. He and Joey slowly bond, while he gets directions on what to do from the lady at the adoption place over the phone and hyjinks insue. Kind of cute but not quite reaching the heights of “Donald’s ostrich or the first hal fof “Donald’s Penguin” and not being quite as surreal as Double LIfe or Donald Punches Hitler.. which is what Spirit of 43 should’ve been named. I mean at least “De Fuherer’s Face” had a memorable name. But yeah not one of hte more notable ones and I mostly included it to round out the trilogy. Speaking of trilogy’s to close out this celebration of Donald, one of the last shorts and the last one featuring Daisy, and the inspriation fo rher Ducktales outfit. Donald’s Diary.

12. Donald’s Diary (1954) Well.. this is basically one half of a good short ending in a lot of misogny. I could end it there but there is a lot to this short. It basically has donald, weridly in a clearly voiced narration talking about his courtship with Daisy as she first tries to get his attention and he’s oblivious.

Then she uses a rope trap and we get this iconic image which is concentrated awwwww.

Then they date, Daisy’s implied to have dated a bunch of guys which was a bad thing in the 50′s but is perfectly resonable in 2020, and he meets her brothers, basically huey dewey and louie standins and her.. parents. Yes apparnetly donald’s parents have to be implicitly dead by present day, but Daisy’s can be alive. Weird ain’t it? It’s pretty adorable, has some great gags and we even get him proposing and them marrying! And then the shoe drops.. yeah the rest of the short is how she expects him to GASP work all day , fair enough but then GASP do all the chores.. which is bad but the short implies it’s because he’s the man and she’s the woman and she should do housework. It’s actually bad because marriage is an equal partnership and while asking him to do a chore or too after working all day is fine just fine, asking him to do EVERYTHING while you do nothing is abusive and terrible and i’ve seen it actually happen in my friend’s previous marriage. So yeah this message can fuck off. And I knokw standards of the time, penguins having shotguns pointed at them etc but there’s not having aged well but being able to ignore it and there’s this. And then she procedes to spousally abuse him and work him to the bone, and then he wakes up, and assuming ALL marraige sare like this dosen’t end up proposing leaving the poor girl wondering what the fuck she did to upset him. Real fucking cute guys. Seriously just.. part of the reason this part bothers me so much is MANY people think this is what marriage is like, like a fucking terrible sitcom. Life isn ot like home improvment or according to jim, or my wife and kids or king of queens or family guy, or you get my point again and yes I reused some their that bad.. even now we get stuff like man with a plan. It annoys me because 70+ years later and while it’s getting better this same lazy comedy still happens! and much like king of queens wasted the late great jerry stiller, this short wastes great animation and a great first half to tell a terrible story. It just leaves a bad taste in my mouth and is a bleh note to end on. Watch the first half because it’s adorable, end it at the wedding. IN conclusion Donald’s shorts are a mixed bag but as you could tell some are truly spectacular and some are worth the spectacle and all have terrific animation and effort put in, evne when they didn’t deserve it and as such I couldn’t think of a better way to honor donald’s birthday than with these animators hard, well worth it efforts. Even when it wasn’t great, it was still somewhat fun. So happy birthday old friend and here’s to many more. Later Days.

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mysticalmusicwhispers · 5 years ago

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APH China Musings

When I start thinking about China, and sometimes countries in general, I get this total disconnect between how the anime/manga portrays the country (especially China) and how a lot of headcanons have them as, especially reading headcanons and art about ancient days.

Ok China-specific content below (headcanons at the very end): Very long post warning

Most of the canon shows him as a sort of weird old grandpa who doesn’t really have all his nuts and bolts in his brainpan and pretends to be cool or whatever (when he’s really not) while his kids all mock him. That APH China has a soft spot for cute things and can’t really understand the others ig, which again kinda makes him a laughingstock for his kids. But, the headcanons I’ve read show him as a really manipulative, sly Old Man who enters contracts/treaties/friendships to benefit him, not for the sake of being kind, and doesn’t really see everybody else on an even level with him which... clashes somewhat to a lot with the canon. HOWEVER, this cunning, darker (?) version of him is way more historically accurate... I like certain things from both versions (and I also like being historically accurate as much as possible) and the fact that headcanons vs canon is so contrasting makes it kinda hard to have one concrete China for my headcanons, it’s like he has split personalities or something lol.

Side note: I’ve never heard/known of anyone Chinese ever saying -aru in English, so... It might be just a voice tic of Chinese people when speaking Japanese, but I sort of get annoyed when it’s added in every other sentence he says in a fanfic. He doesn’t talk like that in the English dubbed anime either, and it seems that the English translations of the manga have also omitted the -aru (except for one strip I believe, correct me if I’m wrong). So please don’t add it in fanfics unless you want the characters to all be speaking Japanese with their own unique voice tics.

However, I do like some parts of the canon portrayal, SUCH AS: his doing tai chi every morning, the portrayal of his relationship with Japan before the “betrayal”, and apparently how he “isn't one to waste a second of time” (from the wiki). So in my head, I try to meld the canon and Sly Old Man together, because I like some aspects of China that may not be explained by either the country’s history, culture, or stereotypes, and honestly I feel like some parts of a country’s personality can just appear spontaneously; you don’t need to be able to explain every part of you from your past experience or the people and country that you make up and represent.

Without further ado, the Headcanons!

- MORNING PERSON, does the whole tai chi thing in the morning with the birds in his garden or something, finds it very relaxing, and then goes back inside for an actual breakfast (I have no idea what he’d eat because Chinese cuisine varies A LOT from region to region, ex. in the north/Beijing region there’s usually soy milk, “Chinese oil stick” which is basically like salty fried dough sticks, and “tofu brains” <-- literal translation, it’s a sort of soupy thing with very soft tofu (very good). In the south, there’s a lot of sweet meats and dim sum, almost like a mini lunch sort of thing, etc.) He’d also drink tea, and never adds sugar (I don’t think restaurants in China ever actually give you sugar packets with tea)

- I feel like he’d be a CAT PERSON nowadays dogs as pets have become more popular in China but before, cats were more common (I think) because of their usefulness as pest control and the fact that they can get their own food; dogs weren’t really kept except to be guard dogs. I feel he’d have gotten used to cats, and also he’d enjoy a quiet pet’s company more

- ANCIENT DAYS/RELATIONSHIPS: He’d probably be slightly manipulative, and ENTER relationships for a trade benefit/power/control/good stuff, but if the relationship goes well and the person is charming (Rome cough cough), he’d slowly warm up and become real friends after a while.

- I agree with the Sly Old Man treatment of COLONIES/TRIBUTE STATES, he’d probably just protect them for the benefits instead of actual Love (but isn’t that what all countries do these days). I do see him as very patronizing to his underlings, because of a) his age and him thinking that he’s seen it all with his dynasty changes and wars and stuff and b) Confucianism, which said to respect your elders and all that, so I think it’d make him slightly full of himself and patronizing (the wiki says this is also his current attitude and I can see that). But I see a situation similar to the relationship one playing out here; as he gets more and more contact with a tribute state he actually grows closer to them in the Normal Human Feeling way, so that would explain his feeling of betrayal when Japan left (literally back-stabbing him), as well as his feeling sad (not just because he lost a trade partner and revenue maker) when Korea was taken. For his tribute states, my headcanon for their relationship is pretty much summed up in this post (esp his relationship with Korea, but also Japan a bit): https://stirringwinds.tumblr.com/post/119403708770/tsk-look-at-you-all-battered-and-bruised-its (patronizing but still caring)

- VERY PRAGMATIC AND EXTREMELY BLUNT. I have no explanation, he just seems like this kind of person (and according to the wiki, he “isn't one to waste a second of time”). Doesn’t care at all if he offends you, intentionally or not (unless he’s trying to impress, of course).

- VERY TRADITIONAL. He probably knows at least a handful of traditional instruments, pipa, ma tou qin, gu zheng, erhu, xun, etc. And will roast people on the internet if they play them wrong (a while back at some really fancy gathering, there was a performer who was in front, mind you, playing a yu (wind instrument) upside down and totally wrong, and that caused a huge firestorm in Chinese social media. I’d like to think China would have been one of those people to be like “what are you doing you know you just made a fool of yourself right?” Incidentally, there’s also an idiom related to the yu that is literally about playing it wrong (literally it’s something like one bad apple can be covered up in a sea of good ones but one by one, people will see you’re bad))

- TRADITIONAL pt. 2: good at calligraphy and also very good at guessing dui lian (apparently called antithetical couplets) hung up during the Lunar New Year. Also adhering to tradition, he gathers up everybody for every single big Chinese/Asian festival to eat together. I know Japan doesn’t interact much with China and China still feels betrayed by him in the manga (the Japanese and Chinese relationship nowadays still isn’t the greatest/closest for multiple reasons) but I’m going to take liberties (and my heart needs fluff). Also, if China invites/drags everybody but Japan to his house, I feel like that’s awkward and one of his kids/siblings would get Japan to come anyway. There would be a lot of arguing at the dinner, about food, politics, memes (from HK), trends, or anything really, but it’s all in good fun, yeah?

- MODERN POLITICS: still a bit of Sly Old Man, and probably very stuck in his ways. Some countries he doesn’t really respect. For example, he doesn’t see America as a fully respectable adult, probably because a) he’s still older and b) I think China agrees with his government’s structure to a point? Like with the way he suffered during the collapse of the Qing Dynasty (Boxer Rebellion, WWI, etc.) I think he’d take any system (including communism) that worked and improved people’s lives. At heart, I think China wants to do what’s right for the people, and at the time, the Communist Party promised that people’s lives would get better under their leadership, and for some, it did. That convinced so many people to take their promise, and I think China would have supported it at the time. As well as, I believe that country’s perspectives of their government is /somewhat/ influenced or warped by their people’s perspective, and /most/ people in China are /okay/ satisfied with the central govt. (not extending this to regional govts, that’s kinda a different issue). So I see China (as a character) being mostly satisfied, and America’s criticism and complaints about him pretty much bounce off, because China doesn’t see his comments worthy of respecting, especially because his govt. is doing ok from his point of view. There are definitely things that need working on, but he won’t take US criticism.

- SLY OLD MAN pt. 2: Basically the same as the tribute state thing, he’ll help you out initially to get your benefits, but if you last long enough, he’ll gradually grow friendship feelings. I feel like this is what real China is trying to do with the “Belt and Road”, basically spreading influence to less developed countries, although it may not be working out. Sort of like manipulation, which also fits in with the Sly Old Man thing.

- I can see why Hima originally designed China as being a bit cold, because I feel if he doesn’t need you, he won’t really talk to you. Although as mentioned above, I also see him start to care for somebody once he takes the effort to get to know you, and will probably care for his close friends long after they’re actually needed.

- I agree with the canon that he can GET ANNOYED EASILY AND SNAPS A LOT, but I see this happening only with people he thinks aren’t interesting enough, are below him, or don’t get him (or are just incessantly annoying).

- Also a bit EGOTISTICAL, but doesn’t show most of the time. Unless you happen to mention a recent achievement, and then he’ll go “Haha! I did that ____ (pick a number from 1,000 to 4,000) years ago!” or something and probably roast you

- SENTIMENTAL OLD SOUL: often reminisces about the past when alone, or with someone he truly trusts (that used to be Japan, but...). Slips into “how did the world get like this?” sometimes to a lot. Feels lonely sometimes too, and can be found stargazing on his front stoop at night

- RELAXING: if he doesn’t have work, he’ll just relax at his house, probably take a long bath/shower and just do nothing, maybe play some sort of instrument for fun, go into his garden and paint/walk around and enjoy the flowers, or watch some new addictive show. If he feels like working, he’ll cook dinner for all his kids/siblings and invite them over (this will also be done if he thinks one is overworking)

Ok those are all the headcanons for now, but probably will be more to come. My love for this Old Man is infinite <3. If you want, reblog/submit/comment your own aph China headcanons! Do you think I did him justice?

#aph china #musings #aph china headcanons #long ass post #long post #aph #hetalia #hws #headcanons

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qcpmedia · 5 years ago

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“Birds of Prey”: A Crisis of Infinite Harleys

by Chris Clay

Ok-- let's get this part out of the way first: I love Harley Quinn.

Have done since her debut on Batman The Animated Series. My mother let my dad take me to see Tim Burton’s brilliant 1989 Batman film (I was 5 at the time) because she was under the assumption that Batman was always the high camp she remembered enjoying in the television show from her childhood. Thanks, Adam West! My journey into comics began shortly after learning to read with classical mythology, so I was totally prepared for all manner of tales about monsters, demons, serial killers, human traffickers, etc. Quickly becoming an avid comic reader, 10 year-old me was a DC & Marvel veteran who spent a lot of mental energy filling in the blanks on the softened-for-cartoons versions of Bats, Spidey & the X-Men.

After years of seeing "versions" of my favorite supers onscreen, I thought this new character, originally the Joker's jester henchwoman, was a breath of fresh air. She seemed like the perfect fit for both the show and the Joker, the first real Manic Pixie Dreamgirl. She was funny but also scary, vulnerable and just overall awesome. Best of all? She didn’t seem nerfed for kids tv. She just seemed oddly... real. And she was contagious. That complex reality bled onto anyone she shared enough screen time with. She helped me to see Poison Ivy as the troubled yet brilliant and sensitive person the show had always hinted she was. Besides Catwoman, no other character tested Batman's rigid sense of right and wrong more beautifully. Even Joker seemed multifaceted when Harley was around. I cheered as loudly as anyone when she ditched that clown, and those Harley/Ivy episodes were some of the best the series had to offer.

OG Harley & subsequent versions over the years tended to show a woman that was preyed upon by a master manipulator who pushed her to the edge of sanity. To the edge, not over it. She was definitely traumatized, but the original portrayals never presented any extreme mental problems. Sure, she was codependent & had a temper. And shitty taste in men. Those traits in moderation are not craaaazy. That's just being human.

Harley continued to evolve over the years, shaped by many creators and performers across multiple mediums. Her look has changed, her status as villain or antihero has vacillated and her relationships have been presented more and more as on her terms rather than something foisted upon her by chance.

The characterization problems started in comics, but David Ayers' disappointing 2016 Suicide Squad film brought this lesser Harl to the masses, along with a version of her *ahem* more revealing New52 costume, seemingly metahuman durability & chalk white skin. I always loved the idea that Harleen had the ability to take her jester clothing & clown makeup off, sit around with an equally dressed-down Ivy and talk about who they really were, what made them tick. This new Harley (like her modern comics counterpart) was always "on", displaying very little of the soulful, mature character many of us comics & animation fans know and love. Despite that, she was definitely the highlight of the film, and there were flashes of brilliance that made me believe Margot Robbie could get to the fundamental truths of the character if given another chance.

And that brings us rather neatly to Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn).

Harley Quinn, last seen in the aforementioned Suicide Squad, has just been dumped by the Joker & is forced to make her own way in Gotham City’s underworld. In short order, she meets Dinah Lance, Renee Montoya, Helena Bertinelli & Cassandra Cain. All of these ladies have, for various reasons, fallen onto the radar of neat-freak gangster Roman Sionis, played with scenery-scarfing delight by Ewan MacGregor. Forced to band together to survive, they eventually learn that despite their considerable individual talents, they're more formidable as a team.

For some reason I still can’t quite articulate, I remember being slightly underwhelmed when the cast was announced. I liked all of the actors... hell, each of them has had at least one role I absolutely loved them in-- but I still felt they were odd choices for their respective roles in this movie (more on that later). The trailer was where I got genuinely worried that Warner might be climbing back into the hole so many creators toiled to pull the DC film properties out of.

However, as I said in the beginning, I love Harley Quinn. I was definitely going to see this movie. In Margot Robbie, I felt Harley had a champion on par with Ryan Reynolds as Deadpool or Hugh Jackman as Wolverine; an actor who would work tirelessly to get their character right, on the page & onscreen, however many tries it took. Plus she was saying some interesting things about what she thought the the film & the character should represent during the rollout (and I know the movie isn't the trailer), so I was at "cautious optimism" by the time I sat down to watch the film.

I was totally wrong about one thing: the cast is the best thing about the movie, and that’s not some backhanded compliment. K.K. Barrett's production design is great, colorful while not feeling cheap or phony, and Cathy Yan has a great eye for fun directing choices that keep things zipping along... but the cast is the real MVP. They’re actually great.

Jurnee Smollet-Bell is understated & surprisingly physical as tough-as-nails chanteuse Dinah Lance, a classic “woman trying to keep her head down in a bum situation”. She gave modern comic book moll vibes & I Stan. Rosie Perez's Renee Montoya brought a dose of realism to the candy-coated insanity swirling all around her while also giving Harley an entertaining foil for the first 2 acts. She has probably my favorite fight scene in the entire movie.

Mary Elizabeth Winstead, the person I went into the movie thinking was the most grossly miscast, is hands down my favorite character in the film. She's equal parts ruthless & socially awkward, a take on Huntress that is somehow both anachronistic & perfectly in step with her comic counterpart. Even newcomer Ella Jay Basco brings a unique charm to what could have easily been an irksome reimagining of fan favorite Cass Cain as a sassy teenage pickpocket. MacGregor’s turn as Sionis is less a character than he is a symbol, acting as a stand-in for various brands of broken maleness, but the guy’s clearly having a blast and he has decent enough chemistry with the leads. Chris Messina as Victor Vsasz is an absolute snoozefest, a waste of both character and actor that I’ll give no more space or attention.

Now for the elephant in the room: Margot Robbie's Harley is my least favorite thing about the whole movie.

"But Chris..", I hear you yelling at your computational device, "...you said she was the lone bright spot of SS!"

