#and now this guy is maybe a bit less interesting. from this standpoint‚ i mean. the eyes being just dots make it a little hard to like

[front-facing-pokemon]

[crossdressingdeath]

I'm thinking about Karlach and in particular her relationship with Gortash, and the more I think about it the more I really wish that she'd known he was a Banite from the start, or at least for a good chunk of her time working for him. I mean, the canon story of "I didn't know what he was, he lied to me and I didn't realize the truth until he stabbed me in the back" doesn't not work? It just feels like a very... safe option. Now, I love Karlach, I really do, she's a joy to be around. But I don't know, the whole "I didn't know what they were doing" method of letting a wonderful person work for the bad guys has been done. It's been done a lot. And it also makes Karlach feel less morally complex than the other origin companions to me! I mean, it's entirely possible she didn't even know Gortash was a criminal; his public persona would require bodyguards too. So if we assume that she didn't even know he was a criminal then her moral complexity is limited to having some friends who are devils and wanting Gortash dead, which... even just by general fantasy standards and especially when compared to characters like Astarion, Shadowheart and Lae'zel (as the most obvious examples, but personally I also find Wyll's pact with Mizora and Gale getting the orb at least as complex if not more and they didn't work for the villain, so that feels like a bit of a problem) is very straightforward. She's good. Maybe she used to be a bit naive and then learned not to be so blindly trusting through betrayal. Sure. Fine. Personally I do not find that particularly compelling, if I just saw her backstory written out without the super hard work of her writer and VA in the rest of the game my reaction to her would basically just be "Eh". And if we assume she did know he was a criminal then it feels kind of weak that the only time that even vaguely comes up is Gortash potentially making one comment about how Karlach knew what he was and shouldn't really have been surprised.

Also, an additional point, the fact that supposedly Gortash was putting enough work into keeping her ignorant that there was a noticeable drop in his ethics after he sold her is... kind of weird, because the only reason we're given for it is "He liked her"? To be clear the fact that he liked her isn't the problem, we know Gortash is perfectly capable of liking people. But... he went out of his way to deceive this one employee? To the point that people noticed a change when he was gone? Or alternately selling her specifically actively made him significantly worse, which... would also be kind of weird. There isn't even any particular reason for him to see himself in her, other than the Lower City upbringing they had very little in common before Gortash sold her (unless baby Enver was way better of a person than his current self would suggest). I feel like if Larian was going to justify Karlach apparently not realizing she was working for an arms dealer and slave trader as his personal bodyguard (so someone who'd logically be around for a lot of shady shit or frankly what is the point of her being on the payroll) with "he lied to her" more needed to be done with it.

But if she knew he was a Banite and knew what he was doing for a good chunk of the time she spent working with him that adds a tasty "I didn't think the leopards would eat my face!" energy to the whole situation! I love the idea of Karlach liking and trusting Gortash despite knowing what he was because he treated her with respect and that was all that mattered! Obviously this is subjective, I will freely admit I like my characters with a bit more moral greyness than Karlach shows, but to me at least her reassessing and improving her morals from a standpoint of "Him liking me and respecting me wasn't enough to save me because other people's lives do not matter to him" would be much more interesting than her being a perfectly lovely person from the start and not knowing what her boss was doing and getting betrayed and then continuing to be a perfectly lovely person. (I'm not going to claim that a person's morals improving when the thing they did to others is done to them is particularly ground-breaking, but I would argue it's no less ground-breaking than "they didn't know and were good all along and their boss was lying to them" and to me at least it's significantly more engaging.) And it would also neatly remove the question of why Gortash cared enough to lie about what he was doing to this one specific employee from day one (so before he could bond with her at all), which. y'know, would be nice.

[shrinkthisviolet]

I mean...really guys, gendered divisions now? Implying that no girls have fought in the AVT before s1?

(I guess that was the writers' implication, which...is not the progressive take they think it is. There's no way s1 was the first time there were female fighters)

Yeah, if anything it's a bit regressive. (Sidenote: A translated version of Silver's Sekai Taikei brochure revealed that tournament having gender divisions way back in the 1980s, so a bit more natural than the abruptness of introducing them here in the All-Valley. 🤨)

My guess? The gendered divisions in the All-Valley Tournament was a Netflix mandate, and Netflix has guidelines against having guys hitting girls...but not the other way around. Like, girls can still fight boys, but the boys will never hit her back. (Which means, for instance, Sam twisting Robby's wrist at the prom fight is fine, but if Robby kicked Sam or punched her, Netflix would have a problem. 🙄) I think the last time in Cobra Kai that a boy actually hit a girl was in the house fight, which was shot on the YouTube budget (it's a moment where a Cobra Kai boy kicks Sam in the stomach and then she throws him into a light switch).

Problem is, from a Doylist standpoint, this mandate sucks all the tension out of boy vs. girl fights because if they fight, you know the girl is going to win. "You want a fight where the girl has to work and isn't just curbstomping opponents? You have to have them fight another girl." And with a relative shortage of named female fighters in Cobra Kai, it basically telegraphed a finals match between Sam and Tory in the season 4 AVT (since it sure as hell wasn't going to be between Piper and Devon).

I think if you or I were in charge, there'd be no gender divisions. Which could ensure some interesting matchups like Demetri vs. Tory or Sam vs. Kyler. Or keep the gender divisions, but have an extra "winner takes all" round to decide the whole tournament. Either way it would come down to having a Sam vs. Robby match to decide it all (in the "there's still gendered divisions" approach, Robby beats Miguel and Sam beats Tory respectively in the semi-finals). Sam and Robby fight it out, managing to tie the score and fight to a draw that forces the fight to go into sudden death.

Which then can end one of two ways: A) Robby beats Sam thanks to Silver rigging the match, but even before he sees Silver bribing the ref, his victory feels hollow to him as he watches Sam's teammates run to her side to comfort her and they're all giving him dirty looks; or B) Sam beats Robby because Robby is hesitant about fighting dirty against his ex-girlfriend (despite Silver not-so-subtly egging him to do this), and Silver loopholes his way out of the "the loser shuts down their dojo" deal Johnny and Daniel made with Kreese by exact words ("your deal was with Kreese, not with me, and since Kreese is now in jail, he technically upheld his end of the bargain").

Yeah absolutely. I would’ve loved some more interesting matchups…and especially for Sam and Robby, we see so little of them even though they’re so interesting. There’s so much history between them that they never really get to air out or deal with properly…meanwhile Sam/Tory and Miguel/Robby get so much focus. Which is fine to an extent — they have their interesting moments, particularly the girls, even if their rivalry is hampered by love bs — but after a certain point, we want to switch things up!

Let Sam fight Kyler and give him a proper beat-down. Let Robby fight her. Let different fighters intermix, so that some fights are maybe even a little more good-natured (or at least a little less fraught with such personal dramatic tension)—more in line with how kids fighting in the a real kids’ karate tournament would feel each other. Etc

Interesting part about the Sekai Taikai! I didn’t catch that…and it does make me wonder why the AVT isn’t the same way. But yeah, I guess they just didn’t intend to have those visions at all until Netflix stepped in. That’s an…interesting rule they have. I get they’re worried about guys having a natural physical advantage, but it does lower the stakes.

[cerealandchoccymilk]

Trigun Bookclub: Trigun Vol.1, Chapter #05

previous | all | next

CW: Some of my analysis in this post handles the topic of death and suicide (there will be a warning around that portion). There are also more spoilers than usual. Stay safe!

I’m doing a deep-read of the Japanese original print (reread) and Overhaul 1.0 (first read) side-by-side, and writing down everything I notice from small details, version differences, translation differences, etc.

As always, here are the silly silly non-analysis panels:

And the rest is under the cut >:)

[link for if the images aren’t in horizontal rows]

Milly and Meryl (especially Milly goddamn) rolling nat 20's on their perception checks. It really is scary how good their sixth sense is.

In the previous chapter, Vash asked for (and for a while was using) a 3rd class seat, but it looks like he asked for a grade-up or something to accomodate for Kaito.

A sort-of mistranslation - Kaito means that Vash talks as if he were someone from the Big Fall (because in that time period, there's no way any human from then would be alive), so it should be more like "You talk as if you were actually at the Big Fall, over a hundred years ago." The existing phrasing could also mean that, but this would make it less ambiguous. Also, I would replace his "I/my" statements with "we/our," since it's not specified and he assumes Vash is just a human that's talking weirdly.

This line is really interesting to me from a rereading standpoint. At this point, Vash's origins and age are still a mystery, and this is the first hint at it. Vash's expression makes me think that maybe he was reminded that no one other than him (+Knives+the people at the Home ship) is from that time period. To the overwhelming majority of people, No Man's Land is their only home; this life is all they know.

Don't have much to say about this one that's not in the image. Vash's pussy is out again. Excellent (horrible) form. Kaito is either a bit worried about how hard he fell, or he doesn't give a shit and is just nervous/cautious about the mission.

I love how over-the-top neon is. Smoking a firework!! Damn!!

A decent amount of lines from Neon and the BL gang (I'm going to call them that exclusively) are in katakana English.

I like how he says "maggots" in place of the...rude 3rd person pronoun (??)(that sounds kinda stupid in english lmao) Neon says something more like "It's about time that boy set everything up!!" referring to the small bombs he was putting in the vents.

His pose here reminds me of kabuki. I'm not sure about details, since I don't know much about kabuki... But it looks like a stereotypical kabuki pose. Another over-the-top point for Neon.

In Japanese, the first line has "reeking of manure" describing the wagons. For the "Big Man" in Japanese, the kanji for the sandsteamer (砂蒸気, usually ruby-ed サンドスチーム/sandsteamer) with the ruby note saying Big Man (ビッグ・マン). Also, the guy mentions that the chasing them off is part of the fee they paid.

More over-the-top-ness from Neon. In the Japanese version, the first line looks a lot like one of those super long German words to me lol (究極華麗弩級盗賊). The portion saying "The Bad Lads Gang!" in Japanese is pretty much just "Hhhhhheaaaddd!!!!" (as in leader).

The introduction for Neon actually has play on words/kanji. The word 降臨 (kōrin) is originally for Christ's coming or descent, usually used for any arrival of someone "godly" (fyi Japanese has a much more casual sense of godliness than in English). What it says here, though, is 光臨, which replaces the first hald with the character for "light" (also kō). How bright can this guy get!?

Did Kaito nicely go through the trouble of moving Vash onto the bed before venting? how... that's a grown man...

And here is Rem's first appearance!! Just now realized that her name is probably based off of REM sleep (the stage of sleep associated with dreaming). The two are wearing similar (but not the same) clothes, with Rem wearing a tucked t-shirt and jeans, and Vash wearing an untucked button-up and jeans. I'm not smart enough for this but there's gotta be something to analyze here along with the fact that Vash is an adult (the dream isn't entirely based on memory)... Also, this is the first time we see Vash in a casual outfit.

This may very well be me reading into things too much, but it stuck out to me that Rem is barefoot while Vash has sneakers on. I had two speculations about this. One is that Rem has been at that picnic for longer than Vash, and Vash just got (appeared...?) there. I'm not sure about Western picnic customs/etiquette, but in Japan, you always take your shoes off when sitting down on the tarp. Rem is the one that set the picnic up, but Vash hasn't had the chance to even take his shoes off. this sounds kinda stupid now that im typing it out. idek (throws computer out of window) [death/sui cw] The other, more messed up one is that it symbolizes Rem's death. This one is definitely more overanalysis-y!! It reminded me of what Reigen did during the final arc of MP100...iykyk. During the Great Fall, Rem willingly stayed on the ship to save humanity, sacrificing herself. I'll spare the details, but in Japanese culture, people often take their shoes off before committing suicide. It's a frequently used symbol in art that handles the topic. Rem being barefoot may be symbolizing her resolve at the time of her death, of being prepared to die if it means she can save one more person. [/cw]

did i write all that for a single panel. this aut really be isming OH MY GOD MY COMPUTER JUST RAN OUT OF BATTERY I HAD A HEART ATTACK. I FORGOT IT WASNT PLUGGED IN HOLY SHIT THANK GOD FOR AUTOSAVE.

This line of Vash's is also interesting. Is he viewing "people" from an outsider's perspective, as an independent Plant? Or is including himself in that, questioning the meaning of his own current life in the desert planet, too?

In Japanese. way he responded to Rem's giggling looked a bit childish to me, like he reverted a bit back to his childhood, or he's just being a more relaxed around Rem. mom........

Ok okokok. In Japanese, she (more literally) says "All I can muster/the best I can do is ask my heart [the destination] (read: what I can do)." This may be a translation correction but I honestly was not thinking about that at all during the annotation lol. I'm too sleepy to actually talk about the importance of this line and the way it's phrased. but you get it. you get it.........