True, but in a film with clever, unmuddied direction & other actors that actually display some semblance of emotion or charisma for more than one scene a piece, the bar has been raised this go round & Robbie's frantic mugging limbos under said bar by a mile. What’s worse is that she actively takes screen time that could be better spent fleshing out one of the other four characters. Only Huntress (who has probably the least screen time of any of the leads) actually has a backstory, but her origin is a large part of the plot. One could be forgiven for thinking the she wouldn’t have had one at all otherwise. We don’t really know anything about Cassandra Cain, Montoya is literally just Stock Cop, and you could make a whole movie out of how the hell Dinah ended up singing at Sionis’ club. And where the hell is the Joker?! Why is he letting Harley destabilize Gotham’s balance of power or letting Sionis threaten his ex-puddin’ while also claiming to be the the underworld’s top dog? Instead of answering these questions, we get a bunch of throwaway characters attacking the newly-emancipated Quinn and Suicide Squad flashbacks that look even uglier than before when placed side by side with the production design of this film. The fact that most of these characters are so thinly characterized yet still connect is a testament to the performances and chemistry of the central cast.

You get the feeling that a lot of this movie was Robbie as producer, exerting her ideas & energy onto a massive production that needed a lot of moving parts to line up in order to work. It's not easy to have everything riding on you, whether it’s the future of the DCEU, progressive representation of women in film or just your own movie stardom. I understand that and I sympathize. This frantic, flailing movie is the product of some 3 years of rewrites and pitching, shooting on and off for 9 months, plus all the promo stuff. Every interview that I've seen the cast do has basically been Robbie explaining things ad nauseam while Jurnee Smollet-Bell or Mary Elizabeth Winstead kind of quietly nod in agreement, with the exception of the recent season premiere of Hot Ones, where capsaicin finally allowed someone else get a word in edgewise. The real problem with that comes when you see the movie and realize she’s contextualizing so much of the film on other media outlets because the film itself doesn’t really seem to have the time or interest, leaving it’s star to try and explain what we actually see onscreen on the press tour. This leads to a situation akin to Final Fantasy XV, where the player needed heaps of supplemental content to understand what could and should have been included in the story proper. She just seems overworked, similar to when Ben Affleck wanted to perform the Herculean task of writing, directing & starring in the next solo Batman film. Maybe Margot & Harley both need a little break?

The internet is scrambling to diagnose why a well-reviewed movie starring a beloved character played by a popular actress is underperforming at the box office, citing everything from the trailer to the rating to the movie’s title, with many (including BoP creator Gerry Conway) blaming the lackluster box office on sexism, but I think there might be a simpler answer: this version is trying to pull from the entire history of Harley to create a singular characterization from sometimes disparate portrayals. It doesn’t help that Robbie’s Quinn exists in a universe that’s constantly shifting under her feet after every film.

Most comic characters are criticized for being inaccurate to the source material but Harley has arguably the opposite problem; almost a Crisis of Infinite Harleys, where Robbie and Warner Bros. want to stuff the best elements from every version of Harley into every movie she’s in. It’s supposed to be fan service but instead, often feels scattered and tiring. Not to mention the stuff these films just pluck straight out of thin air that don’t work...

The DC Universe version of the character chose to leave the Joker on her own terms and I thought that was a brilliant and socially relevant writing choice, so it was strange to then see the more mainstream (and arguably more popular) version of Harley be dragged out of Joker’s hideout, kicking and screaming. In a film who’s title was purposely made ridiculously long to accentuate the character’s supposed newfound self-sufficiency, For all of the things that do work well, Birds of Prey just doesn’t feel like what’s explicitly promised on the tin.

I still love Harley Quinn, and I still think Margot Robbie’s the right person for the job. No need to Pattinson her or anything... just put less on her plate and give the character and the movies she’s in a clear, singular direction. Pretty please, puddin’?

#birds of prey #harley quinn #dceu #margot robbie #ewan macgregor #jurnee smollett bell #rosie perez #dc comics #black mask #renee montoya #batman #ben affleck #robert pattinson #movies #essay

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sciendere · 6 years ago

Text

What’s This?

Snowdeke fluff, post S7 in my self indulgent headcanon where everyone gets a happy ending and absolutely nothing bad happens to anyone.

Summary: The holidays can be stressful, especially when it’s your first Terran Christmas and you’re still learning how to properly people. Deke is trying to help Snowflake navigate the holidays through the help of movies, and she finds herself relating in particular to the misadventures of one Jack Skellington. A series of scenes of Snowflake discovering and trying to understand Yuletide, as set to the lyrics of What’s This? from The Nightmare Before Christmas. Inspired by my Snowflake Christmas headcanon post. Just tumblr now, this is the first fic I’ve completed in literal years and I’ve lost my AO3 login information because I’ve never really had anything to put there until tonight. Enjoy my odd little story please!

Adjusting to new cultures is never an easy thing. At least that’s what Deke kept repeating to himself under his breath as he tried, with his limited modern-day Earth knowledge, to help Snowflake acclimate herself to Terran life. She’d managed a basic grasp of most mundane daily situations- be friendly, be polite, and knives stay in your pocket- but special occasions, holidays in particular, were still a bit foreign to her. Routine was so much easier, especially when for years it was literally the only constant in her life. Something he even understood, so when words failed him, he had a secret weapon- passwords to every streaming service he had. Television and movies were his teacher, and now they were hers. December had come before they knew it, and as she watched the Thanksgiving Day parade, confused and bewildered by the strange-to-her things on display, he realized the time had come to teach her about the winter holidays, Christmas in particular. Christmas meant parties, parties meant company, and company meant the fiancee needed to be on her best and least embarrassing behavior. This was already a bit of a tall order for Snow, and for the most part, Deke let her eccentricities slide as long as there were no injuries or casualties, but he also didn’t want her to feel left out. “So,” he said one day, handing her the remote to the TV like a proud father handing his child the keys to their first car, “Christmas is coming. You need to learn about it.”

“Ooh, is it binge-watching time again?” she asked. Her eyes lit up. “I love binge-watching!”

“It’s binge-watching time,” Deke replied. “Your mission: gather as much intel on the Terran celebration of Christmas as you can. Preferably in the next week or so. Parties start early, yo.” “Mission accepted!” she squealed. She snuggled into the beat up couch in their apartment’s living room, making herself comfortable. “Great, have fun,” he said. “You want me to order pizza or anything?” “You know my regular order.” Deke rolled his eyes. Engaged life had its ups and downs, and one of them was having to recognize your woman, as much as you might have in common with her, will always disagree with you on extremely important topics. He sighed. “Pepperoni, canadian bacon, and pineapple,” he said, disgusted and horrified but still a supportive man to the very end.

“That’s my boy,” she said.

~ A few hours later, stacks of pizza had been devoured by both of them during that evening’s Christmas movie marathon, and Deke had dozed off beside Snow on the couch. They’d worked their way through several of the classics- Elf, Muppet Christmas Carol, How the Grinch Stole Christmas, Miracle on 34th Street, and A Christmas Story- and Snow clicked her way lazily through the titles on the screen, looking for one that really caught her eye without Deke’s helpful advice to guide her. She’d come to understand the holiday a bit from them, but it was still so foreign. The movies were good, but she just didn’t grasp entirely the sentiments behind them. One in particular truly stood out to her, one that from the poster art didn’t even look like much of a Christmas movie at all, but instead, bore a smiling dapper cartoon skeleton man. “The Nightmare Before Christmas?” she read off the screen. It was certainly different from the other titles she’d seen. “Awesome.” She hit play on the menu and watched as the stop-motion puppets filled her screen, already in love with the morbid imagery. Finally, a movie that spoke to her soul. Deke woke up about half way into the movie, to find Snow beside him paying rapt attention to it. “Huh what’s this… oh Nightmare Before Christmas? Always watched it at Halloween myself but I guess it’ll do too.” “This movie is amazing! Jack’s just like me.. He just wants to learn and figure out Christmas and he sang a whole song and he’s just trying to make Christmas for everyone!” Snow pointed to the screen, where Jack was puzzling over the secret to Christmas. “See? That’s me now,” she said. Deke just smiled, happy his woman was happy. Maybe she’d figure out this Christmas thing in time… ~

Nightmare became a favorite for her over the next few days. Though she still puzzled over Christmas, Deke had begun to walk her through the holiday by explaining it to her the best he could, but late at night she’d return to Halloweentown, feeling a little less alone in Jack’s bewilderment at a world he loved but also didn’t totally understand. Of all the songs, “What’s This?” captured her feelings best, she thought, not just about Christmas, but getting used to another world entirely.

~ What's this? What's this?

There's color everywhere

What's this?

There's white things in the air

What's this? “So.. the white ornaments on the trees are-”

Snowflake had never cut Deke off faster, and she was used to him saying several stupid things a day. “I swear to gods, Deke, if you even try to explain the concept of snowflakes and snow to me. Like I don’t know what my own damn name means. It’s the one thing I DO get about the holidays.” She smiled, but it was one of her smiles laced in venom and dried blood on the blade of a dagger, one where you were reminded, and fast, she’d spent years as the galaxy’s deadliest assassin, and she could go back to that life anytime if she really wanted.

He chuckled nervously but knew she meant business, even if she was joking. And God help him if he ever wound up on her bad side. “Yes’m,” he said.

“False advertising, though, there’s none out here right now even though it’s winter. I feel like it’s just a tease to throw those picturesque landscapes at you when we don’t know what the weather on the 25th will be at all just yet. This is a planet with varying climates, is it not?” “Well, yes…”

“Then why is it being advertised like we’re on a frozen planet?” “Snow, honey, it’s stylistic, just don’t overthink it. Don’t overthink most of it. In fact, thinking? Highly overrated in general.” “First time you’ve made sense all day. You know, though,” she said, “it’s not hard to pretend half the songs on the radio right now are actually about me. Because everyone here just loves me that much.” “You were wanted for murder and larceny in five states before I bribed Daisy into hacking their law enforcement’s networks to clear your name.” And it was expensive as hell too, he thought to himself. “Let it Snow. Is about me.” “Right, right,” Deke said. “You’re right.”

What's this?

There are people singing songs

What's this?

The streets are lined with

Little creatures laughing

Everybody seems so happy

“So you’re just telling me people go out in big groups and sing in public places, not even for money, and no one really cares? And they’re called… Curlers?” Swing and a miss, Deke thought, but he gave her points for genuinely trying. The two were on a park bench listening to a choir sing in the city park. “Carolers. Curlers play a weird ice sport with brooms and a rock.” “Who’s Carol? What’s she got to do with it? Should I know about her? Is she the lady statue over there?” Snowflake pointed to a nearby church’s Nativity scene and Deke quickly pushed her hand down, praying the awkward stares from passerby stayed at a minimum.

“It’s just another word for song, they just.. They sing. To make people happy, make them remember stuff. It’s fun.” She still struggled at the idea of being a street performer just for the enjoyment of it, not sure why anyone would do anything like that without it getting them money, but it was simultaneously the most adorable thing she’d ever heard. “I’m glad they’re doing it. Their singing is pretty.” ~ Oh, look

What's this?

They're hanging mistletoe, they kiss

Why that looks so unique, inspired

It was the afternoon and Snow couldn’t help but notice the weird little bit of twigs hanging over the doorway of the kitchen. “Deke, there’s plants on the doorframe! What have you been up to this time?” “Decorating?”

She reached for the leaves the best she could with her tiny frame and sniffed up into the air. “Mistletoe,” she said. “We had this on my planet. Leaves and berries are poisonous. Really good for if you want to take someone out without a lot of mess- is this a present? For me? Who do you need-” “Wait wait wait- Snowflake NO, no one is getting poisoned.”

She frowned. “Waste of good mistletoe if you ask me. What is it for, then?” “So… you hang mistletoe from doorways, and if you and your love walk under it… you kiss.” “We kiss under the poisonous, parasitic bush?” She was confused but intrigued by this strange custom. “Look, it’s tradition, don’t ask questions, I don’t know either.” “And I thought Terrans were soft… that’s the most badass thing I’ve ever heard of in my life. Kiss me under the poison.” “You really don’t need to put it like that-” Deke said, but before he could finish, Snow had pulled him in for a kiss. One he happily returned. He wasn’t about to waste some good mistletoe, after all. ~ They're gathering around to hear a story

Roasting chestnuts on a fire

Snow threw a copy of The Night Before Christmas across the bedroom. “No, I’ve tried to understand so much of this holiday, most of it I’m coming around to, but this? This is where I draw the line.”

“Sweetie, it’s a kid’s book, it’s not that big a deal-” “No, I’m not upset about a book,” she said, “This… this Santa? No sense at all,” she said. “The sleigh is just magic, like any other kid’s story, you really don’t have to try that hard to understand it.” “Oh no,” she replied, “the sleigh makes perfect sense to me. Santa knows what’s up, you put in your coordinates, fiddle with a few things, the ley lines get you to the nearest destination. Easy, basic dimensional travel, even if it might be a bit more efficient if he didn’t insist on using reindeer. Makes all the sense in the world to me, the rest of you all just need to get on our level. But everything else about the big man… No.”

“I’m going to hear about your problems with him whether I want to or not, aren’t I?” Deke asked. “Bingo,” she said. “You people are just okay with a man in a red suit breaking and entering? To leave presents for children? A man in velvet and fur does that, it’s holiday spirit, I do that, and it’s ‘creepy’ and ‘wrong’ and ‘next time, Snowflake, just knock’” “I warned you Nana and Bobo have been Terran all their lives and they were going to take your ‘extreme baby surprise’ a bit differently than you thought they would.” “And I told you it’s good for the little brat, keeps them on their toes and gives them a bit of exciting mystery in life. So I get why the Terran children love this story so much, even if I think it’s a case of double standards. But the man’s clothes are simply not stealthy or tactical. You can’t sneak in red, especially on your mythical white Christmases, you’re going to stick out from a mile away! And don’t get me started on the chimney… what happens if you don’t have one. We don’t have one, would Santa just climb in through the window? Lockpick?”

Deke nodded. She made several points, even if it was a bit much for her to approach Santa through the perspective of her area of expertise. “I got nothing on those last two points.”

“He goes to all that work… for snack food,” Snow said. “At least you lot could tip your home invaders a bit better. I’d expect at least large sums of money, in small unmarked bills, for that kind of performance.” Deke nodded. Milk and cookies really did seem like an unfair trade-off for overnight delivery. “I hear what you’re saying but that’s just the Christmas spirit for you, he’s grateful just for the snacks. He does it to be giving. At least, I think that’s supposed to be the point of it all.”

His reply took her aback. She would rather lose her right hand than admit Deke was right in this conversation, easily, but at the same time, she could see the little nugget of truth in what he had to say. One that made her stop and think. Snow pulled herself out of bed and walked across the room to pick the book up. “But all that aside, it’s a lovely story,” she said quickly. “Even if nothing about it makes sense.” “You never make sense. Like. In general.” “I know. Get used to it, because we don’t do sense in this household.” “Wouldn’t have you any other way.” ~ What's this?

In here they've got a little tree, how queer

And who would ever think

And why?

They're covering it with tiny little things

They've got electric lights on strings

“This one,” she said, “this is the perfect ornament for the dead tree.” Snow waved a Christmas ornament in front of Deke’s face in the packed gift shop, a kitten in a gift box holding the banner “Meowy Christmas.”

“For the last time, it’s called a Christmas tree,” Deke said. “Even if it… is… a dead tree. Technically.”

“Well the dead tree needs a festive Flerken on it,” she said, putting the bauble in his shopping basket. “They’re cats here, snowbunny,” Deke whispered, “cats.”

“Cat, Flerken, potayto potahto, isn’t that how it goes? We have to buy these too,” she said, putting a box of round glass ornaments into the basket. Deke looked in and was unsurprised to see glittering snowflakes painted on all of them.

“These are just regular ball ornaments we have plenty of- oh,” he said. He knew despite her original misgivings about the guarantees of weather, the snowy motifs made her feel a little less alone and out of place, and had been playing along for a while with her insistence they were about her. “Of course we need them.”

“That’s how everyone will know the tree is mine,” she said proudly.

“We have enough now,” Deke said. “Our tree isn’t that big, and we still have lights and garland for it-” “No,” she insisted, and another boxed ornament was in her hand. “Just one more?” The ornament was a ceramic retro styled semi truck, decked out in Christmas lights and wreaths. Deke looked at it, and spent a second in confusion as to why she’d want such a mundane thing on the tree, until it clicked. Despite the hard times she’d had in her past, she still had a few fond memories of her adventures with the crew- Jaco in particular- and an occasional homesickness for her intergalactic, interdimensional home for so many years. And for all her confusion, she’d seemed to figure out part of Christmas was celebrating the past. “We.. we never had Christmas… or much of any holidays, really, it happens when you can’t really stay in one place for too long, on there… but it’d be like this, if we had,” she said. “You know.. Just in memory of the family who couldn’t make it.”

Deke nodded. He’d lost his family going back in time too, and understood how Snow felt. The tree was covered in lemons as a sort of nod to his past, and adding snowflakes and trucks to that mix just seemed right.

“You’re right,” he said. “We’ll buy this one more thing.” “One more? Oh no,” she said, and in her hands was a strand of lights with clear snowflakes around the bulbs. “That dead tree isn’t done until you can barely see tree under it.”

Deke smiled. She was starting to get it.

The smell of cakes and pies

Are absolutely everywhere

“What’s your favorite sweet?” Deke asked, out of nowhere at breakfast on a cold December morning, a few days before Christmas.

“Huh?”

“Nana and Bobo are coming Christmas morning. So we’ll be doing the cooking this year and having our dinner with them. I thought I’d make the actual dinner, you could maybe do the baking and something sweet for dessert? I know you love sweets.”