Silly Vash face for the first time in a while!! Vash's reaction upon waking gives me the impression that this is the first time (in a long while, at least) that he's dreamed about Rem...? he looks so cute..........................help...................

And that’s it for Chapter #05! As always, the Japanese annotations are in the reblogs.

i know i'm getting very behind. theres absolutely no way im going to complete all this in real time with the book club. and all this stuff about rem is not helping. send help

[eponymous-rose]

Talks Machina Highlights - Critical Role C2E121 (Jan. 19, 2021)

Aaaand we're back! The epic pet montage at the start is still the greatest thing ever.

Tonight's guests? Matthew Mercer and Marisha Ray!

We begin with an extensive discussion of waffle farts. As you do.

Matt is asked what it's been like to get to build out the characters in the Tombtakers. Lucien is Matt's favorite, but they've all got some fun traits to them. "It's one of those rare experiences as a dungeon master where you get to watch your players combat with the necessity of playing along. The instinct is: fuck these guys, I want to fight them, we'll take their shit... or I guess we have to play nice. And they begrudgingly grit their teeth and I smile internally."

On the Lucien accent: "You guys are all so mean to Taliesin!" Matt knew his own take would be a "weird mutation" of Mollymauk's accent anyway.

How's Marisha feeling about a lot of her predictions panning out? "Aw, I mean, gee, me? What? Noooo. It's definitely vindicating, I'm not gonna lie, and rewarding, but I also know that I write a lot of shit down in that notebook that's never relevant ever again. It's definitely a good feeling to know that I didn't go on that fifteen-minute deep dive and was utterly wrong about everything I said." Matt: "I was super proud. I was just silently cheering you on as you went on these long tangents."

What does Lucien think of the Mighty Nein? "Lucien is definitely curious about why they're getting involved in his shit and what they're planning alongside them. One, he hates Beau because he doesn't like people who challenge his authority. He gravitates towards Jester to an extent because she's the most open, which from his standpoint makes her easiest to manipulate. He loves toying with curiosity, and so between Jester and Caleb, those are the two people that he's the most comfortable interacting with. Caduceus makes him feel a little weird. He's amused by them. Fjord to Lucien is one of the more guarded and less accessible at the moment."

Is Beau enjoying getting under Lucien's skin? "Beau's picking and poking still kind of stems from her defensiveness and guardedness and her feelings, in a lot of ways, and the way that she's coping with things. It's a few steps removed from her default and what she often resorts to when she starts throwing up those barriers. She still has in the back of her head that she's looking at her dead friend. It's her way of protecting herself if she can go, fuck you, I don't care about you. This isn't too dissimilar to the way she reacted when Yasha was brainwashed." Matt: "It's a unique social sparring match the whole time they're traveling side-by-side. It's unique to have an antagonistic force that you're--" Marisha: "That we're going camping with."

Navigating the Tombtaker/M9 relationship as a DM is "challenging. At any given moment, a wrong statement could escalate matters one way or the other. It's having to pay attention to a lot of things at all points in time to be ready for how those chain reactions can happen and where it might go." He likens it to trying to follow and participate in two different conversations simultaneously at a party.

On the note from Yasha: "Oh man, you guys. Oh, it was so sweet. I don't think Beau was expecting Yasha to be so forthcoming with everything, and so complimentary and eloquent. Beau is awkward with healthy relationships, so she doesn't know how to handle them. She's still processing that and wants to not ruin it. No, it was magical." Ashley told Marisha after the episode that she was trying to think of what to say and wound up basing it on what she would say about Marisha.

Cosplay of the Week: an amazing Vax (by stormfeather_cosplay, photograph by travi_b, both on Instagram)!

On using variations on the Wild Magic table: "I wanted to give it some variation to consequences. They took some of the tooth out of it from earlier editions. I knew it would be fun once I gave them the specifications of when these things would happen - players are just waiting for someone to roll a 20 or a 1 at all times."

Why is it so important to Beau that she and Yasha have a proper date? Part of it is a fresh start. "So much of Beau's past relationships have been rooted in some toxic behavior. Beau feels like, well, maybe we should just start from the beginning in the most us way possible: fighting through the tundra with our dead-ish friend."

The sci-fi-ish theme came toward the end of developing Aeor, but it mostly comes from rationalization. Matt is intrigued by how all these different societies want to usurp the gods... which has parallels with modern society. He notes that focusing more on the science of the magic means the aesthetics pull away to "instead facilitate the utility or the most direct route to the answers you want. You streamline as opposed to focusing on the aesthetics."

Beau’s reaction to all the weird magic stuff? “I think Beau’s just so focused on the pragmatic aspects of it all right now. There are greedy people with motives and the will and want to corrupt across all spans of cultures and times. She’s trying not to get lost in the magic, both proverbially and literally, of it all, and just trying to focus on the motives of these people at hand.”

In some ways, Matt was surprised by Caduceus’ strong reaction to the creepy woods. “It was the first major reveal that there are some other sides to the coin that he hadn’t learned about. I had no idea how he would react. It pushed him away more in ways than I expected.”

Fan art of the week: an amazing Lucien! (by oratorkayla on Twitter)

What’s Dagen’s motivation? “He’s definitely a man of his word when it comes to fulfilling a contract and getting the other half of his pay, but it’s not hard to see they’ve grown on him a little bit. He’s really good at getting around the tundra unseen and unnoticed.”

Brian: “In true Sam fashion-” Marisha, instantly: “OH MY GOD.”

Marisha: “Here’s the thing. Here’s the tea, okay? If I ever hear one more fucking person trying to claim that I’m ruining things by metagaming, I’m going to point to Sam. I’m expected to respond accordingly to Veth being a Sam troll. Gods damn him! Raven Queen curse upon him! Let chaos reign! He made me pull out my earphones, I can’t hear anything you’re saying. It’s frustrating because I’d be mad at it if it wasn’t so god damn funny.” Matt notes that at a different table this wouldn’t be great behavior, but they all know each other well enough (and check in with each other enough) that it’s comfortable teasing.

With a bit of a deeper pull, Matt is asked whether he knew Avantika would return someday? “I knew she was a fun, interesting option out there. The M9 still have in their grasp the single most important artifact, in Uk’otoa’s opinion, at the moment. As long as they carry that artifact, his eye of Sauron is upon them.” Matt notes that he has more encounter tables going, so a lot of the time even he’s not sure what’s going to happen.