Snow thought for a moment, then started listing things, counting them off on her fingers. “Cookies.. Pies.. cakes.. Bread-” She stopped suddenly.

“What’s wrong?” Deke asked. “I thought you loved all the treats you’ve been trying this month.”

“I do, they’ve all been divine. I just thought of my options for baking and then I thought of how much Jaco would love this time of year… He taught me a few things and I can probably use that knowledge to make just about anything, but it’s just not the same without him there to give me advice.” Her blue eyes grew big with bittersweet memories and Deke could see the sparkle of tears forming in them. Her sad face always destroyed him, knowing all the pain and loss her expression held. Deke grabbed for her hands and held them tightly.

“We have cookbooks… we can call Nana for advice, she’s a biochemist, baking is just chemistry you eat… we can watch videos if you get stuck. I know it won’t be the same, and I know nothing will ever replace what he meant to you, as a big brother.”

Snow nodded.

“But he’s also always right there in your heart, no matter what,” Deke said. “Nana taught me that about loss, people never really leave us, as long as we remember them. So bake the most delicious Christmas treats you can, and make him proud. And as long as you do that, as long as you use what you learned from him, Jaco will be with us.”

“You’re right,” she agreed. “I’ll do the best baking anyone’s ever tried, and it’s all going to be in his memory.” “That’s the spirit. So what are you making, then?” Deke asked her.

“Everything!”

The sights, the sounds

They're everywhere and all around

I've never felt so good before

This empty place inside of me is filling up

I simply cannot get enough

Navigating last minute shopping downtown was the last thing Deke expected to be a challenge for the two of them, but it had become one. It was a case of Snowflake’s natural, corvid-like attraction to shiny, sparkly objects- and Deke trying to stop her before her natural kleptomaniac impulses could kick in-against her lack of acclimation to so much sparkling, bright, merry surroundings. Spending a good part of your life in a dimly lit truck was something that stuck with you for a while, and even on the most neon lit planet she’d paid a visit on her journey, nothing could top the spectacle of Earth during the Christmas season. Every surface sparkled and shone with bright lights and glitter and tinsel and foil, every storefront played happy tunes about warm feelings, and the jingle of bells was never too far, as though magic simply floated through the atmosphere at that time of year.

It was everything Snow ever loved, but it was also so, so much, almost too much for her at times. The sensory overload tired her out and she quietly pulled on Deke’s arm, guiding him to a nearby bench. He understood immediately and followed her to sit down beside her.

“I think I’m finally starting to understand this Christmas,” Snowflake said. “It’s still strange to me in a lot of ways, but whatever, life is boring without a little strangeness, isn’t it?”

“Guess that means as long as I’ve got you my life will never be boring, then,” Deke replied. Snow playfully punched him in the arm, even though she knew he was right.

“I’ve seen so much in my short life and so many different worlds but this is the first I’ve seen where everyone spends a month just being kind to one another, giving out of the goodness of their hearts, inviting others into their homes to share food and company and good times, just loving each other. Before I came here… we didn’t have a lot. We were poor constantly, we only really had each other, and we ate almost every meal like it was our last because we never knew when our next would be coming. It’s so different going from that… to all this.”

Deke held her tight. “But you know things are different for you now, right? You don’t have to worry anymore, you know that.”

“I do, and that’s why I understand. Because I feel like that’s what all this is about. The winter is dark and cold and long, and sometimes, people don’t have what you do, and we just have each other. So we make everything brighter and warmer and share what we have with people who might not. We remember the people we love who might not be here. And it makes that darkness just a little easier to get through, if we get through it together.”

Deke was at a loss for words. He himself had never considered Christmas that way, but what she had to say was absolutely right. The two were from such different backgrounds, but in the end, they weren’t that different, two people who were thrown from their normal into something totally new. He was proud of her for coming to that conclusion by herself, because deep inside, it sorted things out for him, too.

“You know, I don’t understand as much as I pretend to sometimes, in fact I understand literally nothing, but I think you’re right.”

“I figured it out with your help. I’m so grateful I have you to help me learn and feel less alone, less weird, less different. You’re better than any present anyone could ever give me.”

“Really? I just do my best…”

“It’s all we really can do, isn’t it?”

I want it, oh, I want it

Oh, I want it for my own

I've got to know

What is this place that I have found?

What is this?

Christmas Town, hmm

It was Christmas morning, and the grandparents were due, and Deke was mildly nervous about how well the future granddaughter in law would go over with them. Although it took a while to get them acclimated to their… eccentric… new family member, Fitz and Jemma, on the whole, were able to move past their initial misgivings and find aspects of her they could both admire and focus on, rather than the fact a woman they met after she tried to murder one of their found family, would soon be married into theirs. “Just… try to not horrify them too much,” he reminded her that morning. “I know in-laws can be difficult, but I think we can manage the best Christmas ever as a family, too.”

“Deke, I’ll be fine,” Snow reassured him. She was dressed for the festive occasion, wearing a knit sweater, covered, of course, in silver foil yarn snowflakes. The words LET IT SNOW filled the front of it. “It’s not like I’ve never met them before.” She reached into the oven and pulled out a tray of gingerbread people to cool. Sitting on the kitchen table was an array of the goodies she’d stayed up all night baking. After all, she needed something to do to pass the time in case Santa paid them a visit, so she could sit down with him and teach him basic stealth principles. Platters of cookies in various shapes and varieties- snickerdoodle stars, sugar cookie snowflakes, and a small pile of shortbread butterflies- and a big basket of fluffy herbed rolls, a recipe she’d learned years ago from Jaco, covered almost every surface. “What do you think? They’re going to love it.”

Deke smiled. “It’s great but.. Where am I going to put the turkey, or just about anything else?”

“We have a whole living room,” Snow said, and Deke raised a finger and opened his mouth, ready to point out maybe that was a better place for the sweets, but he wasn’t about to be a buzzkill when she was in such an excited mood.

“Right, right, living room turkey. Classic Christmas tradition. Right.” This was going to be a fun one to explain to Nana and Bobo… who were ringing the doorbell that very minute.

“I’ll get it-” Deke insisted, but Snowflake was already opening the door to welcome the two in. “Merry Christmas!” she squealed, in a cheerful singsong voice. Fitz tried to dodge her embrace by sidestepping her, but her well-trained reflexes were faster, and he found himself in an awkward hug from the tiny woman, sending desperate looks Jemma’s way. His wife gave him a look that said, without any words, oh no, she’s your problem now. “Bobo!”

“Pleasedon’tcallmethat,” Fitz muttered under his breath. Jemma helpfully pulled Snow off him to give her adopted future granddaughter in law a hug, only for Deke to quickly swoop in on his grandpa before he could even enjoy his newfound freedom. Snow was surprised. She’d always had a harder time getting through to Nana, but maybe it was the holiday spirit bringing them a little closer today. Just a bit more of that magic she’d never totally understand, but that was fine.

“Oh, Snow, how have you been hanging in there?” Jemma asked her.

“Baking!” Snow said proudly. “So many cookies in the kitchen, and more coming, please eat them so Deke doesn’t have to put the turkey in the living room!” Jemma mouthed something that looked like “what?” to Deke and he replied silently with one of his usual “don’t ask” shrugs.

“Great, I need coffee. We grabbed the redeye flight and I wasn’t about to pay ten dollars at the airport,” Fitz said. “Bloody crooks.”

“Also in the kitchen, unless Snow finished it in the ten minutes since I made the pot,” Deke said. He was eager to diffuse some of the awkwardness that was growing in the apartment. A little awkwardness might be part of the holidays, too, but it seemed to run more in this family than others. A little strangeness keeps life from being boring, that’s what Snow said, he reminded himself. But if he could help it, he preferred to not exhaust the entire day’s supply this early in the morning.

After a delicious Christmas dinner -where the turkey, thankfully, remained on the kitchen table- the Fitzsimmons-Shaw-Snowflake family gathered in the living room to enjoy one another’s company by the fireplace. Card games were played, stories were told, and everyone just seemed to come a little closer together.

“Hey Snow,” Deke said, during a bit of a lull, as their feast began catching up to everyone and making them tired, “why don’t you put on a Christmas movie for us?”

“I’d love to!” she said. “Deke taught me about Christmas watching these, and you know? I really love Earth more now. It’s the only planet that does all this.” She turned the TV on and from the menu, flipped over to the movie that had been making her feel like she truly belonged over the last few weeks, the one she knew almost by heart. The soundtrack kicked in and a voiceover started. “Now, you’ve probably wondered where holidays come from… if you haven’t, I think it’s time you’ve begun-”

“Snow, are you sure you want to go with this one?” Deke asked, realizing oh god, she’s really going to play Nightmare Before Christmas for Nana and Bobo. Not Elf, not Christmas Vacation, this one.

“Of course! It taught me so much, the least I can do is share that with your grandparents,” she said. Deke looked desperately at Jemma and Fitz, hoping for at least disapproving or bewildered expressions from them to convince Snow- well, really, him, and he knew this- that this was a bad idea, but to his surprise, they seemed okay with her offbeat choice.

“That’s so sweet,” Jemma said. “You know, I don’t think I’ve ever seen this one, either.”

Deke shrugged. If the grandparents were happy, so was he. He poured everyone another mug of hot cocoa, as This Is Halloween started playing in the background,

Sometimes the best gifts at Christmas didn’t come in packages. Sometimes the best gift was the gift of family, the gift of memories, the gift of time spent with those close, and if this Christmas brought his family, new and old, closer together, then for him, it was truly a Christmas worth celebrating.

#agents of shield #snowdeke #team earth aos #deke shaw #snowflake #aosfic #christmas fic #fluff fic #christmas #i hope this is good since i've not written in years #but nightmare before christmas meant a lot to me growing up and i feel like for snow it probably has that same effect #of outcasts and weirdos still being able to be good and loved #in a lot of ways the truckers make me feel the same way nightmare did as a teenager so it just feels natural to write this story #anyway enjoy my first fic in like at least three years

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bts-aesthetic-drabbles · 6 years ago

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House Party: Part 1

Background Info: You are a foreign exchange student at Seoul University where you are studying in medical school.

Warnings: Sexual Content, Drugs, Alcohol, Swearing, Angst

I am running down the overcrowded sidewalk of my school aggressively trying to make it on time to my 8 o'clock Chemistry class, for the third day in a row. With mid terms coming up in the next few weeks, I have been desperately trying to prepare for them by staying after class for extra labs and lectures. I have lost track of how many "all nighters" I have pulled this past semester.

I have to keep my grades up in order to keep my spot in Seoul University's highly sought after medical program. I was lucky enough to get in based on my outstanding test scores, but maintaining the same standard of test scores in university is not nearly as simple as it was for me when I was in high school.

I finally stumble into the lecture hall just in the nick of time as the professor calls my name, "-(Y/N). Huffing and puffing in exhaustion I drop down onto my seat and sling my heavy backpack on the floor as I raise my hand to make my attendance known to the professor.

I have got to start sleeping more...I can not afford a single tardy or missed class. My parents will be so unbelievably disappointed if I manage to get kicked out of this program that I’ve worked so hard to get into.

"Hey! You left this on the table yesterday on your way out of class. I tried to chase you down to return it to you but you ran off too fast for me keep up " a melodic voice chuckles from behind me as a large hand pops up next to my head.

In the hand is my cherry colored faux leather journal that is filled with very personal drawings, poetry and photos that I have taken throughout the past few years. It was been with me for quite a long time and houses some of my deepest and darkest feelings. I am mortified to think that someone might have seen what all is inside it.

I can feel my cheeks blushing like crazy as I look up any meet the gaze of the man’s shining eyes. His kind and comforting smile makes makes my heart flutter. I carefully reach out and take the small journal from his outstretched hand and look down at the desk in front of me as I grasp the framiliar book. I really hope he didn’t look at any of the things in this book...some of its contents are beyond embarrassing.

“You really should hold onto personal things like that better. There are some cruel people out there that might try to use something like that against you one day.” He says politely with a shrug as I take the book from his hand and clutch it to my chest. Ah, so he probably did at least glace over it for him to know it’s very personal. I wonder what all he saw? Was he looking for something in particular, perhaps it was just my name? I really shouldn’t always assume the worst in every situation.

None the less, he did find it and return it to me so he is owed a thank you, “ Thank you so much, I have been so scatter brained lately. I can’t seem to keep my head on straight!” I bow my head lightly to the guy and turn my attention towards the front of the class as the professor begins his lecture.

Throughout class I can’t seem to focus on anything the teacher is saying, my heart is pounding in my chest and my mind keeps on reeling. I feel like I am drowning in my own thoughts about what the guy next to me is thinking about me and what he might have seen in my notebook.

Was it something super sad and embarrassing like an emotionally charged journal entry about how lonely I am because I have no family around here and I’ve lost all my friends since moving countries. Perhaps he saw some of the (potentially creepy) polaroids I’ve taken of random groups of friends on campus that are laughing and playing games together.

Maybe be saw the sketches of random people, places and things that inspire me. The emotions, sights and experiences of everyday life that make it so beautifully fascinating.

Maybe he took the time to look at everything in the book and maybe was able to piece together how much of a depressed loner I am. Maybe he looked at the contents and connected the dots of my soul that show exactly who I am and how I feel. And maybe he showed it to all of his friends and they had a good laugh together at how much of a loser I am.

Negative thoughts continue to roll around in my brain until finally I am forced to snap back to reality as the teacher ends class and people start slamming textbooks closed all around me. I shake my head and look down at the pencil in my hand and find that I had covered my blank paper for notes in doodles of random things.

I take a deep breath and begin packing my notebook and pens back into my bag as I force my mind to refocus on reality. I can not believe that completely zoned out for this entire class, I am going to be up all night tonight trying to read what I missed. It’s not like I have any friends here that I can get the notes from. Great job (y/n), way to totally fuck yourself over yet again....

Just as I reach to tuck my red journal I nto my bag I find that there is a small folded piece of paper sticking out of the top of it. I bite my lip lightly and tuck the paper further into the pages of the book and make a mental note to check it out later as I stuff the book into my backpack and shuffle out of the nearly empty classroom.

As that was my last class for the day I decide to make my way to the large courtyard in front of the main part of campus. The courtyard is often filled with students studying and hanging out with friends at any given time of day. People like to play sports, board games, read and have meals in the lush green grass.

Most days I set up my portable hammock on a couple of trees that are off to the side of the large lawn. The spot is next to small garden that is filled with a dozen different kinds of flowers and has the best view of campus. I like to study here and people watch from my secluded little spot. It’s quiet and peaceful and helps me to get my buzzing thoughts together.

I set my hammock up and carefully lay down in it so I don’t too over, which I have done an embarrassing amount of times. I just kind of flop backwards out of the nylon swing with my limbs flailing like out of some kind of cartoon.

I pull out my journal and open it up to the page where the folded note is. With slightly shaking hands I unfold it and read what the scribbled Korean handwriting says.

Hi! I want you to let know that I tried very hard not to look at what all was in your book when I found it yesterday. I just wanted to find your name so I knew who I was returning it to but...as I flipped through your journal I fell in love with your art. Your photos and drawings had me in a trance, the way you capture the essence of such complex things like emotions and relationships is so unique and it really moved me.

One of my best friends is an art major here and I think he would die to see some of the things you’ve created.

Also, I noticed that a lot of your book was written in English, which is so cool! I’d love to hear you speak some English sometime. Maybe you can meet another one of my friends who also speaks fluent English as well!

Sorry for rambling...Anyways,

I’ve noticed that you always seem to be in such a rush...and seeing how full your book is, you don’t seem to get out very much. So, I’ve decided that you are coming to party with me this weekend. I can tell that you need to get out of your own head and have some fun for a change. I know you will probably want to say no, so here is some motivation for you to agree:

1. I am not some kind of crazy person that is trying to lure you off campus to hurt you or something. The party is at one of the frat houses just off of campus and there will be a bunch of people there so you don’t have to worry about that. You are welcome to bring a friend if you want.

2. There will be plenty of food, drinks and fun involved. I can introduce you to the friends that I mentioned earlier.

3. I will let you copy my notes from class today since you seemed to be a little spacey and in another world today.

I can’t wait to hear from you! Text me for details! (XXX-XXXX)

-Jeon Jungguk

The handwriting is rushed and a little scratchy in nature. At the bottom of the note I spot a cute drawing of a planet and some stars on it, along with a tiny smiley face.

A party? I’ve never once in my life been to a real party...what do you even wear to a party? What do you do? I can’t imagine that I would be much fun to even hang out with considering I literally bake cupcakes in my dorm room microwave on Friday nights while listening to recorded lectures as a form of ‘fun’.

But maybe it’s for that exact reason that I should try to have some real fun for once. Fun that other people my age are having.

I type Jungguks number into my phone and send him a text with a little planet emoji to let him know that it’s me. He responds almost immediately with, “Ah, so you got my note! So, what do you say? Will you be coming?”

I agree to come and he texts me the address and time for the party and tells me to be sure to pack a small bag with some essentials just incase we end up staying at the party over night. I googled it and apparently, that is a normal thing that sometimes occurs at parties...

I scuttle up and out of my hammock and fold it up and put it in my backpack along with my journal and begin making my way to my small apartment on the far end of campus. I was lucky enough to be able to afford an apartment rather than having to stay in one of the school crowded dorm rooms.

I quickly make my way down the sidewalk towards my home. After several minutes the framiliar grey and white building comes into my sight and I watch as dozens of my fellow students make their way in and out of the popular apartment complex.

The place is nothing that special but it is conveniently in the middle of campus and even pretty modern with its decorations and room accomidations, expecially considering the cheap rent.

I currently am staying in one of the one room studio styles apartments that is on the top floor of the glass building. I press the elevator button and watch as the doors immediately open and reveal an empty elevator. How fast and convenient! That never happens!

I scurry into the elevator and begin rapidly pressing the close door button before anyone can get on. I hate riding the elevator all the way to the top floor with a group of university students.

Just as the door is about to close a tan arms shoots through the narrow gap in the door and says, “hold that elevator please!” Damnit. So close.

I press the ‘door open’ button of the control panel and the door dings and reopens to reveal a very disheveled and stressed looking man.

His dark brown hair is askew and one arm is overflowing with textbooks and lose pieces of paper. He must be a science major. His aura reeks of chaos and stress, much like me.

He clamors into the elevator and flashes a dimpled smile my way as he thanks me with a small bow, “Floor 7 please. Thank you so much, I am in a huge rush. I got out of a study group late and I really need to get back to my room so I can take care of my plants! I’m already a whole hour behind schedule and I’m sure they are dying of thirst andI need to cook something for dinner and...ah sorry I’m rambling and I am sure you must think I am crazy....” He says as he runs a long hand through his messy hair and glances at the floor.

My eyes must have been wide as saucers as I tried to process the guys increasingly panicked speech, “Uh, no I don’t think you are crazy. I just think you are stressed out and in need of a break. Which I totally understand. You must be a science major like me. Hello, my name is (y/n)” I say with a friendly smile as I extend my hand towards him.

His eyes light up and he sticks his hand out towards mine and shakes it once before running his hand through his hair again, “Hi (y/n), my name is Namjoon! Actually I am an English and world studies major, but I am getting my minor is in science. What made you think I was a science major?”

Oh an English major, I bet he can speak English! I haven’t met too many English majors here in Korea. I decide to switch from Korean to English and speak the the guy to test his ability, “Ah, it was the large stack of books and the intensely stressed aura you had on you Namjoon. I think you should take some time to destress before you make yourself sick” I say in perfect English.

I watch as his eyes go wide and his mouth parts slightly as he hears me speak English yet he responds quickly and easily is English, “You speak English so well! You must not be from Korea... And yes stress is defiantly a problem. But I am trying to study as much as I can today before I spend my weekend relaxing and having fun with some friends. I advise you to do the same science major (y/n). It was nice meeting you! See you around!” He says as the elevator stops on floor 7 and the door opens allowing him to step out.

The door closes and the elevator fills with silence as I smile to myself remembered the cute dimples smile of the man I just met. The elevator ascends on more floor to my floor and I step out and make my way to my room.

I unlock the door with my keycode and push my door open and remove my shoes before stepping into the framiliar room. I flick the lights on and I can hear the faint hum of electricity as the room is illuminated. I throw my backpack down on my dining room table and sigh loudly as I throw myself face down on my nearby bed.

What a day.

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wonderfulworldofmichaelford · 6 years ago

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Michael In the Mainstream - Avengers: Endgame

Endgame is a film that is really more than a film. This is a cultural milestone. This is the culmination of a decade’s worth of stories told by all sorts of different creative minds, a set of stories that all managed to have consistent character growth and development, a grand finale to ten years with all sorts of beloved and iconic characters. This film is the twilight of the age of Steve Rogers and Tony Stark, and the dawn of a new era of fresh heroes, heroes whose stories we’ve only begun to experience. This is something that has never been done before, a massive storyline told throughout twenty plus films coming together in a big shared universe to deliver an awesome, climactic final confrontation between characters we know and love and a villain we love to hate. There’s never really been a film of this magnitude before.

I have loved the MCU since it began when I was a teenager. I had just started high school when Iron Man first came out, and it just amazed me how good it was. Unlike the year’s other superhero film, which was based on one of the Big Three of Marvel’s Distinguished Competition, I didn’t really have any sort of huge expectations for Iron Man. Like sure, I was aware of who he was, I knew he was a classic Marvel comic character, but he wasn’t Spider-Man or the X-Men, the characters I grew up watching in cartoons and who I was intimately familiar with. Hell, I even knew the Hulk better than Iron Man. But boy, did that change fast; Robert Downey Jr.’s incredible performance, the fun writing, the gripping character study, and the solid action all got me interested in this washed up B-list hero who had spent the most recent arc of his comics becoming the superhero version of Hitler.

And that was a running theme for the MCU. I ever cared too much about characters like Captain America, Thor, Ant-Man, or Black Panther when I was younger, and I didn’t even know characters like the Guardians of the Galaxy were a thing. All of this was just beyond my knowledge. And yet, these films made me care about these characters, got me invested in them. It’s something that with a few rare exceptions the X-Men films completely failed to do. I honestly can say after all is said and done I love Iron Man, Captain America, and the Guardians way more than I do Cyclops, Jean Grey, and Storm, which is not something I would have ever guessed I’d say a decade ago. And growing up with all these characters and seeing them go through these films, going into this one I knew there had to be some big dramatic payoff, some sense of finality. You can pull of stuff like massive retcons and everyone coming back from the dead in comics, but in movies? That’s how you lose viewers. I knew they’d really have to blow our minds with this, especially after the brutal gut punch that was Infinity War.

And for the most part, they truly delivered.

Endgame is a satisfying conclusion to the epic first decade of the MCU, closing the doors on some stories but opening up a world of possibilities on others. And while there are some problems here and there, the overall product is just so good that it’s easy to forgive the flaws, though it is easy to see why some would be a bit less forgiving. Still, even more critical folk than me admit that regardless of problems this is still a good movie.

This movie has three acts, and I will be going over each individually. There are going to be SPOILERS here, because there is just so much to unpack with this film, so consider this your warning. Again, SPOILERS BELOW.

The first act picks up where the Avengers were left at the end of Infinity War: broken, defeated, and desperate. Despite Carol saving Tony and Nebula from deep space, things seem pretty hopeless, until an energy signature is picked up revealing the whereabouts of Thanos. The Avengers rush to confront him, eager to steal back the Stones and right what went wrong… but upon arriving, they find Thanos broken, scarred, and worst of all, utterly without the Stones. He destroyed them all so his work could not be undone. He has completely, irreversibly won. And so when Thor brings Stormbreaker down and cuts off his head only a short while into the film, it does not feel triumphant or thrilling. It feel sad, miserable, and bitter.

I think this is probably one of the better twists in the first act. The pace at the beginning is rather slow until they confront Thanos, and it ultimately works in the movie’s favor as it makes the horrific revelation hurt all the more, and then following it up with a time skip of five years later is just rubbing salt in the wound. It also helps cement the original Thanos as a truly unique villain. He not only won, but he died knowing he won. He was victorious in death for five years, and there was nothing any of the heroes could do about it. It seems a bit anti-climactic when you first think about it, but really this end to the original Thanos is a rather fitting conclusion of his character arc from Infinity War. He won, he watched the sun rise on the universe… what more could this Thanos really do?

The time skip shows what all the heroes have been up to in the interim: Steve is running support groups for survivors, Tony has married Pepper and has a daughter, Natasha has been in contact with the remaining heroes, Clint has been out brutally murdering criminals as Ronin, Banner has managed to keep his intellect as Hulk and become a relatively famous figure, and Thor has basically become an obese drunkard wallowing in his failure. Our heroes are at their absolute lowest point… until one little rat walks over a control panel on a van in a storage unit and frees Scott “Ant-Man” Lang from the Quantum Realm.

I will say that a lot of the latter half of the first act, the part that sets up the “Time Heist” of the second act, drags on a bit, and this is really the portion of the film that will make or break it for you. You need to really be invested in these characters, you need to be ready to handle the ways they’ve dealt with the knowledge that they have lost. Thor’s fate especially has been contentious, with people crying foul that throughout the movie the Russos did nothing but “undo” all the development Taika Waititi gave him, which is quite frankly such a stupid argument it’s not worth addressing. What IS worth addressing is how Thor’s trauma, unlike most of the other Avengers, is played for laughs. For some, seeing Thor as a fat, slovenly drunkard is going to be a bit upsetting and tasteless; for others, the black comedy will cross the line twice and make it rather funny. That aspect is definitely going to help or hinder your enjoyment of this segment.

Even that aside, it does really feel like it takes a while to get to the real fun part of the movie, though it’s not as if anything in the first act is truly bad, per se; it’s just very character-driven as opposed to exciting and thrilling. If you’re into character-driven drama, then you’ll really dig this, since all of the performances here are excellent, with Paul Rudd in particular really showing off some impressive range and Scarlett Johansson actually managing to impress me with her emotional performance. Seeing Hawkeye become a complete and total badass who slaughters his way through thugs is also a refreshing change from the absolute joke he has been in previous films, and his winning streak in act one is happily carried throughout the film, completely redeeming Hawkeye. There’s also a lot of good comedy here as it builds up into the time heist, particularly Rhodey’s suggestion of what to do with baby Thanos or the ill-fated test run of the time machine.

I think it is important to note that unlike most films that deal with the subject, the movie actually gives clear, definitive rules on time travel: you can’t go back to the past and alter your present, any changes you make only succeed in creating a split timeline resulting in an alternate universe. This does not allow them to go back and kill Thanos before the Snap, but it DOES allow them to go back to times when they could reasonably steal the Infinity Stones and use them to undo the damage done. This is actually a pretty solid take on time travel and an easy take to grasp at that, though as I will mention later, this simple and clearly explained version of time travel has somehow left people confused. But I’m getting ahead of myself.

Act two is where the movie really picks up steam, as the remaining heroes split into groups and head back to points in time where they get to experience moments from beloved Marvel films (and Thor: The Dark World) as they retrieve the Stones. Cap, Tony, and Ant-Man go after Loki’s scepter and the Tesserect following the battle of New York as seen in The Avengers, which leads to a lot of hilarity including Cap fighting his past self and an elevator scene that not only calls back to the one from The Winter Soldier but also features the redemption of one of the most awful moments in modern comics with one of the single funniest lines in the entire film; Hulk wanders over to the Sanctum Sanctorum and argues with the Ancient One for the Stone in the Eye of Agamotto; Rocket and Thor go back to the period of time where Jane Foster was at Asgard to steal the Reality Stone from inside her, which leads to Thor getting a touching reunion with his mother as well as an opportunity to snag Mjolnir; Nebula and Rhodey get to go to the opening of Guardians of the Galaxy and witness Peter Quill dancing and singing to himself like a moron before knocking him out and stealing the Stone; and Black Widow and Hawkeye go to Vormir to confront the Red Skull for the Soul Stone. I’m sure you can imagine how that one goes.

This part of the movie is a lot more fun with how varied it gets. There’s plenty of comedy, action, and character moments, and it just feels a lot more fun than the first act. Seeing how characters that rarely interacted or even never interacted in the past bounce off each other is really delightful, particularly Rhodey and Nebula. Of course, there is also great moments of development, such as when Steve and Tony botch their initial Stone theft and have to go back even further in time, which leads to Tony getting a heartwarming moment with his father while Steve is reminded of Peggy. And then, of course, there is Black Widow and her character arc coming to a close, as she heroically mirrors Gamora’s tragic fate.

There has, of course, been a lot of argument over Black Widow’s fate here. Here’s my take on it: Black Widow’s character arc throughtout the films has always been a desire to scrub the red from her ledger and find some meaning to her life. Age of Ultron, for all its flaws, shows she thinks of herself as a monster, and truly just wants to make a connection, find a group she has something in common with. With the Avengers, she found just that, she found the family she never had, she found something worth living for, fighting for, and ultimately dying for. Her sacrifice wasn’t some sad attempt at shock, it wasn’t her being stuffed in the fridge to further the character arcs of her male costars, it was her character arc becoming fully realized, it was her understanding that to save those she loved she had to make a choice, and it is the most utterly selfless and heroic act in the entire movie, and maybe even the entire franchise. Everyone would have lost if not for Natasha. She is probably the most heroic character in the movie… well, with one exception, but we’ll get to him shortly. The point is, her sacrifice carried more dramatic and thematic weight than if Clint had sacrificed himself; Clint is very much an underrealized and underutilized character, and while this movie improved him, it was still not enough to make his sacrifice as painful as Black Widow’s.

Act two comes to a close with heroes grieving Black Widow and preparing the Stones for a Snap to bring everyone back… unfortunately, they don’t realize there is a traitor in their midst: Nebula. Not out Nebula, but Nebula from 2014, prior to her character development. You see, Thanos could still access the future Nebula’s video recording eye since her software is still on the same server even in the future (it’s a bit weird but it still makes a bit of sense). 2014 Thanos finds out about his future self’s victory and becomes furious that any would try and undo his “mercy.” And so he enacts a plan to get him to this future and kill the Avengers once and for all. The evil Nebula bringing her father and his fleet to the future right after the second snap kicks off the third act, as Thanos obliterates the Avenger’s mansion with his ship.

The third act, the entire third act, is just peak MCU. The entire act from start to finish is the absolute best the franchise has to offer. It all begins with the heroes struggling to regroup and find each other in the wreckage, with Hawkeye having to run from aliens in a dark basement, Hulk having to hold up rubble to help save Rhodey and Rocket, Nebula helping sway 2014 Gamora to her side and then in the ultimate act of “God I really hate how I used to be” shooting her past self to death, Ant-Man rushing to save his friends after escaping the blast, and Cap, Thor, and Iron Man going to fight Thanos. This is the beginning of the end.

It is interesting to note that here, Thanos is a lot closer to the megalomaniac tyrant he was in the comics while still staying in line with his movie version from the previous film. It does go to show how fragile his ego is and how his talk of his work being merciful and good is just a delusion he has bought into; he freely admits here that he should not have been so kind, he blames everyone else for his failure, and he promises to remake the universe in his image, perfectly balanced and unaware of all they lost. Despite being almost an entire reversal of his previous characterization, it actually functions quite while as a weird way of continuing his arc while at the same time addressing the criticisms many leveled at the anti-villainous Thanos of Infinity War. It definitely looks like the Russos were well aware of how Thanos would be perceived, and did a really great job at having the best of both worlds in regards to his characterization. And even here, where he is fully embracing his villainy and saying how he will enjoy crushing his foes, one still gets the sense that he still sees himself as the hero in his mind and is absolutely furious that anyone would wish to undo what he considers a kindness.

Of course, the battle with these three fighting Thanos is quite enjoyable, and showcases even without his Gauntlet Thanos is a force to be reckoned with, as he trounces the three Avengers, though not without great effort… especially after Steve Rogers does something we’ve all been waiting a long time to see him do: pick up Mjolnir and wield it in battle. I think it’s safe to say that Thor’s jubilant shout of “I KNEW IT!” is one that was echoed in the minds of every single viewer of the scene. And just when you think the movie couldn’t get even more epic, just when it seems that Thanos will win as a bruised and bettered Steve stands alone against Thanos and his entire army… Steve gets a call.

“On your left.”

Hundreds of magic portals open, and the resurrected heroes all come through, along with any sort of crew they could bring. For the record, this is: Black Panther, Shuri, Okoye, M’Baku, the armies of Wakanda, Doctor Strange, Wong, all of the wizards, Spider-Man, Star-Lord, Drax, Mantis, Groot, Falcon, Bucky, Scarlet Witch, Valkyrie, Korg, Miek, the remaining Asgardians, Wasp, Pepper Potts in her Rescue armor, Kraglin, his Ravager crew, and even Howard the Duck. And if that’s not enough for you, the Avengers who were still alive before the attack all come in for the battle. And they said Super Smash Bros. Ultimate was the most ambitious crossover of all time. Was Howard the Duck in Smash? I think not.

And as the heroes gather for the inevitable charge, do you know what Steve says? He says two little words that fans have been waiting for such a long time to hear him say, something a less talented writer and director teased us with several films ago:

“AVENGERS… ASSEMBLE!”

Hurry quick and wipe those tears from your eyes so you don’t miss the awesome final battle, which is just filled to the brim with moments where every single hero gets to shine. Highlights include Spidey and Tony reuniting, Spidey activating the “Instant Kill” function of his suit, Gamora kicking Star-Lord in the balls, Tony and Pepper fighting back to back, Scarlet Witch confronting Thanos, and the awesomely cheesy “GIRL POWER” moment that is far more empowering than the entirety of Captain Marvel. Everything about this battle is fantastic, everything about it is peak MCU, everything is the epitome of why people love superhero movies… and it all culminates with the conclusion of Tony Stark’s decade-long character arc, as he steals the Stones from Thanos and snaps his fingers, erasing Thanos and his army at the cost of his life.

This moment is depressing on two fronts. On one, there is Tony. He is the hero we have spent the most time with, the one we know the best. And after all these films, he finally proved Steve Rogers wrong: he was able to lay his life on the line for the greater good, sacrificing himself fully for his wife, his daughter, his friends, and the entire universe. Tony went from a self-absorbed egomaniac arms dealer to a truly great, heroic figure who did what he had to do to protect everyone he cared about.

But on the other is Thanos. Most villains, upon seeing their plans come to ruin and their armies laid to waste, would break down, rant, offer some sort of last taunt… but not Thanos. Thanos accepts his death, however much it pains him to. The look of exhaustion, anguish, and utter hopelessness on his face as he sits down in a dark mirror of the ending of Infinity War truly cements him as a great and worthy foe. For all his faults, for all his insanity, Thanos was still a man utterly deluded by his pain and past tragedies into believing his cause was noble and just, and here he sits in his final moments perhaps wondering as his future self did if it was really all worth it. His crumbling to dust as he so cruelly did to so many others I well-deserved and a fitting end for one such as him, but there’s no denying that there is an element of tragedy to it too. It’s the exact sort of emotional ending I would have hoped for from Marvel’s greatest villain.