Caduceus suggested contacting Essek, but Beau and Caleb nixed that idea. Does Beau trust him? “Gods no. Absolutely not. She can like Essek personally. As a person, he’s fine, I guess. But I think a lot of people might be forgetting that he’s kind of a war criminal and kind of set off a lot of bad things in motion with this war with the Empire and the Dynasty, because he wanted power and to know things. So now here he is, also in Aeor. Yeah. Just kinda putting two and two together there. It is another one of those things of, you’re walking that line on trying to keep him on your good side and having a mutually beneficial relationship before it could easily go completely south.”

On the Star Razor being a Vestige: “I don’t want this to be--- the Vestiges aren’t always a thing where it’s like, you get a Vestige and you get a Vestige! I want them to be still considered special and rare. This is one that had to be earned, it had to be reforged. I didn’t know the circumstances that would involve it coming about.” He based it on the circumstances of Fjord’s evolution into a paladin. “In essence, not only did he finish the creation of the sword, but he Awakened it at the same time as he made this transition. It is Exalted at this point, it’s in its final form.”

What does Beau think might lie ahead? “I have no idea. I am trying to abandon expectation when it comes to that. I know what we don’t know, and that’s it. Beau is trying to compensate for the known unknowns and the unknown unknowns. I hope we can keep this tenuous relationship through to Aeor, because we need more answers before it explodes in our face. Beau, and Marisha, is hoping for a little more information before shit hits the fan.”

[forwantofamohawk]

Selfishness, Selflessness and Reciprocity

Or: An essay on why I think that Coderra has more potential as a relationship than people give it credit for.

As a foreword, I would like to say that this applies equally to romantic and platonic Coderra. Many of the building blocks for a romance are the same as those for a lifelong friendship. All I want, at the end of the day, is for Sierra to be happy. 

Now you could alternatively call this essay “Cody’s tendencies in relationships and how that changes in Planes Trains and Hot Airmobiles” because the first item of focus here is his relationship with Gwen, and how and why it fundamentally doesn’t work. While Gwody is generally not well-liked as a relationship due to his creepy, entitled and stereotypical “nice guy” behavior, those aren’t the reasons why it doesn’t work. They’re effluences of the real core problem with his Cody’s behavior and that mentality, and I’m going to call it out right out of the gate: Cody is selfish. 

For him, it’s never about what Gwen wants or who Gwen is as a person that matters. She is an object to be attained, an ideal girlfriend that will make him cool by being with him. His first notable interaction with her is making a pass at her during the talent show- he more or less thinks he can “get” her with a bit of flirting, without putting in the legwork of actually getting to know her. Compare this with Trent’s first major interaction with Gwen in The Big Sleep as a counterpoint. Watching this scene, what strikes me the most about how Trent conducts himself here is that there is no flirtatious undertones to his approach, no overt, eye-wagging, shit-eating-grin “hey babe, you’re so cool and I’m totally into that”. No, he just talks to her. Talks to her about whatever she wants to talk about, lets the conversation naturally go where it goes, and it gets her to open up, if only just a little. Cody, on the other hand, never does this with Gwen, he never understands this, and every interaction he has with her until Up the Creek, and then resuming in World Tour, is about trying to obtain her as an item.

In World Tour, his selfishness and desire to have Gwen reach new levels and really show how little he actually cares about her as a person. During the episode in Australia, Gwen acts hurt because Duncan is acting jealous of Alejandro “hooking up” with Courtney. Cody’s first instinct is to offer her his vote, but with the implicit subtext this game alliance is a means for him to hook up with her. Gwen is not actually hurt here, she’s playing him for a vote, but he doesn’t know that, he thinks Duncan has actually hurt her. She says to him “ Can you make the pain go away?” and he nods and tells her he’s there for her and that he’ll make everything better.

This is Cody at his absolute lowest. Here he is seeing someone he thinks is heartbroken and vulnerable and all his first reaction is to manipulate it to get into a relationship with her. 

Now this may all sound very anti-Cody, and I certainly don’t apologize for or condone this behavior. But I also now move on to my next point, which is that it is a learned behavior which makes sense in the context of his upbringing, and that he has the capacity to change this behavior.

A bad childhood does not excuse bad behaviors as an adult, or even a young adult like Cody, but it does provide a level of understanding how and why he does the things he does. There is a substantial body of canonical evidence that Cody is a neglected child, manifested most famously and notably in the show by the revelation that his parents (nor anyone else for that matter) never once remembered his birthday in Awwwww Drumheller. Interestingly it seems the Dramarama spinoff has taken this idea up as well, with Cody having said “It feels like a mother’s warmth, or least, so I’ve been told” which in context seems meant to indicate that Cody is unfamiliar with motherly affection. But what he lacks in parental attention is made up for in material wealth- his TDI bio speaks of a plethora of the latest tech and gadgets paid for on his parents dime. This is where the root of his selfishness in dealing with Gwen comes from- having never received love in his life, only things, he can only conceive of a relationship as a thing to be had, not love to be shared between people. Because the latter concept is utterly alien to him. But it’s alien to him because this mentality is learned, taught by years of neglect and being spoiled. And what can be learned, can be unlearned.  

Enter Planes, Trains and Hot Air Mobiles. It is all good and well to argue that Cody is the way he is because he is a victim of parental apathy and absence, but unless this amounts to meaningful change in his behavior, it is meaningless. Here we see that Cody in fact has the capacity to change and to be better than he was, and it’s in his relationship with Sierra that we first see this.

The Total Drama Jumbo jet has been demolished to smithereens, and at the epicenter of the destruction was Sierra. The episode begins with her eliminated, incapable of walking, buried under rubble and with most of those still present utterly uninterested in her plight. Cody, Alejandro and Heather are tasked with racing to Hawaii by whatever means they can find, but Sierra is left with no provisions for her return home. Let’s be clear here- Cody is supposed to get to Hawaii, not Sierra. 

At this point in the game he’s only barely started warming up to her the last episode, and otherwise has rebutted her at every turn since the game began. She cannot move on her own, no matter what means he uses to travel she’s dead weight. With his chosen method of travel, the balloon, Cody can get farther and go faster if he goes alone. He has every logical reason in the world to be selfish here, from a competition standpoint. 

And yet he doesn’t. He takes her with him, an act that I would argue is his first truly selfless act in any of his canon relationships with anyone. He gains nothing by bringing her along, or at least, nothing that is immediately apparent when they set off. He risks his victory in the competition to ensure she has someone to take care of and look after her. He prioritizes her needs and the urgency of her situation over his wants, and even his personal feelings for her at this moment- despite everything she has done to him that has made him feel violated and uncomfortable, by taking her with him he has forgiven her, and without words said that her life and wellbeing are worth more to him than his own feelings about their past. This does not absolve Sierra of responsibility for these acts, but Cody’s forgiveness is an important step in giving her the opportunity to atone for them. It is a profoundly mature moment for Cody, the most mature he has ever been in the entire series since Up the Creek. 

Later on in the episode, something incredible happens. Something called reciprocity- an exchange of mutual benefit to all parties involved. And it’s when their hot air balloon has crashed and they are stranded in the middle of nowhere somewhere in North America, with no apparent means to continue the race. Along with a box of fireworks, Sierra motivates Cody with a rousing speech, and importantly tells him that “You want a number one fan? That comes with responsibilities!”

This is a first for Sierra, in that she is demanding something out of Cody’s side of the relationship. For all the time she has been on the show with him, she has taken care of him with no regard for getting anything out of it in return. She has saved his life at risk to herself numerous times, and while she exacted a toll in physical affection she had never previously called upon Cody to do anything for her, personally. Here that changes.

She demands that he continue the race not for his sake, but for hers, and for all the fans she represents. This transforms the act of continuing the race from a selfish one for Cody, into a selfless one, as he is no longer doing it out of self-interest, but to fulfill his obligation to his relationship with Sierra. And for the second time in the episode, Cody shows the ability to be selfless and consider the needs and wants of others. He is not a fundamentally self-centered person at heart, and his bad habits can be unlearned in the right circumstance with the right people. 

It is this relationship that carries a feeble weakling and a crippled girl to the finale against all odds. It brings out the best in both of them and takes two people who on their own would have zero chance for success, and allows them to lift each other up and help each other move forward. This is the potential of Coderra, as a romance or a lifelong friendship. It’s only two, maybe three episodes where we see a glimpse of it, but I think that together they can be a little less broken and start to defeat their worst demons. 

[star-going-supernova]

So. Madison Russell. Godzilla vs Kong. Welcome to my ted talk.

From a writing perspective, they totally wasted her character. She, Josh, and Bernie were almost exclusively used just as a method of showing the audience what was happening "behind the scenes" at Apex. Pouring the whiskey on the computer was about the only thing of note they did, and even that didn't do much. Mechagodzilla was only slightly hindered by it, and if they'd just written Kong and Godzilla differently in the fight scene, they could have skipped the whiskey part entirely. They could have done so much with having people "on the inside" but Monarch as a greater organization barely had any presence at all, which negated the need to have people on the inside. 

Maddie's steadfast insistence that Godzilla wasn't a bad guy at the beginning had so much potential, but it became the conspiracy thing instead. It felt less like she wanted to prove Godzilla wasn't turning against humans, and more like she and her new conspiracy friend wanted to crack open a shady organization, which was frustrating. If they wanted to depict her as someone who was forced to become competent at a young age, which was part of the serious, intense vibe I got from her, instead of the inexplicable personality shift, they should have showed her doing something to help. Getting in contact with her dad/Monarch, giving them evidence to begin a city wide evacuation outside the Apex Hong Kong HQ, messing something up or making it harder for the Apex people to get Mechagodzilla up and running—just, anything. 

The fact is, we had Maddie being very proactive in KotM. Stealing the ORCA was the game changer. Instead of taking that to the next level in GvK and giving her an opportunity to continue that aspect of her character—that is, being someone who refuses to sit by when she can do something to help, even if it’s dangerous—they rendered her obsolete. 

The movie wouldn't have significantly changed if you took her character out. If Bernie went by himself and ended up in Hong Kong, nothing would have changed, because Maddie didn't do anything of personal importance. She went from being an active character in KotM to being a passive one here, which are a pet peeve of mine. If you saw my post about what I liked and didn’t like about Godzilla (2014), that might sound very familiar.

It would also have made so much more sense if she developed a love for studying Titans instead of focusing on conspiracy theories. Plot-wise, it would have given her claim to her dad that Godzilla was being provoked more credence, and could’ve opened an interesting dialogue between them to reinforce that she knows what she’s talking about. Monarch was obviously still a big part of their lives, given that Mark had rejoined, so it would’ve been the perfect opportunity for Maddie to pursue a Titan-related future. 

Now, don’t get me wrong. I loved Jia, and wouldn’t want to take her out of the movie or even diminish her presence in it. In fact, I think they should have focused on Jia, and only on Jia. 

Hear me out: Godzilla vs Kong should’ve been split in two. A Part 1 and Part 2 situation. 

For Part 1, we keep a lot of the GvK canon, especially the Kong-centric stuff. Include even more scenes showing us that he’s protective of Jia, don’t just have Dr. Andrews say that he is. Have him defend her from something dangerous, maybe even from some humans. Include their backstory, how he saved her during the storm. And start it even earlier, before Godzilla attacks Apex the first time. Keep the whole Hollow Earth plot, keep the fight scene in the ocean, keep the discovery of the temple and the axe.

And on the Godzilla side of things, start earlier on that as well. Keep the other Titans in, have humanity tentatively believing that a time of great peace is upon them. Their mere presence is restoring the planet. There was an emphasis of nature, particularly in relation to the Titans, in KotM that I really think they should have included more of in GvK to better tie the two movies together, if only they hadn’t swept all the other Titans under the rug. They wanted a movie about a fight, not about the Titans. So, undo that. Show us a little of what Mark does, do a sweep of the other KotM cast (cameos at the very least) to show how they and Monarch are working to uphold that peace post-Boston. I’d also have loved to see Boston itself, too, five years later. 

Instead of giving us a Generic High School scene, show Maddie learning about the Titans alongside the experts. Bring back the wonder and amazement she had when she saw Mothra for the first time, when she reached out and touched her. She’s second generation Monarch, make that mean something. When Maddie took the ORCA to Boston, she had a conviction. She couldn’t not have. She was there in part to lure Ghidorah in, but I can’t even pretend to believe her plan ended with that. She knew Godzilla would come. 

That sort of belief is hard to kill, and if death via Ghidorah wasn’t enough to scare her off, no way anything else in those five years afterwards did. Her belief that Godzilla is good survived to GvK, and should’ve been a main focal point of her character. Godzilla attacks Apex—she and every other Monarch person who has spent years studying the Titans knows something is up. 