The finale wraps things up with Tony’s funeral, as well as Cap going back in time to return the Stones and Mjolnir to the moments they were stolen so that the alternate timelines can handle themselves. But Steve decides to create his own alternate timeline before coming home, and lives out an entire lifetime with an alternate Peggy Carter before returning to his own time and passing his shield and title on to Falcon. Many were confused as to if this meant Steve changed the canon of the MCU, but… they explain what happens in the movie. Quite a few times in fact. If you paid attention at all, you would know it is not possible for him to alter the canon. He created an alternate timeline where he presumably lived a full, happy life and ensured things would go well for everyone. No Hydra infiltration of SHIELD, no Winter Soldier, no Stark assassination, none of that. Just a long, happy life with the woman he loved, his best friend, and a well-deserved retirement from the fields of battle in the end. While the conclusion to Cap’s arc is not quite as good as Tony’s, it’s still heartfelt and touching, and it’s hard to say he didn’t deserve a happy life after everything he went through.

And so ends the Infinity Saga, and the first ten years of the MCU. This movie changed a hell of a lot, to the point where even though only two main heroes died over the course of the film, things still will never be the same going forward, and I like that a lot. Unlike every other cinematic universe that has sprung up in the wake of the MCU, I fully feel like any stories told after this one will continue to build off the foundations that this film and its predecessors laid out. There won’t be the need for soft rebooting like with the DCEU, or with actual rebooting like Dark Universe, or just constant messy and confusing timelines like with the X-Men Series. The MCU has managed to remain remarkably consistent throughout, and there’s no reason to doubt they’d continue that into the future. There’s no stinger here, but the moments after the final battle with the Guardians and Thor certainly set up interesting possibilities, as does the now teenaged Cassie Lang, who may well take up the superhero role she has in the comics. It’s hard to predict where the future of the MCU will be going right now, but all things considered it certainly looks bright.

Ultimately, this movie is a love letter. It’s a slow build that starts by examining the characters we know and love at their lowest, builds into a nostalgic and hilarious trip down memory lane, and culminates in the most beautiful sort of fanservice imaginable that then brings a touching conclusion to two of the greatest heroes in all of cinema. Of course, as I’ve mentioned, that first act is going to be what makes or breaks this for some people, and the part does drag a bit, but ultimately this movie is more what it ends up as than what it starts out as. That finale is the single greatest work of art the MCU has produced thus far, and I’m not sure that even with another ten years they’ll ever be able to top it.

The amazing thing is, this movie is pretty accessible even if you aren’t a hardcore fan, though it’s definitely only going to have full emotional impact if you’ve been watching these characters for years. This is a movie for the fans first and foremost, and that’s really not a bad thing; why wouldn’t you make an epic finale to so many arcs that appeals to the people who invested so much time in it? As someone who grew up with the MCU, who has watched it grow and blossom into everything I ever dreamed of seeing as a kid, I only have this to say to all of the directors, writers, actors, stunt people, just everyone who made this and all the other films possible, and to the dearly departed Stan Lee who created so many of these people I’ve spent the past decade watching come to life on screen:

I love you three thousand.

Here’s to another ten years of cinematic superhero excellence.

#Michael in the Mainstream #MitM #Review #Movie review #Avengers: Endgame #Endgame #Avengers #Marvel #MCU #Marvel Cinematic Universe #Infinity Saga #Iron Man #Captain America #Thanos #Superhero #superhero movie #spoilers #Endgame spoilers

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moonsandmelodies · 7 years ago

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My Top Albums/EPs of 2018, Part 1 / 2

Like with my end-of-2017 list in December, I don’t intend this to be an in-depth recap. These releases are only what I’ve been able to hear so far, and there’s always some good stuff out there I happen to miss.

I’ve discussed before that I’ve had a lot of issues with the current music scene since around 2015, and not a lot of those issues have calmed at this point. This kind of obligated that I wouldn’t be crazy about this year’s music so far, and I haven’t been. The seeming exact same cliches and trends have persisted, some of them getting even worse. I’d elaborate some more, but it’s too complicated to get into for now.

That said, I have hope for the music to come in the next half of 2018, since I did hear a lot of albums that were close to being overall-strong from these past six months. And I have to say that that’s an improvement.

I’ve also included a song link for each release, including for the honorable mentions under the cut - every chosen song is a personal favorite of mine. Stay tuned for more of my favorite songs of the year in my upcoming playlist!

Top 4 albums

4. Angelique Kidjo - Remain In Light

afro-funk

I was surprised and very intrigued when I learned Angelique Kidjo from Benin was to revamp the entire Remain In Light album by Talking Heads. According to her interview in LA Times, she heard “Once In A Lifetime” long ago and recognized the African influence in it’s sound, which is what eventually led to this cover album. Although part of me wishes some covers were a bit closer to the originals than they are, most of the interpretations are still very interesting and enjoyable with an excellent sense of energy and rhythm.

Listen to “Born Under Punches”

3. Music House - Scandi Disco compilation

electro-disco / synth pop / electropop / synthwave

If you’re bored of the sheer quantity of 80s retro music out there, maybe don’t listen to this. But if you’re like me and love this music enough to still give the continuous new releases a chance, I highly recommend this recent library album. I enjoyed near every song on this one, which is surprising seeing how it has no hype at all surrounding it. I only found it because I was looking through other, older releases by this label, Music House and this happened to be their most recent album. Everything about this album is shiny, stylish and fun with plenty of energy and melody. The production is impressive as expected from a stock music label, and while it has a prominent modern polish they channel the huge potential and legacy of electro-disco very well.

[note: the cover doesn’t seem to exist in a bigger size, hence it being smaller than other covers shown here.]

Listen to “37th Parallel”

2. U.S. Girls - In A Poem Unlimited

psychedelic pop / art pop

Bros are really into U.S. Girls’ music for whatever reason. But don’t let that scare you off - after all, it’s not like musicians choose what kind of audience they get. While I did find the previous U.S. Girls album Half Free a bit inconsistent, In A Poem Unlimited feels like a step up - there were only about 2 or 3 tracks that I didn’t enjoy. The album has a warm semi-70s feel thanks to the band put together for it. There’s also a sense of eclecticism that’s executed better than on a lot of other albums with similar ambitions. The voice of Meg Remy, the one true ‘member’ of U.S. Girls, can be quite twangy and takes a bit of getting used to at first, but it’s somewhat grown on me since then, and it got some time to shine here. This is most often when she does a kind of nervous falsetto like in two of my favorites, “Rosebud” and “L-Over”. While the many styles that Remy explores here aren’t much new (70s funk, jazzy rock, general quivering psych weirdness, a bit of synth pop), the variation of it all and the will to experiment helps keep things interesting, and most of them evade the boring cliches that tend to pop up in so much music lately.

Listen to “Rosebud”

1. Fishdoll - Noonsense

wonky / dream pop / electronic / downtempo

Fishdoll, a new artist from China, somehow manages to recall nearly everything I miss about electronic music of the earlier 10′s. I thought of 'wonky’ producers like FlyLo and Teebs who had such interesting and creative taste in electronic production and samples. Take a gander at the amazing operatic vocal/harp sample that ends “Beijing Well” or the spacey fluttering chords on most of the songs, for example. Fishdoll’s vocals are treated to subtle effects and manipulations that say, Grimes or Washed Out became popular for, channeling a similar kind of surreal sleepiness.

It doesn’t do enough justice to Fishdoll to make so many comparisons, though, since this album really does feel unique. And that’s exactly one of the reasons it’s my #1 of the year so far - it’s an electronic artist doing something unique and doing it well.

I’m looking forward to Fishdoll’s next musical move, and I’m convinced Noonsense deserves more than a bit of Bandcamp popularity, which seems to be all it got upon release.

Listen to “Blueeyce”

Top 4 EPs

4. Elaquent - Celebrate Life!

glitch hop / instrumental hip hop

Elaquent has retained a very good taste in shimmering, jazzy sounds like electric piano and even synths over the years that make his new EP very pleasant BGM. It’s not quite his best (his album The Midnight After would deserve that praise) but I enjoy it much more than his past few releases, so I have some restored hope for his future work. My favorite has to be “Sao Paulo”, which happens to sound more like a modern lounge instrumental than what I’ve come to expect from Elaquent.

Listen to “Sao Paulo”

3. D A V I C I I - W sercu pozostaje tylko to, co wypalone ogniem

hypnagogic pop / synth pop

This musician’s sound is similar to that of Adonis listed below - a kind of lo-fi, airy synth pop, but it makes sense since they’re on the same label. This EP is a bit more ghostly and empty, though - D A V I I C I puts his voice through what seems to be autotune to a very weird, even creepy effect. This is most noticeable on the songs “Skruszone serce“ and “Czas przez pryzmat“ which are also my favorites of the bunch. I have to say that while I like the idea of ‘hypnagogic pop’, it’s often bored or disappointed me; D A V I I C I and Adonis, though, have impressed me to an extent I didn’t expect.

Listen to “Skruzone serce”

2. Ravyn Lenae - Crush

neo soul / R&B / pop

Ravyn Lenae happens to be both a very good vocalist and just 19 (which is hardly older than me). This EP has an organic soul sound with some twists that help to distinguish it from the flood of gritty 'alternative' R&B that tends to get the sole approval from critics lately. It's also very concise, which helps. I figure she has a bright musical future ahead.

Listen to “Sticky”

1. Adonis - Wiosenna ofensywa nie trwa dłużej niż do letnich wakacji

hypnagogic pop / synth pop

I only came across Adonis through Bandcamp recommendations and he's still a bit of a mystery to me. This is in part because all the info and lyrics are Polish. But I'm glad I found this EP, since I enjoyed every one of these five songs - while I’ve been blasting the incredible title track all June. In a similar situation to Scandi Disco, it may not be very new, since it’s pretty much a collage of 'alt 80s’ sounds, but if you love the sort of music that entails (e.g. synth pop/shoegaze/dream pop) like I do, than I certainly recommend it.

Listen to “Wiosenna ofensywa nie trwa dłużej niż do letnich wakacji”

Honorable mentions

Gwenno - Le Kov

art pop / new wave / psychedelic pop / dream pop

I thoroughly enjoyed Gwenno’s previous solo album, and while this one has a similar sound, the songs do begin to feel too similar to each other, which is my main issue with it. Her unique style is still very pleasant to hear, she sings the songs in the revived Cornish language, and there’s a handful of songs I know I enjoy, but I couldn’t help but feel something was missing. I figure it could grow on me. Either way, it came close, hence my inclusion of it here.

Listen to “Tir ha Mor”

SOPHIE - Oil Of Every Pearl’s Un-Insides

bubblegum bass / experimental / post-industrial

There’s little doubt in my mind that SOPHIE is very talented and has a lot of promise as a musician/producer. I also find that while many of these songs are a bit too abrasive for my tastes, most of them still have interesting elements or ideas going for them. I just wish that there could’ve been a little less of the stressful industrial parts and more of the sort of aquatic sounds found in “Infatuation” and “Is It Cold In The Water?”. Or maybe even some more poppy songs. It could’ve gone either way, and I’m sure that either would still be interesting to hear from her. So while this album is not quite up my alley, I’ll be keeping an eye on what SOPHIE does in the future.

Listen to “Infatuation”

JQ - Invisible

new age / ambient / electronic

Seeing how this could be New Atlantis’ most gorgeous cover art yet, I couldn’t help but be a tiny bit disappointed in this. JQ has an interesting taste in sounds and I enjoy most of the ambient/new age tracks on here. However, elsewhere the album devolves a bit into other experiments that don’t always work. The album is split into two, with the first being lighter and the second darker. Overall, like New Atlantis’ previous releases, this does have a lot of good things going for it, which is why I include it here. It helps that most songs (minus two surprisingly pretty 7-minute-plus tracks) are short and digestible.

Listen to “Gold”

Mary Lattimore - Endless Days

Mary Lattimore plays the harp very well on this album and most of it works for peaceful BGM. Some songs do get a bit long-winded though and while I’m not opposed to the idea of harp combined with synths, that doesn’t sound very interesting here. The harp playing itself is still very impressive and I did enjoy around half the songs, which is why I wound up including it. I’ll have to look into her previous work since I’ve developed a much bigger appreciation for harp in the past year or so. My favorite song is without question “Hello From The Edge [...]”, maybe the most tender moment on the album.

Listen to “Hello From The Edge Of The Earth”

Beach House - 7

dream pop / indie pop

With this album I continue to enjoy Beach House at times and not get their immense hype other times. I have to admit I enjoy a lot of 7′s first half, which has a more moody, shoegazey sound than expected from BH. The second half, though, devolves into more twee territory that just doesn’t sound near as interesting. The instrumentation and the ideas sounded less creative, and it culminates in “Girl of the Year”, a bland slow jam with such generic, dreary lyrics as ‘Baby’s gone / All night long’. For this reason, I suggest hearing the first 6 - 7 songs myself, and only include it as an honorable mention.

Listen to “Dark Spring”

Melody’s Echo Chamber - Bon voyage

psychedelic pop / dream pop / progressive pop

Bon Voyage is often similar enough to the Melody’s Echo Chamber debut, but a lot weirder. The longer songs morph and evolve several times, sometimes in very unexpected ways. For the most part this makes for interesting, multilayered results, but in places it does wander a bit too much for my liking. This is most evident on “Desert Horse”, which is my least favorite on the album with it’s unfitting additions of turntable scratching, 808 drums and a general rambling feeling. If I ignore that song and a few other iffy moments, it’s nearing a #5 or #4 position in my above Top 4.

Listen to “Shirim”

#best of 2018 #2018 music #best of 2018 halfway #2018 favorites #2018 #2010s #10s #Fishdoll #Adonis #U.S. Girls #US Girls #Angelique Kidjo #Ravyn Lenae #D A V I I C I #Elaquent #Music House #SOPHIE #Melody's Echo Chamber #Mary Lattimore

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teshknowledgenotes · 4 years ago

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HOW I BUILT THIS - GUY RAZ

What I love most about starting your own business is the journey of coming up with a big idea and turning it into something tangible, though it would take me until my late thirties to start to feel even a tinge of confidence about some of my ideas or my ability to execute them. For most of my career before then, I struggled with the kinds of worries I thought charismatic entrepreneurs never confronted: anxiety, fear, imposter syndrome, even depression. But over the course of my time doing deep-dive interview with hundreds of busienss founders and CEO's for my shows, I've come to understand that, for the most part, they are just like you and me. Which is to say, they're human. They all have sleepless nights and midnight terrors. Most of them, at some point, feel like omposters. They are not natural superheroes, they are all Clark Kents. The only difference between them and you, at this moment, is that when opportunity presented itself, they went into the phone booth and put on the cape. They took the leap. That's basically it.

PART I: THE CALL

1) BE OPEN TO IDEAS People start businesses for all kinds of reasons. They do it to satisfy a dream or so solve a problem or to fill a void in the market. Some people want to improve on something that seems obsolete, and others want to reinvent an entire industry. There are literally dozens of on ramps to the entrepreneurial journey. But no matter which one you take, at some point you are to need an idea. Something specific. Something concrete and unique and new. An idea that makes life better or more intersting and delivers on the reason you wanted to start a business in the first place.

Sounds simple enough right? After all, ideas are a dime a dozen. Or atleast that's what many of us are led to believe. That ideas are easy and abundant. That what matters is execution. And all of that is true to some extent. It's just not the whole truth, because coming up with a good idea is hard. Good ideas are hard to find and hard to get right. But once you find one, they are also very hard to turn away from. That what makes good ideas so initimidating. Not that you won't ever find one, but that one day you will, and when you do, it's very possible that your life will never be the same again.

So where do you find one of these good ideas? Where do you look? Can you look? Or do you have to wait for the angels to sing in your ear and the light bulb to go on over your head? Some people are lucky, and this epiphany happens for them early. An idea hits them out of the blue and sends them on their way. For most of us, though, it isn't so simple. We have to look for a good idea, or at least be open to receiving it.

It's one of the eternal entrepreneurial questions: Can you actually find a good idea, or does it have to find you? The answer it the same for both option: yes. The way to get startup ideas is not to try to think of start up ideas, it's to look for problems, preferably problems you have yourself, It sounds obvious to say you should only work on problems that exist. And yet by far the most common mistake startups make is to solve problems no one has. - Paul Graham There is a name for a person who creates something purely out of passion: hobbyist. There is a name for a person who creates something out of passion that solves a problem only they have: tinkerer. There is a name for a person who creates something out of passion that also solves a problem they share with lots of other people: entrepreneur.

2) IS IS DANGEROUS OR JUST SCARY?

Michael Dell the creator of Dell at the age of 19, was told by his parents not to start a business and to focus on school. For Michael's parents coming from a family of well-educated people at a time when personal computing was mostly a curiosity that was often dismissed as a fag, leaving school to tinker with computers and resell them must have felt like their son was in danger of throwing his life away. What is more dangerous to a parent than a child taking their first steps out onto the high wire act of adulthood and doing so without a net?

But for Michael, there was nothing at all dangerous about his idea. He loved working on computers. He knew them well enough as a teenager that professional adults with even more to lose than he did trusted his insight and his work. He was solving their problems. Moreover, having found early success and having seen what was on the other side of this big leap, it was impossible to go back and see the world in the same way again, to ever again see it as his parents had. He knew the rules of this new world, and becaues of that, any last vestiges of danger melted away. And, hey if it didn't work out for whatever reason, he could always just go back to school and slot right back into the premed program. He was nineteen years old, he had his entire life ahead of him. The reality was the scariest part of starting Dell Computer Corportaion was the same thing that is scary about starting any business: it's the unknown. What did a teenage Michael Dell know about running a business? About hiring? About leading people? About find and leasing office space? About corportate taxes?