Keep Mark’s character development regarding his opinions on Godzilla. He believes Maddie when she says something has to be wrong, not just because he trusts his daughter, but because he looked into Godzilla’s eyes and saw more than just an animal. 

They’re in Part 1 only minimally, just to establish their presence and how they feel about Godzilla destroying Apex. The focus is clearly on Jia and Kong’s side of events. 

Sorry, but I’m leaving Josh out and seriously dialing back Bernie’s role. Instead, the character we follow inside Apex is Ren Serizawa. We see his motivations, his ambitions, and he becomes a character with more than just a few lines. Does he resent Godzilla? Or does he resent his father, too? Serizawa’s sacrifice was willing, after all. He was no accidental casualty. 

Part 1 ends in the Hollow Earth, with Ghidorah taking control of Mechagodzilla on the surface. Alter the timeline just enough so that Godzilla has only just arrived to Hong Kong, and Kong’s still in the Hollow Earth. The final scene is Mechagodzilla emerging into the city as the sun rises. The post-credits scene is our KotM cast in the Argo, location unknown, watching a screen with Mechagodzilla on it. 

Part 2 begins with a reveal: Ren Serizawa isn’t dead. 

Backtrack. This part focuses more on the Godzilla side, and Monarch. It’ll have flashback scenes from the five years between KotM and now, showing exactly why Monarch as a whole firmly believes Godzilla is reacting to something instead of being anti-human all of a sudden. The Titans are not inherently malicious; destruction is a side effect of their size, no more, no less. He earned his title of King in KotM—make it mean more than just trying to make Kong “bow.” Make him a protector, a guardian. He’s nature’s balance. By definition, he must protect humans as well. 

What Monarch needs to figure out is this: what is he trying to protect them from? 

They investigate Apex in search of the answer, but knowing from past experience the sort of things Godzilla gets proactive about—the MUTOs, Ghidorah—Monarch mobilizes. They prepare for another fight, at Mark’s instructions. He witnessed both San Francisco and Boston firsthand, even if the former was from a civilian standpoint. 

Godzilla has more hunt scenes. He targets a second Apex lab after his ocean fight with Kong, telling Monarch that they’re on the right track. 

Maddie, being a minor and not dragged into the thick of things (yet), has to stay home. Remembering the podcast she sometimes listened to, when the topic was focused on the Titans, she tracks Bernie down, and he tells her about what he saw: the eye. 

The two of them go to the ruined Apex building and discover the eye is gone before getting caught. With Monarch currently breathing down their necks, they recognize Maddie to be Mark’s daughter and take her to Hong Kong. Sorry, Bernie, but that’s mostly as far as you’re involved. Timeline-wise, this is roughly when Kong puts the axe in the temple floor and Godzilla blasts a hole to the center of the earth. Monarch is following Godzilla, but they’re behind a bit thanks to the tunnel shortcuts. They’re still unaware that Maddie has been kidnapped and is en route to Hong Kong.

This is also when Mechagodzilla gains a life of its own. Walter Simmons is killed and Ren Serizawa becomes trapped in the link to Mechagodzilla, serving as the bridge between the robot and Ghidorah’s mind. Ghidorah is essentially controlling MG by controlling Ren, who is controlling MG. Make sense? He’s the puppeteer’s puppeteer. 

We reverse some things. Godzilla fights MG first, gets beat around but not as much as in GvK because he isn’t fresh out of a different fight. Kong returns to the surface through the tunnel Godzilla created, having carried the one remaining HEAV out himself, because Nathan Lind has never flown one before and doesn’t know how they work. Kong wants to protect Jia, and Ilene Andrews and Nathan Lind are very lucky that Jia likes them. 

Mechagodzilla sees Kong and takes off, and Kong decides now would be a great time to fight Godzilla, who’s having a pretty bad day. Monarch arrives, and half of them split off to follow MG while the rest stay to try and deescalate the situation. Other than Godzilla faring slightly less well, the fight goes mostly the same as in the movie, except for one big difference: one of the Monarch crafts pick up Jia and Co, and she’s able to get Kong’s attention from the back of an Osprey well enough to tell him to stop fighting. There’s a bigger threat out there, and Godzilla definitely needs to be okay enough to fight it. Either they work together, or they reschedule. 

She’s very stern about it, and though no one’s really sure what the two Titans decide on, they stop fighting. They leave together to go after Mechagodzilla, who is currently being slowed down by Mothra, because she deserves to be in this movie. The other Titans basically hinder Mechagodzilla as much as possible as it rampages, telling Godzilla where it is. Monarch finally figures out that it’s heading for the nearest entrance to the Hollow Earth, right around when they also figure out that Ghidorah is involved. With Dr. Andrews and Nathan Lind’s input, they theorize it intends to take more of the power source down there to further strengthen it. 

They do their best to clear the cities in its path, evacuating as many people as possible. It’s all they can do. As in the past, they must trust Godzilla to do the heavy lifting. Around the same time, an assistant tells Mark that some guy named Bernie called and is asking for him. This is how he finds out Maddie was taken to Apex’s Hong Kong location.

Meanwhile, the Apex guards and Maddie finally arrive to find the facility abandoned and damaged, MG gone, and Simmons dead. The guards more or less split, leaving her there alone. Maddie, being Maddie, goes deeper until she finally discovers Ghidorah’s skull and Ren Serizawa inside, trapped in his own head with Ghidorah. It’s killing him. 

He’s aware enough to have a conversation with her. They argue about the Titans. He wants Godzilla destroyed out of anger over his father’s preference for Titans, rather than his own son. 

(“You’re not the only one with ghosts!” she yells at him. “You’re not the only one who resents a parent for putting Titans ahead of you when you needed them!” He chokes out, “I do not resent my father—” “Coulda fooled me. Why else would you be spitting on his sacrifice like this? Who are you trying to help, huh? All the other kids out there who are losing their moms and dads because you let Ghidorah out? Sorry, mister, but the last time someone did that, your dad paid the price.”) 

Ren is getting worse. He’s going to die if he stays in the link much longer, but he can’t disconnect. Maddie, looking around, gets to work on something. The camera slowly pans around to show that there’s a second pilot seat, back-to-back with Ren’s. It would allow for seamless switching between pilots without MG ever not having someone at the controls. 