What do any of us know about that stuff before we confront it? Nothing. That is truly terrifying to the first-time entrepreneur. But it is also eminently knowable, if you choose to learn it. Even though it comes from an old French word "entrepreneurship" is a fairly new term in the vocabulary of business. Founders today self-identify as entrepreneurs in a way that the generations who came before them struggle to understand, mostly because they didn't have the language back then to describe what they were doing as they built their businesses. Fundamentally though they were doing the same thing. They were taking the detour, taking the leap away from the type of professional life they didn't want, and toward something new and exciting and their own.

As a group they have made entrepreneurship both less scary and less dangerous. By developing a lexicon for the process of starting a business, by giving it a name, many of the modern founders whom you will meet in this book have helped to demystify the prospect of taking the leap. By breaking new ground, the older generation of foudners of which Jim and Mike are a part have made taking the leap seem almost normal.

They are why you can trust the rope threaded through your harness by experts and counterweighted by mentors, and have fait that the anchors hammered into the cliff face by those who came before you will hold, as you take that first big step backward off the cliff and into the unknown. Because they know what it means to take you fate into your own hands and to feel that you've got a real grip on this idea that has it's own grip on your soul.

3)LEAVE YOUR SAFETY ZONE... BUT DO IT SAFELY

There is something romantic about the struggle to do something new, isn't there? About taking the leap. At one point or another, all of us who are enamored of the pursuit of big ideas have ourselves enthralled by the origin story of a successful enterprise: the marathon coding sessions, the all-nighters that stretch across an entire week, the four friends stacked on top of one another inside a one bedroom apartment, meeting every evening at the kitchen table in the "boardroom". In commencement addresses and keynote speeches, famous founders talk wistfully about these memorable and crucial moments. Being down to their last dollar, maxing out their credit cards, eating nothing but ramen noodles and drinking nothing but Mountain Dew for months on end.

Those were the good old days.

There are some people who find those stories exhilarating, others, terrifying. For the longest time, I would have counted myself as one of the latter. And to an extent, I still do. I mean, what kind of maniac would just throw caution to the wind as Reid described? Who in their right mind would ever take such a huge risk? If building a company or creating something big and new is like jumping off a cliff and hoping to put enough pieces together before it, and you, die a horrible death, the question I always want to ask founders and creators is, Why do it?

What are you thinking? Why whould you ever jump? Most of the successful entrepreneurs I've met left the comfort of their previous lives as safely and smartly as possible. And they did this in one of two ways: either they stayed in their "real jobs" until their startups demanded more time than they could spare, or they went for it with a fallback plan in their hip pocket, which made the risks inherent in entrepreneurship manageable enought for them to be able to sleep at night.

Having a fallback plan does not mean you are building an escape hatch from your dream. It's not an excuse not to try hard, nor is it a ready made reason to quit. It just means you've give yourself a cushion at the bottom of your entrepreneurial leap of faith that if you do crash, you can bounce back to fight another day.

4) DO YOUR RESEARCH

5) FIND YOUR CO-FOUNDER Many of the same founders I talked about at the beginning of this chapter, whom we have now elevated to godlike status in our culture, have talked openly about the importance of the partners they had in their early fight to bring their ideas to fruition, many of them while the fight was still happening.

"My best business decisions really have to do with picking people" Bill Gates said in a 1998 conversation with Warren Buffett on the campus of the University Of Washington. "Deciding to go into partnership with Paul Allen is probably at the top of the list, having somedboy who you totally trust, who's totally committed, who shares your vision and yet has a little big different set of skills, and also acts as a check on you, and just the benefit of sparking off of somebody who's got that kind of brilliance, it'snot only made it fun, but it's really led to a lot of success"

In a 1985 Playboy interview, Apple co-founder Steve Jobs talked about the importance of both his partner Steve Wozniak's differing interests and their shared lack of a vision. "Neither of us had any idead that this would go anywhere, Woz was motivated by figuring things out. He concentrated more on the engineering and proceeded to do one of his most brillian pieces of work, which was the disk drive that made the Apple II a possibility. I was trying to build the company, I don't think it would have happened without Woz and I don't think it would have happened without me" Jobs said.

The power of partnership is not just a modern tech phenomenon. Partnerships are a hallmark in the history of innovation, regardless of the industry. Many of them are cultural icons we know by the name on the door: Ben and Jerry. Hewlett and Packard. Harley and Davidson. Wells and Fargo. Procter and Gamblr. Aso for Warren Buffett and his part in that conversation with Bill Gates in 1998, he was in complete agreement about the importance of picking people: "I've had a partner like that, Charlie Munger, for a lot of years, and it does for me exactly what Bill is talking about."

6) FUND THE BUSINESS, PART 1: BOOTSTRAPPING

7) GET YOUR STORY STRAIGHT Telling your story is a more cost-effective way to take your advertiseing beyond usefulness and effiacacy and efficiency as topics of conversation. It's like a growth hack that enables consumers to connect to your brand in a deeper, more personal way, which is a big part of how you differentiate and de-commodify your product, create brand loyalty, and set yourself up for long term success. While many legacy companies struggle to see the innovation and origin stories right under their noses, it is nevertheless as true for them as it is for young upstart brands that their busienss is a story, that every business is astory. The store, more than anything else, is what connects you and me and everyone out there to the thing you're building. And every defining element of that thing you're building, of that business, helps to tell its story. This goes from the name and the logo, to the function of the product or the style of the service to the partners that founded it, all the way to the customers who partronize it. The purpose of that story changes with time and with whom it is being told to, but fundamentally its goal is to answer a hundred different variations on the simple question: Why?

Why should i buy your product? Why should I join this company? Why should I be excited to work here? Why should I invest in this company?

These are just a few of the variations identified by Ben Horowitz the brilliant tech entrepreneur, best selling author, and co-founder of the venture capital firm Andreessen Horowitz. He describe in 2010 how his company evaluates CEO's, whose main job, he contends it to be "the keeper of the vision and the story" A few years later, in talking to Forbes, Horowitz put the role of the company's story even more succinctly: "The story must explain at a fundamental level why you exist." It is a story you have to tell to you customers, to investors, to employees, and ultimately to yourself. Kind of in that order, in fact, from the bottom up, like the old food pyramid or Maslow's legendary hierarchy of needs.

One of the reasons for this approach seem prettty obvious: in most markets there are already plenty of options to choose from, so you need to give us a really compelling reason why we should choose yours. And in the cases where you're making something no on has ever seen before, when you're creating an entirely new market, it's not always immediately clear what we have been missing. As such, you need to tell us why we need to choose anything new at all. The other, slightly more complicated reason you need a terrific story is that there are so many other questions one could ask in an effort to understand why you exist, and your current answers don't reveal very much: what you do, where you dot it, how you do it, whom you do it for. Those are just discoverable facts. I can search for them on Google. I can buy market research reports. I can hire someone to reverse engineer your product or go through your process. I can read books and articles about all of it.

But the key here is: Why do you do what you do? Or, Why should we care? I can't know the answers to those questions until you, as the founder want me to know them, because they exist first in your mind. And like most concepts that are unquantifiable, the answers to these basic questions are suually best understood and best shared with the world through a story.

Whitney Wolfe has a story. She knows it well. To hear her tell it is to get to know her and the history of her dating app, Bumble. It is to know what she is trying to do with her app, why we should all care about it, and how it has managed to succeed despite the fact that by the end of 2014, when Bumble was launched, if there was one thing the world didn't need any more of, it was dating apps. There was already Match.com, Plenty Of Fish, IkCupid, eHarmony, and Hinge, along with all the niches sites, such as Jdate, BlackPlanet, Christian Mingle, and way on the other end of the spectrum. SeekingArrangment and Ashley Madinson.

And then there was Tinder, the behemoth, which Whitney founded in 2012 and had recently left under some of the worst possible circumstances not just for a co-founder but for a woman and a human being. There was both a professinoal and a romantic split with one of her co-founders, there was a very public sexual harassment lawsuit, and there was an avalanche of despicably hurtful online vitriol aimed directly at her. By the time she left Tinder in early 2014, Whitney wasn't just done with the dating business, she was done, period.

The stories of Bumble & AirBnB are unique to themselves, but what is true across industries and across time is that all businesses are stories, and all stories are a process. They are a mechanism for thinking deeply about yourself, your product or service, your employees, your customers, your market and the world. They explain each to all the others in a way that facts and figures never can.

Ben Horowitz is right knowing your story and being able to clearly articulate to the world why you exist is one of your most important challenges as an entrepreneur. Not because it helps you sell more product, or build a cooler brand, or make your money through all those things are true.

Rather the basic story that answers the big "why" questions is the one that creates loyal customers, find the best investors, builds an employee culture that keeps them committed to the venture and keeps you committed and grinding away when things get really hard and you want to give (and you will). There are a millions reasons for any one of these groups to quit or to say no. Your job is to give them one of the few reasons to them the story, that gets them to keep listening and to say yes.

8) FUND THE BUSINESS, PART 2: OTHER PEOPLE'S MONEY(OPM)

Some people have distinct, tangible advantages that make it easier for them to pull together enough OPM to get their businesses on solid footing and pointed in the right direction. Recognition of this fact, especially for the entrepreneurs who enjoyed some of those advntages going in, is why I always ask my podcast guests how much they attribute their success to both luck and hark work.

Acknowledging privilege and recognizing advantage are essential to understanding the nature of success, both yours and others. That does not mean privilege should define or predertermine success, any more than lack of privilege should preclude it. While not everyone has the same privilege of circumstance, everyone has intangible advantages of one kind or another that they can leverage in pursuit of success. Personality is an advantage. Will is an advantage. Likability, unflappability, resilience, having a good memory, those are all advantages that anyone who possesses them can use much the way anyone who possesses privilege uses theirs.

But where does that really leave those of us who may not be lucky enough to have a parent who can write a $10,000 check compared with those whose parents casually carry around $10,000 in cash? It doesn't leave us in the same place, but it does put us in the same race on the same track. Although out access to money differs, the process for securing it is the same, no matter who we are, where we live, how we grew up, or what we're trying to build. In every case, a conversation takes place in which a founder has to describe what they're trying to do and then ask another person for some amount of money, in the form of investment, loan, gift, whatever, to help them get there.

Here's where those early fundraising stories from the priviledged and the less-than-privileged start to sound surprisingly alike. To a person, all of these entrepreneurs will tell you that fundraising is brutally hard at every level. It taxes your time, your energy, your ego, and sometimes your relationships. You will have hundreds of conversations. You will have to tell your story hundreds of times and answer ten times as many questions, a lot of them the same, some of them invredibly frustrating, especially form people who think are supposed to support you or whom you have always called a friend. You are going to need a thick skin, like the heat shield on a space shuttle trinyg to punch through the incredible resistance of the surrounding atmosphere and not break apart. This is true whether you are blue blooded or blue-collar, just as it is true that this process starts the same way for everyone, with a conversation, with the people you know.

First a parent, then an uncle, then a family friend, then a mentor, then maybe a kid you went to high school with who also started their own business, and on and on from there, until you've exhausted your total personal network and have, by then hopefully, raised all the money you need. I think about it like a series of concentric circles. You start with the circle of people who are closest to you, the people who names you don't have to dig to the bottom of your contacts to find, because they're right there in your text messages and the call log on your phone. Maybe you start with a best friend and as to borrow a few hundred dollars. Does your friend know someone, a relative, possibly whom you can call for a little more, maybe $500? Does that relative know of someone interested in helping out a startup like yours?

The lesson here is that despite the sometimes daunting advantages that privilege can cofer, this process for raising early money really is available to anyone. Everyone exists at the centre of their own set of concentric circles. The built-in advantages or privilege do not change their shape, they only reduce the number of outer circles one might need to explore to reach one's fundraising goals. And that, comes to OPM and entrepreneurship, whic which I mean, once someone has raised money, even if it was easy for them and there is more where that came from, they still have to do something with it. I can't point to a single example of an entrepreneur I've profiled who raised a bunch of friends and family money early on and then merely sat back, resting on their privilege, to watch their business grow organically with no effort.

9) ITERATE, ITERATE, ITERATE

Take a look around you right now. At the seat you're sitting on. The shirt you're wearing. The light bulbs illuminating the space you're in. The phone in your pocket. Maybe the earbuds in your ears. Even the cover of this book you're reading or listening to.

If these items have anything in common, it is that none of them looked like they do now when they were first conceived by the people who invented or designed them. And that' because a lot happens between conception and first production for nearly every idea that gets turned into a business. Shape changes. Materials change. Offerings change. Names change. Process changes. Construction methods change. Look and feel and tast change.

Typically there are two phases to the iterative process prior to launch. The first involves tinkering with your idea until it works and you, as its creator, are satisfied with what you have. The second entails exposing the working idea to the public and tweaking the product based o ntheir feedback until it catches on, either with a buyer, a major investor, a retail partner, or a critical mass of your customers.

As the creator of AllBirds, Time made clear was that it's important to spend enough time in this first phase to really get comfortable with your product and your story and really get to know the business you're trying to build. Tim, arguably, spent five productive years there. Whitney Wolfe, in contrast, took less than a year to get the version of Bumble out into the world and onto people's phones, in part because she already knew the busienss from her time at Tinder and she'd lived every moment of the Bumble story from the day she left Tinder for good. The exact amount of time you spend in the first phase of development isn't as important as making sure you don't get stuck there for too long. Every idea, no matter how great, has a shelf life. If you don't get it off that shelf and out into the world in time, no amount of feedback you get during the second phase of the iterative process can overcome a lack of insterest or mitigate first mover advantage if someone beats you to the punch.

Moving to phase two can be tough for people who don't handle criticism well, or who are dogged by that familiar yet unattainable form of perfectionsism that has trapped the next great American novel on the desks or hard drives of countless aspiring writers since forever. Like asking friends and family for money, exposing your idea and all your hard work to feedback can be very uncomfortable, which can make the first phase of internal development feel like a safe space out of which you would rather not poke your head until you're absolutely sure. Except "absolutely sure" doesn't exist.

I would love to tell you a story about an entrepreneur who suceeded in spite of the paralysis of their perfectionism, but I don't have one, because such people generally don't create companies. The creators and innovators who I meet, if they do struggle with criticism and perfectionism, also understand the importance of allowing their product to be judged by the marketplace, and the opportunity that users' feedback presents to make the product better as a result. They know that they need an abundance of feedback to dial in their product. They actively seek it out, in fact. Because while they know what they want to do, and they know why and how they want to do it, they also know that they have no idea if anyone will actually like what they're making. And that's always essential to keep in mind.

PART II THE TESTS

Most of the entrepreneurs I've interviewed have a healthy fear of failure. They konw it's possible at any moment. Even likely. When it happens, and believe me it will happen they certainly don't like it. It's not comfortable, and it's definetely not fun. But that never stops them.

Good entrepreneurs, succesful ones, have a way of not letting their fear of failure slow them down. They are defined instead by a seemingly inextinguishable belief in their idea, the idea that has pulled them out of their comfort zone and driven them across the unknown to explore new possiblities.

They are convinced that, if they can just get there (where "there" is), if they can just get their idea off the ground, it will succeed. If. That's really what entrepreneurs fear at this stage. The uncertainty of whether they wil be able to cross that vast space between inspiration and execution, full of tests and traps, twists and turns. A gauntlet that every entrepreneur must pass through, with challenges that are generally the same for everyone, but that take different forms and present in a different order with each trip across the unknown territory of starting a business.

Indeed, every entrepreneurial journey is a new and different story. No two paths are the same. Everyone will proceed through many of the same pivotal points, but your path will inevitably be unique to you, to your idea, and to the time and place through which it passes.

Fortunately, it's never been easier to make this journey than it is right now. So many entrepreneurs have done what you are about to do. You have the chance to prepare for what's coming your way, if you are willing to learn from these unwitting helpers. They've made every mistake. They've falled into every trap. They've taken every wrong turn. And the good ones, the successful one, only made those mistakes, fell into those traps, took those wrong turns, once.

Because they borrowed from the entrepreneurs who came before them as well. They heard the stories and learned the lessons. Now it's your turn.

10) GO IN THROUGH THE SIDE DOOR

Most new businesses aren't doing something completely novel or aren't doing it in a totally new way or new place, you should be thinking long and hard about how else you might enter your market besides knocking on the front door and asking for permission to come in. This is something that female and minority entrepreneurs have long had to contend with, whether it means breaking through glass ceilings or breaking down walls built by prejudice. All of which is to say, figuring out how to sneak in through the side door is not new ground you will have to break. A legion of resourceful geniuses have come before you. And what many of them have discovered is that the side door isn't just less heavily guarded, it's often bigger. Or as Peter Thiel put it in a 2014 lecture at the Standford Center for Professional Development titles "Competition is for losers" "Don't always go through the tiny little door that everyone's trying to rush through. Go around the corner and go through the vast gate that no one's taking"

For Manoj Bhargava, the founder of 5-hour Energy, his side door into the energy drink market did not take the shape of a small niche, but rather of a small product. In early 2003, a few years removed from his retirement from a plastics business he'd turned around and profitable, Manoj was attending a natural products trade show outside Los Angeles looking for inventions he might acquire or license in an efford to create a business that would generate an ongoing residual income stream for him in his post plastic years.

Walking the floor of the show, he stumbled upon a new sixteen ounce energy drink that produced long-lasting effects he'd never experienced with other energy drinks "Well this is amazing", he said to himself, exhausted from a long morning of meetings and now energized enough to continue walking the trade show floor. "I could sell this" He thought. The drink's creators disagreed. They were "science guys with PhDs" while he was "just a lowly business guy". They refused to sell their invention to him or even offer him a license on their formula. When they effectively told him to hit the road, Manoj decided to hit the lab instead and to create his own version of the energy drink that had fueled him up and blown him away.

"I looked at their label and said, I can do better than this. How hard can it be? I'll figure it out." Manoj said. With the help of scientists from a company he'd founded for the express purpose of finding inventions just like this one, he had a comparable energy drink formula in a matter of months. It would turn out to be the easiest part of the process.

The hard part would be getting his invention into stores "If I made another drink" Manoj said of his thinking at the time, "I've got to fight for space in the cooler against Red Bull and Monster Energy. I've also got to fight Coke, Pepsi, and Budweiser for space. So you're pretty much dead if you want to try that. He was dead because he would be fighting for a finite amount of space in brick and mortar stores, against the compeition not just in his own niche but in the entire beverage industry, which is dominated by some of the biggest companies in the world. If you own a 7-Eleven or you're the gneral manager of a grocery chain like Kroger or Tesco, are you really going to turn over a Diet Coke, Mountain Dew, or Snapple rack to a new energy drink that on one has every heard of? Especially when, in 2003, in energy drink sales had yet to really spike and there were already two major players, Red Bull and Monster energy, in the nascent market. Even if you were inclined to give a little guy like Manoj Bhargava a shot, once the regional sales reps and distributors from Coca-Cola and PepsiCo got wind of your decision, they would likely wield their Microsoftesque price discretion against you like a baseball bat, or just pull their products from your store altogether.

Those were the barriers to entry that Manoj was looking at. If he was going to get into this market, he'd have to find some other way. That's when it dawned on him. "If I'm tired why am I thirsty also?" By which he meant, why should we have to chug ten to sixteen ounces of a cloyingly sweet liquid in order to get an energy boost? "It would be like Tylenol selling sixteen-ounce bottles", Manoj explained by way of analogy. "I just want to do it quick. I don't want to drink this whole thing", he thought. This is how Manoj arrived at the idea of shrinking his product down from the standard sixteen-ounce drink to a two-ounce shot.

Quickly, everything changed. In less than six months, he'd hired a designer to make his distinctive label, and he'd found a bottler who could produce two ounce versions of his energy formula. "And at two ounces, it's really not a drink, it's a delivery system"

This was 5-hour Energy's side door. It wasn't a drink, so it wasn't an immediate threat to Red Bull or Monster Energy. At two ounces, it also didn't need to be refigerated or given a large, dedicated shelf, so retailers didn't have to worry about space. They understood that the perfect spot for it would be at the cash register, right next to the Slim Jims and pickled eggs!

"It just belonged there" Manoj said "You could tell it just looked that way that it should be there" Moreover because the ingredients that way, that it should be there." Moreover, because the ingredients that went into 5-hour Energy were actually less about energy and more about focus, "vitamins for the brain". He could position his product beyond the beverage verticals and outside the grocery or convenience store channels. In fact, the very first place he went with 5-hour Energy in 2004 was the largest vitamin store, GNC, which decided to put the product in a thousand of its stores.

GNC turned out to be a genius side door into the energy "drink" market for a couple reasons. The first is obvious, there was much less competition compared with grocery and convenience stores, but the second is more interesting. "It turns out GNC is always looking for new products, because once a product gets mass distribution, GNC is sort of out of it, if it's in Walmart, nobody's going to buy it at GNC" Essentially, GNC was an easier route to retail distribution than a place like 7-Eleven or Safeway, and thankfully the tolerance for a slow start was higher as well, because in the first week they sold only 200 bottles. "Which was horrible" Manoj admitted. But they waited it out, manufacturer and retailer together, "and at the end of six months it was selling 10,000 bottles a week"

From there Manoj went to drugstores like Walgreens and Rite Aid, which snapped it up, now a 5-hour Energy is near the cash register in most stores basically everywhere.

This is the great irony of circumventing the barriers to entry that your competitions's apparent monopoly power constructs and then fighting you way in through the side door. If you're successful, you stand a very good chance of achieving market domination of your own. Of digging and widening your own moat and building the toll that bridge that crosses it. Of massive, unbelievable success. For many entrepreneurs, that is the goal.

11) IT'S ALL ABOUT LOCATION

12) GET ATTENTION, PART 1: BUILDING BUZZ If a tree falls in the forest and there's no one to hear it, does it make a sound? I think there is a business analog to that: If a company opens it's doors and no one hears about it, does it ever really exist? Or is it just one of the 170,000 new businesses that year that didn't make it to its first birthday and whose existence you can only infer from a table of numbers in a Bureaur of Labor Statistics Report?

The answer, I believe, is of course it existed! If you took that leap off the cliff while attempting to build your own airplane on the way down, you deserve to be known. But as the builder of that plane, it's also your job to be the creator of the buzz from that plane's engines.

It's your job to make sure that the sound of your doors opening reaches past your front steps and far enough out into the world for potential customers to hear it. It's your job to get attention for the product or the service you are bringing to the market.

It's usually not easy, and you are going to need help from all forms of media to make it happen, because like Jen Rubio said, nobody wants to hear you talk about yourself. But it's doable, particularly when you are able to build buzz among many possible customers while at the same time engineering work of mouth among your ideal customers.

Take one look around you at all the things you observed at the start of this chapter. The people who made these products were sending a version of their idea out into the world that they could stand behind and that could itself stand up to the criticism they were inviting. That is the real recipe for success in the iterative process, and one every creator needs to get right if they want to turn their idea not just into a product, but into a business that is poised for real, sustained growth.

13) GET ATTENTION PART 2: ENGINEERING WORD OF MOUTH

14) SURVIVE THE CRUCIBLE

15) FUND THE BUSINESS, PART 3: PROFESSIONAL MONEY

The first thing to understand is that raising venture capital is about making a promise. A promise that you have a product or a service that people will pay money for, that you have a plan to reach as many of those people as possible, and that in exchange for lots of moeny, you will bust your butt to reach them. The next thing to understand is that good investors know the promise you are making to them is just that, a promise. They know you can't make any guarantees. You can do everything right, but if the world shifts under your feet, there's nothing you can do about it. Venture capital is by its nature a gamble, it's right there in the name, and every gamble comes with the risk of heavy losses. Professional investors know and accept this fact, which is why the also do everything they can to mitigate the risk before writing very large checks.

One of the principal ways they do this, especially if they are unfamiliar with your industry, is to ask lots of questions:

How do you expect to scale this? Where is the growth going to come from? Who is the customer for this? Doesn't something like this already exist? How will you get costs down? Where will you manufacture? Where will you be based? What's your marketing strategy? Why does anyone need this? Why would anyone do this?

16) PROTECT WHAT YOU'VE BUILT

17) WHEN CATASTROPHE STRIKES

18) THE ART OF THE PIVOT

PART III THE DESTINATION In many ways, the scariest part of entrepreneurship is success. It's reaching your destination, your objective. Because that's when the work really starts. Why you've got to decide: What now? What next? Do you keep moving and do it again? Do you stick around? Do you build? What do you build? How big? With what? And why? Getting here was difficult enough. The anxiety that comes with the responsibility of continue success isn't making things any easier. Why continue to put yourself through all this?

These questions are difficult to answer. And the answers are often hard to get exactly right. Because in the beginning, all you're worried about is trying to survive. You're not aiming for perfection, you're just hoping to avoid pitfalls. You're not thinking about legacy, you're just focused on lasting one more day in your quest across the unknown.

Eventually, though, these questions will become paramount if you want to ubild a business that stands the test of time. Something more than just a vessel for the idea that drove you in the beginning. Something that reflects you mission and your values, that honors all the work you put in, and that treats the people who helped you get here well.

Figuring out your answers to these questions is also what will make you feel successful, no matter what your next move is: whether you stay and build and lead, whether you go, whether you move on and try to repeat your success in another area. If you're not doing it for reasons that are authentically yours, if you've lost sight of what inspired you from those very first days, then the long, arduous entrepreneurial journey you just endured might very well fill you with regret. Like promise unfulfilled.

Forget feeling successful. You can feel like a downright failure when you get to the right place for the wrong reasons, no matter how much money you have. That's because the path to true entrepreneurial success is not strictly about profit, it's also about finding and fulfilling a deeper purpose. That has been the destination all along. Knowing that, and recognizing when you've reached it, is when the rewards truly begin to accrue.

19) IT CAN'T BE ALL ABOUT THE MONEY

The Beatles told us that money can't buy you love. Rousseau taught us that money doesn't buy you happiness. The Bible warns us that the love of money is the root of all evil. And these casualities of the subprime mortgage crisis showed us that money can't be the primary motivating force behind our businesses. A company that is successful and resilient and that acts as a force for good in the world long after you're gone has a larger purpose, a mission at it's center. One that you as founder are responsible for indentifying and articulating from the very beginning, then guarding during times of plenty and leaning on during times of difficulty.

Founders who approach their business with a “mission first” focus tend to be better equipped to handle the lure of unrestrained and manic growth that has damaged or even sunk so many companies with early potential. But having a defined mission is even more valubale when money is scarce or growh is anemic, especially for younger companies, because it gives them a reason to keep on fighting. In contrast, if they are operating with a “money first” mind-set, money's absence makes it so much easier to abandon what they're doing and to pivot before they should, to give up on their original idea at the first sign of trouble, or just plain old quit.

More than just stoking the flames of a fighting spirit when things aren't going your way, the mission is what gives your business, and you, direction. It helps you identify opportunities. It helps you categorize and prioritize the field of choices in any situation, from those that advance the intersts of the business to those that subvert it or hold it back. This is perhaps the most important thing that a mission does for a young company, because with everything swirling around you, whether it's product development, funding, hiring, or marketing, it's very easy to lose your sense of direction both individually as a founder and collectively as the business. Once you lose your sense of direction, the chances of keeping hold of any sense of mission become slim. After all, if you don't know where you're going, it's hard to know why you're going there.

Andy Puddicombe, a former Buddhist monk from the southwest of England, had a mission to demystify meditation and make it accessible to as many people as possible. The first step on the journey once he was back in the United Kingdom was to figure out the how and the why of this whole experience and then to find a plae where he could teach clients one on one. The goal he said was to give people just enough to be inspired or to get excited to try mediation, because a lot of people had heard and read about it, but it's only really in the experience of it that you can get them to make that leap in terms of actually getting the benefit. So he started to use a lot more storytelling in his practice. He took a lot of metaphors and analogies from the Tibetan tradition, but he changed them just enough to make them “more approachable and accessible.”

At his first teaching space, a clinic room in a London integrative health center fun by a doctor who had heard a lot of good things about “mindfulness”. Before too long, Andy was seeing six to ten people every day, all with very mainstream problems. They were struggling with depression, anxiety, insomnia, stress, mirgraines, many of the things that we all suffer with now in a life of just sheer overload. He'd see each person for an hour a week for ten weeks, gradually developing in the process a ten week long modular course from which everyone can benefit. Any by everyone I mean everyone, because everything you hear in the Headspace app is now is build built on the content and the language that was developed during that time. It was a really important trainign ground in terms of understanding what worked and what didn', what language connected and what didn't.

Before he got to the Headspace app, which by mid 2018, had more thatn 30 million users and a million paying subscribers, Andy first had to figure out how to move beyond the one on one clinic experience. Not to make more money, though he certainly could have used it, but to reach more people more quickly. ”I wanted to get meditation out. I wanted to get more people meditating. I just didn't know how to do it outside of the clinic” he said.

20) BUILD A CULTURE, NOT A CULT

At Reed Hastings first company Pure Software, the "culture first" approach he used at Netflix didn't come naturally. He did things another way which was "me first". Not that he was selfish, just the opposite was true. He did everything or at least he tried to do everything, himself. "I thought if I could just do more sales calls, more travel, write more code, do more interviews, that somehow it would work out better," he said. In his mind, if there was a problem to be solved or a bug in the code to be fixed, as the founder and CEO of the company, which was his brainchild, he was the obvious and best choice for doing what needed to get done. Eventually, wearing all those hats got to be too much. "I was coding all night, trying to be CEO in the day, and once in a while, I'd squeeze in a shower" he said. It wasn't working Hastings had to figure out a better way. This is when he made the mistake from which the culture deck would eventually be born. Now whenever they had a problem at Pure Software, instead of tring to fix it himself, he tried to implement a process that would prevent the problem from ever happening again. The real problem was that he was trying to dummy-proof the system, and then eventually only dummies wanted to work there. Then, of course the market shifted and the company was unable to adapt.

Pure Software was eventually acquired by its largest competitor, and Reed Hastings used the financial windfall from that sale to co-founder Netflix, where he made sure not to repeat his process-obsessed, founder-centric mistakes. He was fortunate. Many founders have not been so lucky. Any successful founder will tell you that the impulse to do everything yourself, to believe that only you know best and then to build processes that reflect that belief, is endemic to entrepreneurship and has the potential to be incredibly destructive. When the processes don't work and your conclusions continually prove wrong, your assumption is that if you just take on a little more and work a little harder, everything will be fine. But that approach can wear you down physically and mentally. Plus, as Reid Hoffman put it in his episode with Hastings, "more work is never the real answer. To succeed as you scale, you have to leverage every person in the organization. And to do that, you have to be very intentional about how you craft the culture." This may sound like common sense, because it is! But I've been surprised at how often entrepreneurs I've encountered make the mistake of trying to do everything themselves as the company begins to grow. What happens in the end is that everything about the business starts to be about the founder rather than the business.

This is one of the hardest traps for even the most well-intentioned entrepreneur to avoid, let alone spot. For the longest time in the beginning, it can feel like it's just you and your idea. The seed gets planted in your mind, you water it with inspiration until it germinates into an idea, you feed it with research until it pokes up through the soil and sees the light of day as a product, which is when it first finds the warmth of attention from an audience, and then if you're lucky, it starts to blossom into a full fledged business.

Getting to that point is an all-consuming process. It takes all your time, energy and focus. It's all you think about, and after a while the line between you and your idea can start to blur. It becomes difficult to know where you end and the company begins. It becomes impossible, especially in the leaner, trying times, to fathom that anyone could understand the business or its problems in the way that you can. So when someone on your team levels the charge that you're making everything about yourself, it almost doesn't compute. Everything you do, you do for the business. You've given everything have to it. If you could give more, you would. But when you and the business are indistinguishable, when you've allowed your identity to merge with the company's how does it not appear to be the case, from outside at least, that your singular focus on the business is also a singular focus on yourself?

It turns out there is a name for founders who fall into this trap. They're called "monarch CEO's" according to Professor Jeffery Sonnenfeld, who stuides CEOs at the Yale School of Management. "Their business is defined around them and their life is defined around the business", he told the Washington Post. The most notorious of these figures in recent years was Dov Charney, the controversial founder of the now-defunct clothing retailer American Apparel.

American Apparel was a juggernaut in the clothing business and in the culture during the first decade of the twenty-first century. Their advertisements were edgy and sexually provocative. Their retail stores were on the best streets in all the right cities. They manufactured their clothes out of a large, old factory building in downtown Los Angeles. Their clothes were everywhere and on everyone the entire decade. I still own a couple American Apparel T-shirts and hoodies that I wear in regular rotation.

American' Apparel's rise from a domestic clothing manufacturer and wholesaler into an international retail brand was as fast as its fall. They moved into their famous downtown LA factory in 2000. By 2005, they were one of the fastest growing companies in America. By 2011, the company had more than 250 stores with revenue well north of $500 million. And then, by 2014 amidst a tangle of sexual harassment lawsuits and bad financial deals, Dov was kicked off the board of the company he founded. By 2015, American Apparel was in Chapter 11 bankruptcy. By 2017, the company as Dov Charney knew it was gone, all ties to the founder severed, it's intellectual property sold at auction to a competitor, Gildan Activewear for less than $100 million, it's retail stores shuttered. It's a sad cautionary tale. Dov Charney was American Apparel. American Apparel was Dov Charney. And that was the whole problem. Everyone saw it. The New York Times said, "Charney himself had no other interests ouside his company. He viewed himself as indeispensable" The Financial Times said "It is almost as if Mr.Charney believes that the scandalous behaviour he has so often been accused if is inextricably tied up with the image of his often lauded but deeply unconventional fashion label" It's a sentiment Charney would not reject. He told the Financial Times reporter "I am a deep part of the brand".

The depth of their synchronicity is where the trouble for American Apparel started. At various points well into the history of the company. Charney was the CEO, the designer, the main photographer, the male fit model, a centerpiece of their advertising and their biggest liability. Not just legally either. As often happens when a founder loses themselves inside their business, he became a control freak. He had store managers calling him directly. He famously moved into a warehouse that was having some problems and had a shower installed so he could live there twenty four hours a day monitoring the work. Once when there was a traffic jam in the parking lot of American Apparel's LA headquarters, Charney went downstairs and personally directed traffic until it cleared.

These might be humble, romantic gestures of a leader willing to do whatever it takes if they weren't actually a reflection of a founder who had turned into a relentless micromanager as the company grew. "A lot of founders have difficulty making this transition" said Professor Sydney Finkelstein of the Tuck School of Business at Dartmouth in the wake of Charney's ouster from the board. "When you're a smaller company, micromanagment is not necessarily a terrible thing. It's when you cross the line and have to grow, you've got to have management talent around you.

"If the cultural roots are strong, then new leadership is developed in that model, and will often continue the culture" - Reed Hastings If the roots are unstable however and the leadership is constantly changing, the culture will be, too. By consistently firing or driving away talented leaders, Charney managed to yank out by the roots whatever culture there was to speak of at American Apparell, and in filling the vacuum with himself, the culture of American Apparel became the Cult of Dov. As Dov imploded, so did American Apparell.