Even with the other Titans’ help, Godzilla and Kong are unable to stop MG from going through the tunnel and into the Hollow Earth. Monarch is unable to follow, because of the gravity issue. They’re both tired from the journey and their fight, especially Godzilla. This is their last chance. If Mechagodzilla reaches the power source, it’s all over. 

The fight doesn’t go in their favor. They’re both bad at working together, so their attacks are uncoordinated at best, actively hindering each other at worst. Kong gets flung off a mountain and MG pins Godzilla. Even thought he caught himself, Kong isn’t going to make it up in time to help him. 

Maddie puts on an identical pilot setup, and with Ren’s instructions, switches the link over to herself, freeing Ren. He collapses forward, immediately falling unconscious from the release of the strain. Fighting past the pain and overwhelming presence suddenly in her head, Maddie does what she does best: she causes Ghidorah problems. 

She screams, and it echoes like a roar through his skull. 

In the Hollow Earth, Mechagodzilla stumbles. 

It’s the beginning of the end. She can’t control it or even really stop Ghidorah, but she gets in his way as much as possible, giving Godzilla and Kong the edge they need to finally get their act together and use some teamwork to take Mechagodzilla down. They destroy it and return to the surface before parting on amicable terms. 

After too long, Mark arrives at Apex with a whole team of people. Ren Serizawa is found comatose but alive, and he’s quickly removed for medical attention. Though Maddie’s also alive, there’s something else clearly wrong. She’s still wired into the piloting gear, stiff and unseeing, as if she’s frozen. Her eyes are open but distant, pupils virtually gone from how constricted they are, and her jaw hangs open slightly. Despite how tense her body is, she’s limp. Nothing they do wakes her up, even after getting her out of the skull. 

They wheel her out on a gurney to where a handful of Ospreys landed, but as they leave the building and step out onto the roof, they find Godzilla has returned. He watches them, and he’s exactly as aware as Mark remembers. 

(“She tried to help you,” Mark calls out to him. No one knows exactly what happened in the Hollow Earth, during the fight, but the scene in Ghidorah’s skull was telling. “No, she—she did help you!” For the second time in her life, Maddie put herself in Ghidorah’s path and, ultimately, won. Only this time, her victory came with a price.) 

Godzilla snorts before leaning over the roof’s railing, moving toward the gurney. The humans all back away, even Mark, though he doesn’t go far. Spines humming, eyes flaring blue, Godzilla rumbles deeply. 

On the gurney, Maddie stirs. 

Later, much later, after Maddie and Jia have met—heaven help everyone else, honestly—they sit together on the edge of a pier over the ocean, Jia leaning comfortably against Maddie. It’s quiet. They’re alone, watching the sunset. A heavy footfall behind them, the feel of the vibration trembling through the wood, makes them turn around. Half concealed in the brush at the edge of the island’s foliage, Kong stands, facing them. 

They both wave before standing. They sign goodbye to each other, then part ways. As Maddie walks away to a waiting Osprey, we see behind her as Kong crouches to allow Jia to climb into his palm before vanishing into the forest. 

The Osprey takes off over the calm ocean. It has a different design than most, with a large door set in the side instead of at the back, more like an ordinary helicopter. It’s open as they go, Maddie secure inside as she stares out. A smile spreads across her face as jagged spines slowly breach the ocean’s surface, easily keeping pace with the Osprey, which lowers to be closer to the water.

For just a moment, in the fading light, Maddie’s eyes almost shine blue. The screen goes black to the sound of Godzilla’s roar.

[phatphrog]

Zuko would be a Gryffindor and no, you can’t change my mind.

helloooo tumblr. I’m back from my lil hiatus- for now ;) but most importantly, I offer you this as I crawl out of my cave:

so, brief intro. This is based off of my original comments on Pinterest (pictured above), but hopefully written to be a bit more coherent. That comment section had some intense debates, but it was fun seeing everyone’s takes, so I thought I’d bring it over here. I saw lot of people on the Zuko=Slytherin side but, as you can see, I have some strong opinions to the contrary. You guys don’t know this about me but I was obsessed with Harry Potter for a longgg time. I may not be as actively into it now, but once a Potterhead always a Potterhead. That being said- this is all for fun! Reblog/comment your thoughts. What do you think the characters houses would be- let me know :)

Mm yes delicious literary parallels- the stories and characters of Zuko and Sirius Black mirror each other in a lot of ways. That shared angst? Family trauma? Yessir. (And bonus points for being considered heartthrobs haha) If we’re translating Zuko’s story to the HP universe, him having a similar situation to Sirius would make total sense from a literary standpoint. For those of you unfamiliar with the story, Sirius Black is from a long prestigious line of pure bloods. (All wizard ancestry). His family is well off and highly respected, in *certain* circles. Most notably though, they’re all Slytherins. It’s a huge part of their identity- they pride themselves heavily on carrying on the tradition of both being a Slytherin and more or less being part of the bad guys. No one really can choose otherwise. Sirius however, gets sorted into Gryffindor, and allies with people that stand for the complete opposite of what his family believes in. He ends up fighting against his own family in order to help defeat Voldemort. Sirius is literally burned off of the family tree tapestry- he’s an outcast, a disgrace to his own family. Sound familiar? Zuko being sorted into Gryffindor while his whole family had always been Slytherins (Azula would 100% be top off her class in Slytherin), having to grow from their bigotry, struggling with his identity and being shunned from his family, and eventually joining the good guys? Yeah, that adds up. Take out the Hogwarts houses and that’s basically his story already. 

Honor!!! Okay, this ones pretty short. Basically, Zuko’s actions mostly come from a place of wanting to do the right thing and honor. (Granted, what he did in Seasons 1-2 wasn’t the right thing, but he thought it was at the time). Just the idea of being obsessed with honor (again, the Fire Nations idea of honor is warped but let’s think of it as it’s neutral meaning here- think of chivalry, good reputation, respect, etc) of is more of a Gryffindor thing to me, and again, trying to do the right thing is very much a Gryffindor trait.

Determination aka one of the main Gryffindor traits. Bravery, determination, passion, all define a Gryffindor. Passion is pretty self explanatory, Zuko’s a passionate person, period. Bravery we’ll get to in the next bullet. You cannot tell me my man Zuko is not determined. Some argue that much of his actions were out of ambition, which I’ll get to later, but the way he goes about all of his tasks (capturing the avatar, joining the Gaang, getting Katara to forgive him) is very much Gryffindor. He simply does not give up. He keeps going forward, no matter what- no matter the difficulties, Zuko will keep going. He’s determined, always.