Tristan the owner of a skincare brand. If he hadn't been careful, Tristan could have very easily found himself on a self absorbed Dov Charney style trajectory. Instead, he found a problem to solve "for people who lookied like me", as he put it. He developed a set of solutions that could become a business that employed a lot of people, if he just cultivated the seed of the idea and tended to the soil with enough care to make sure the idea blossomed and flourished. Almost immediately, Tristan's goals changed. Instead of being singular and self-focuesed, they were multiple and communal. He recongnized that for a business to last 100 years, which was one of his new goals, it can't be about you, because "you don't scale". Only your idea, and your story, and your values do. As long as you know them and share them.

"Knowing your values gets you on the same page with your employees. They get you on the same page in this noisy world with your consumers, but more importantly they give you your purpose," Tristan said "Without knowing your values, you're going to make decisions that are inconsistent and you have to have consistency to inspire your sanity."

I would argue that you also need consistency to inspire your people. And there is nothing more consistent than a set of clear values written down on the page for everyone to see. Just ask Reed Hastings or better yet, ask his 7000 employees.

21) THINK SMALL TO GET BIG

22) MANAGE PARTNERSHIP TENSIONS

23) KNOW THYSELF

When I started podcasts my friends thought I'd lost my mind. they were right to be skeptical. We were still a few years away from the podcast boom that began to swallow traditional radio.

Podcasting let me be the most genuine version of my personal and professional self, and it unexpectedly put my career into ascendancy as a result. Embracing my storytelling sensibilities helped put my production ecompany on the same track. It guided me to, and through, every decision in every phase of our growth, whom to hire, who to profile on the show, what to say no to, and it also kep us from falling off the righ track.

When growth begins to accelerate, it's even more critical to know who you are as a founder and who you are as a company. That understanding helps point you in the right direction when you have opportunities to pursure lots of different things. It's a constant reminder of what business you're actually in, which is something that is surprisingly easy to forget or lose sight of once your business starts to expand, evolve, and change shape. Believe me, I've been there, and so have most of the founder I've interviewed.

Andy, one of the co-founders of Bonobos was dealing with problems in the workplace. "I was a confused person, I got depressed, and I kind of had to fake it at work that I was doing okay. It was super tough to navigate." He also struggled with direct conflict and confrontation. "I valued harmoney over the difficult conversations until the situation became really difficult", he said, "and then I'd take it on" Compbined with the normal stress and insecurity that come with running a succesful startup, one that wasn't even his idea to begin with, these personal issues started to steer Andy toward poor decisions, including fighting with his co-founder in front of the team, which exacerbated the company's identity crisis.

24) WHEN TO SELL AND WHEN TO STAY

Now entrepreneurs don't have to raise professional money if they don't want to. They don't have to accept it in the amounts or at the valuation that may be available to them. They don't have to realize the potential idling within their ideas as quickly as others may want either. They can take it slow. They can defer compensation. They can wait to make a lot of money and let the company grow at a more natural pace. It wouldn't be an unfamiliar place from which to operate for most entrepreneurs, since founders typically pay themselves about as much as they could make if they were employees, and much less on average than a CEO would make coming into the company. Fundamentally it comes down to what a founder thinks is best for the company and best for themselves. Neither choice is by definition better than the other. It all depends on what a founder's goals were when they started their company, and where theose goals have evolved in light of their success.

Except I don't think money and control are your only choices when you are wrangling with a growing and successful busines. I don't believe they are the only two major forces that motivate an entrepreneur's decision making either. I think there is a third. A consider that tends to play a lesser role during the fundraising part of growth, but is especially active once a founder has grown their business beyond what they ever imagined possible and the opportunity to sell presents itself. I'm talking about happiness. Contentment. Making a decision that feels right.

25) BE KIND

26) WHAT YOU DO WITH YOUR LUCK

Every successful entrepreneur I've met has a story about working eighteen hour days for months on end or eating ramen and cereal and rice to get by, but none of them has ever worked harder in their capacity as a founder than a dishwasher or a gardener or a construction worker or a waitress works every single day. Every founders stories has a strong strain of luck running through it. But I'm not talking about luck in this context as any sort of admonition against these founders being proud of all the hard work they put in. I mention it in order to, I hope, help aspring entrepreneurs understadn that the luck these founders experienced was not some desembodied magical force. It didn't happen in a vacuum. It didn't happen to them. Luck when it comes right down to it, is really just an opportunity waiting to be taken advatage of, and they took advantage of it.

Maybe you were lucky enough to have a good network, or a stable home, or a good education, or maybe you were lucky enough to be born with the kind of personality that makes you more resilient, more willing to accept rejection, more willing to do whatever it takes, without the massive ego that prevents so many from sticking with it during hard times. A personality like Daymond John's with the drive to work hard and the resilience to push forward through all the nos until he got to a yes.

Whatever the case, the question you will need to answer for you self as an aspring entrepreneur isn't whether you will have any luck, you will, you probably already do. It's what you are going to do with the luck that you have. Are you doing to take advantage of it? Are you going to do the work? Are you going to take the leap? Are you going to write that twenty-fifth investor email? What about the twenty-sixth? Are you going to pay all the friends in your network to buy your product so the stores think its super popular right away, like Sara Blakely did with the first five stores she got Spanx into? Are you going to physically move your product in those stores to a more optimal location like she did, too? Those are choices you will have when you realize how lucky you are and you spot the opportunities that come with that luck.

You and I, we are both lucky. I had the opportunity to write this book, you had the money to buy it (or the patience to wait for it at the library) and the time and inclination to read it. I've had the privilege of meeting and interviewing some of the world's most succesful innovators, entrepreneurs, and idealists in order to help them tell their stories, you somehow found you way here, where you can learn from the lessons their stories hold.

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lia-nikiforov · 8 years ago

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Fall 2017 Anime Watchlist

Blablabla school is kicking my butt blablabla I shouldn’t even be doing this blablabla THERE’S A LOT OF GOOD ANIME THIS SEASON

So naturally I’m gonna go back to my worst to best format for this list. Get the trash out first

Dropped

Dies Irae: Aren’t these villains named after actual historical Nazis who were directly involved with orchestrating the holocaust soooo cooooool , so interesting, such tortured profound souls that--- ugh, I just threw up in my mouth a little. I don’t care if the Nazis are the villains, making them into complex, appealing characters is unacceptable, less so given the times we live in.

(get it, it’s a real nazi getting punched in the face, aren’t you glad you follow me so I can provide you this quality content)

Yuki Yuna wa Yuusha de aru: Yuusha no Sho: Because I wasn’t a big fan of the first season, I thought this might make for decent hate-watch, but it’s just not bad enough to warrant it. It’s also criminally boring. And because part of what made the original so bad was the ending, and this being a prequel we already know how it ends, there’s no point to it imho. I enjoy screaming at the void about shows I find stupid, but this one isn’t even worth the time. Ballroom is all the hatewatch material I’ll ever need

Black Clover: I could say a lot about this show’s egregious lack of uniqueness and originality, or how poorly executed the whole thing is, but really the only thing you need to know about this and why it’s an insufferable watch is:

THE!!!! PROTAGONIST !!!!!NEVER!!!!! STOPS!!!!! YELLING!!!!!!

Inuyashiki: My first problema with this show is the main dude is supposed to be 58 years old but he looks older than most 65+. It’s a dumb little thing, but it completely breaks my suspense of disbelief. Other than that, the writing is just so viscerally hateful it’s extremely uncomfortable to watch. What I’d understood from the synopsis was that the aliens had accidentally merged the old man and the young dude into a single robot body, but the way it is presented -with the old guy as the hero and the young guy as the villain- the moral of the story seems to be basically “millennials are killing the diamond industry”, or, in terms of a more well-known -though perhaps too easy- meme:

Urahara: I really wanted to like this show and support these young female creators in an industry that tends to not give them any opportunities. It’s not like it’s bad at all, nor is it offensive, it’s just really boring. The visuals are adorable, but the characters feel completely unreal –three high school girls run their own shop in Harajuku?-, especially pigtail girl who delivers every line like she was trying super hard to sound like an ojousama archetype. The show is completely committed to its Harajuku kawaii culture aesthetic and attitude, which is commendable but also something that honestly make me a little uncomfortable for no particular reason. I also feel extremely robbed off actual transformation sequences in this magical girl show. In a less busy season I might hold on to see where this went, but as it is, I’d rather wait and see how it ends and then decide if I should spend time on it.

Utter trash that I’m still gonna watch because I hate myself or something

Ousama Game: I think it’s important to make a distinction between hate-watch and irony-watch. Hatewatch is something you do with a show that’s terrible and probably offensive, but it never touches so-bad-it’s-good territory. You can pick the show apart for all of its flaws, be it an ill-conceived plot, poor characterization, or, you know, being grossly mysoginistic. Examples of shows I’ve hatewatched include KADO, Sailor Moon Crystal and Super Lovers. An Irony-watch is a show that pretty much everyone can agree is a dumpster fire, and it succeeds so much in its terribleness it’s histerical. Hand Shakers and Neo Yokio are prime examples of quality irony-watch material. And so is Ousama Game. It’s not even worth pointing out its flaws because there’s just nowhere to start, there is not a single thing this show does right and it’s hysterical. Of course it has the squick factor of having some gross fetish with people’s tongues lolling out and their faces getting ridiculously contracted in gross fashion when they die, but other than that, it takes itself so seriously and mixed with its 2006 low budget aesthetic the whole thing is madly hilarious.

Welcome to the Ballroom: This is my choice for hatewatch show of the seaon. After the disgusting dung that was episode 15, I’ve lost all hopes of the show ever getting “better” as was repeatedly promised by fans of the manga once the queen lord and savior Chinatsu appeared. Lo and behold, Chinatsu’s character arc is to learn to be more “feminine” and to let herself be “controlled” by Tatara. Throw in some casual homophobia just for good measure. I really have to wonder why the mangaka set out to write a manga about a sport that necessarily requires a man and a woman in partnership if she hates women so much and can’t treat them as anything above second-class citizens-

(srsly show, why do you hate women so much)

Sengoku Night Blood: It’s been a while since we got a dumbass Sengoku bishonen show that wasn’t aggressively boring. This one though, still challenges my tolerance limits for being dumbass ridiculous with its premise of vampire/werewolf Sengoku daimyo. The costumes and character designs are super ridiculous yet strangely non-distinctive. I have a hard time figuring out who is who because most lack their historical counterparts most notable features, and there’s a lot of same-face-iness everywhere. The show is clearly not afraid of embracing its otoge origins, the “love event” moments are terribly transparent. I just wish either the female character was completely erased or that the guys would stop treating her so badly. I know she’s useless, but I don’t understand why the show has dudes saying things such as “it’s really bothersome that you’re here” and frame them as if they were suuuuper romantic.

(lmfao there are no gifs for this one, maybe I’m the only sucker watching it)

Juuni Taisen: To be honest I was ready to drop this one after confirming it was gonna be more Nisio Isin fake philosophical bullshit that is actually just otaku fanservice. Instead I got schlocky ultra violence garbage and it’s actually kinda fun? Look, I’m gonna come clean, I’m just watching it for the necromancer chip’n-dale rabbit with high heels and a huge fluffy tail, but if that’s not a good reason to watch a show, none is.

Not bad, but not quite good

Shoujo Shuumatsu Ryoukou: This was another one that wasn’t quite on my radar before the season began, I only checked it out because it got excellent reviews. It’s actually surprisingly charming, although the pacing is slow, the muted color palette can be tiring and nothing really seems to be happening. I honestly struggled to stay awake during episode 2. Although there is nothing inherently wrong with the show, I’m considering dropping it because I’m just watching too much stuff and don’t have time, but I’ll wait for episode 3 to make my final decision (I’ll probably watch it Monday)

Shokoku no Altair: After the really good Sultan arc, apparently we had to go through another speed course on how to acquire new members for the party. I’m pretty much resigned to this not being the epic historical drama Arslan also failed to be, but it’s still sad to see this one getting the crappy production values while Inuyashiki is a lavishly animated production about bitter old men hating youngsters. Anyway, as long as further arcs can replicate the level of excitement and intrigue of the sultanlu arc, I’ll be looking forward to it and how Mahmut’s story unfolds.

Fate/Apocrypha: You can tell how trashy the summer season was that Fate, which was one of my favorite shows of the season, is barely in the middle of the pack of this crowded Fall season. It’s also worth noting that I’ve lost a lot of the goodwill I’d mustered for the show after the writers remembered Palurdo-kun was supposed to be the protagonist, so now that he’s taken the center stage (and become Astolfo’s Master, which is a travesty, Astolfo deserves so much better than satisfying otaku’s otokonoko fetiches orz) I find myself rolling my eyes more often than not. Still hope to get cool fights out of this one and more Astolfo and Mordred.

GARO Vanishing Line: MAPPA brings us a new iteration of the GARO franchise, this time with a modern setting that throws back to ultra macho 80s anime OVAs aesthetic –I wouldn’t know, never watched those-. The hero is a buff uber muscular dude that literally prays at women’s boobs and Zaruba is a giant motorcycle that thinks women stink. The production values are impressive, both fight scenes are incredibly cinematic and exciting. The hypermasculinity borders on the hilarious, but I wish it could do away with the sexist humor, which luckily hasn’t been abundant enough to be insufferable. It’s a little soon to judge because they’re barely introducing us to the characters, but I’m still hoping this won’t devolve into shit territory like Crimson Moon did.

Kino no Tabi: Full disclosure, I only watched the first season of Kino a few months ago, so I have it very fresh in my memory. Since I didn’t know that this new season was more a soft reboot rather than a sequel, I thought I needed to watch the first one to check this one out. Turns out it wasn’t necessary, but I’m still glad I did it because the first season is fantastic. Which is why I’m a little concerned about this one, because the reinterpretation of the Colisseum story was… not good. It rushed through the story and made Kino look like a psychopath. The first episode was good so I’m crossing my fingers that this won’t turn into a horrible mess, but so far I’m feeling cautious and worried. But even if this one turns out to be a good reboot, I’d 100% recommend you check out the original.

Anime is in Fact Good

Classicaloid: Another show that came back with a different director and that I worry will struggle to replicate what made the first season special. There are some tonal things that make the change very evident, but so far it has overall been pretty great nonetheless, Classicaloid insane business as usual. I must say “New character appears claiming to be X’s relative, X believes it and starts treating N better to the detriment of the established cast” is a trope I’m not too fond of, but I’m willing to give them some time purely because they have a Hippopotamus that can do Musik. Honestly watching anime makes one write the weirdest of sentences.

Hoozuki no Reitetsu. Something comedy shows have in their favor is that if they come back, even after a long time, it feels like they never left. Hoozuki’s the same old Hoozuki and it’s a load of fun. I’ve loved both episodes so far, I can’t even pick a favorite skit of the ones we’ve had so far because all of them were so good. There’s not really a lot to say, if you liked the first season you’ll like this one. As usual it’s only detriment is you may miss some of the jokes if you’re not familiar with Japanese folklore, but there’s a lot of fun to be had nonetheless.

Recovery of an MMO Junkie: Honestly, I’m very quick to judge a book by its cover, or in this case, an anime by its title. In this case, I promptly dismissed this as yet another otaku oriented harem videogame fantasy or whatever without even reading the synopsis. Then I heard the positive reactions to it and decided to give it a shot and boy was I pleasantly surprised! Not only does it feature a woman in her thirties as a protagonist –which is insanely rare! But it also focuses on delightfully adorable romance that breaches the barriers of gender. And honestly, there’s that scene in episode two in which Moriko sends a text and then horrified realizes it’s 2:00 am and feels super ashamed about it and it was so relatable I was 100% sold.

Best of the season

(don’t mind the order, I’ve loved all of these equally

Kujira no Kora wa Sajou ni Utau: So I may have misunderstood what this was about. I rarely read plot synopsis, so for some reason –I guess at first I thought the title was Kujira wa Sora- I thought there would be flying whales. There aren’t, but that’s definitely not a detriment to this incredible fantasy dystopian world. The color palette and the watercolor texture of the backgrounds gives it a magical atmosphere that is just a delight to watch. Although there’s a lot of exposition, none has felt like a forced infodump. The pacing is overall fantastic, and although the characters are a mystery for the most part, they’re already very endearing. This season is ripe with enchanting fantasy worlds and I’m really hyped about it.

Houseki no Kuni: I was concerned about the CG designs on this one, but they work surprisingly well! The plot is still a bit unclear, but they’ve done a really good job in building the characters through their relationships to one another. Even though we don’t know a lot about them, I felt a lot of empathy for Cinnabar and Diamond and Bort, and Phos is a pretty nice point of view character to follow around. I’m definitely intrigued by the concept, and the execution has been great so far.

Blood Blockade Battlefront & Beyond: I hadn’t realized how much I missed this show until I watched the first episode of this new season. The loss of Rie Matsumoto’s wonderful directorial vision is very noticeable in the straightforwardness of the storytelling, but otherwise the show is surprisingly still a load of bombastic fun with endearing characters and fascinating world building. I particularly liked the hospital episode. I’m not sure where this story is going, but I’m excited to go along for the ride.

The Ancient Magus Bride: It’s important to note that the first episode has a lot of questionable material (please, can Elias never ever call Chise a puppy ever again), but I have to commend a great production when I see it. Readers of the manga assure that the questionable content will be contextualized later on, so I’m hopeful, because I’m already really sold on this show and I really don’t want it to be gross. It’s hard to explain or describe, but it just has this fantasy magical charm and a beautiful production that got me hooked from start to finish. It has been hyped to hell and back and so far it has lived up to my expectations. I think, apart from the lovely production values, the characters feel very real and deep from start to finish. It’s hard to explain why I feel so drawn to this show that should have so many red alarms ringing in my head, but I can’t help feel completely charmed by it

How am I gonna survive such a busy season with so much homework? Will I die trying? Will Ballroom ever stop hating women and gay people? Stay tuned to find out! And let me know which shows you’re watching this season!

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