Brave, brash, and a not so small sprinkle of self-sacrifice In their constant efforts to do the right thing, Gryffindors often act recklessly, simply crashing forward in earnestness to do the right thing, to save the day, etc. This is very much Zuko. I love him, but let’s be honest, he can be a bit dumb at times. He’s very brash and can get caught up in the moment. He tends to just run ahead, often acting without thinking, except maybe about his end goal. Not to mention, he’s incredibly brave. I could use countless examples, but the first ones that come to the mind are the Agni Kai with Azula, and leaving to join the Gaang during the eclipse. Zuko literally throws himself in front of lightning for someone. Without a second thought, he sacrifices his own life for someone else. Now if that isn’t reckless Gryffindor bravery in its purest form, I don’t know what is. Zuko leaves behind his throne, his family, girlfriend, honor, home, everything, with the very real possibility of never returning, to join the Gaang. He leaves it all behind, to do the right thing. That is most definitely not a Slytherin move. Maybe he could act as a double agent, giving information to the Gaang while retaining his throne, if he was Slytherin, but that blind all or nothing sacrifice for the greater good is simply out of character for a Slytherin. Not to say they’re evil by any means, but they’re cunning. Your average Slytherin just wants to ensure their well being, and is clever about doing so.

Ambition & Cunning (or not really) One of the most popular arguments for Zuko being a Slytherin is that his quest to capture Aang, was done out of ambition. I would argue that yes, he was ambitious in pursuit of the Avatar, but ultimately his actions were not fueled out of self interest, but for acceptance from his father. He wants to be welcomed back home, he wants love and acceptance. Secondly, Zuko really isn’t that cunning. See all of the above points for more evidence, but he’s simply not. He thunders ahead without a second thought. He doesn’t achieve his goals through meticulous planning, or manipulation and deceitful actions, he just goes for it. Let’s look at Azula, who I think we can all agree is a Slytherin through and through. Many of her most valued traits by Ozai, what makes her so formidable, and what Zuko tries again and again to be more like, are in turn her most Slytherin-esque traits. Azula is the definition of cunning and calculated. She plans every step. She analyzes her enemies weaknesses, their strengths. She’s incredibly powerful, but she doesn’t go full force all the time, she’s meticulous in when and how to use that power. Try as he might, Zuko can never be like her. It just isn’t in his nature. He’s not calculating or manipulative, he’s painfully brash, passionate, and straight forward. Take season 2 episode 8, “The Chase.” While Aang is fighting with Azula and Zuko, he gets to the second story of a building via airbending that doesn’t have a floor. In pursuit of him, Azula almost falls through, but quickly realizes and deftly jumps off to the side. Shortly after, Zuko runs through with a determined yell, but doesn’t notice and crashes straight down. This, is the perfect example of them as characters and their dynamic. Azula, always on guard and calculating, Zuko, full steam ahead, all passion and bravery, no hesitation.

Not everyone’s a hero! A common misconception is that Slytherins are the bad guys while Gryffindors are the good guys. I’ve seen this argument as evidence for Zuko being a Slytherin- he wasn’t a hero for most of the story, so he can’t possibly be a Gryffindor. First of all, Zuko has never truly been evil. He’s constantly had the conflicting ideas of good and evil, i.e- Roku and Sozin, within in him; it just takes a long and difficult journey to become a hero. And again, his actions were fueled not by selfish intent, but by a need for acceptance, and that’s all he knew. By merely going through that incredibly painful journey of growth, he ultimately proves his bravery even more, and his determination. He went through all that hardship, but kept going, kept fighting, and came out a good person in the end. I want to stress this point though- not all Gryffindors are these dashing heroes, especially not straight away. Look at Colin Creevey or Neville Longbottom- both Gryffindors, and both untraditional heroes. Sure, they were never ‘evil’, but they did start off unassuming, anxious, and awkward. Many, including themselves, doubted their status as Gryffindors, but by the end of the series through their growth and hard work, ended up proving themselves as the heroes they always had been, even if they didn’t know it. Heroism comes in many different forms and from many different places.

I could probably go on, but I’m sure you get the idea. Let me know what you think! I’m very much team Zuko=Gryffindor obviously, but I’m not sure about the other characters. I’d love to hear everyone’s ideas or takes on my argument :)

[superleeleehipster]

Theories on Season 11

Hey! So, as I’m sure you all are very aware, Find Me is out, and I can honestly say that I’m somewhat relieved it did. I was tired of all the theories and anxieties I was feeling about it. At least now we know what we’re working with officially.

I don’t want to make a review, as most blogs have already done their own. For this post, I’m going to jot down some theories on what Leah’s role will be in Season 11. Some of these theories I’ve thought of and others I’ve seen from other bloggers, but I just wanted to get my thoughts down. 

Of course, it’s just my opinion, and if you don’t agree, that’s perfectly fine.

Spoilers and theories under the cut... 

So is everyone ok after 10x18? Yes? No? No worries on whatever your answer is; your emotions are valid.

Anyways, even though the episode was a bit painful to watch as Caryl shippers, I really don’t think it sunk the Caryl ship. If anything, the subtle (not really) parallels between Caryl and Daryl and Leah just showed that Caryl could very possibly happen despite all the naysayers saying they could never sleep together. 

Also, can I say that the whole fish scene was freaking hilarious.

But I digress... I have a few predictions on how Leah’s going to fit into the storyline for season 11. I might hit the nail on the head, or I might be so off that I break my thumb instead, but that’s ok. It’s what makes it fun.

1) I’ve made this first part into a group of theories instead of just one. These are theories that I’ve heard about or read, but I really don’t think are going to happen. They’re just interesting enough for me to list them, but they’re unlikely in my opinion:

- Leah is in Season 11 but in flashbacks - I don’t think they would go this route, because it would be even lazier writing than what we’ve gotten, and it would be more interesting to have her in person instead of being in flashbacks. If they went that way, it would be incredibly obvious that she is a plotpoint for Daryl and that’s it, and that’s pretty crappy writing even for TWD.

- Leah is in Season 11 but she isn’t real - Now this one is an interesting concept admittedly. What if Daryl was in such a crappy mood in the woods, and is thirsting for companionship, so he makes someone up in his head that is pretty similar to Carol, but doesn’t look like her b/c he wouldn’t want to be that kind of creepy friend. Then in Season 11, the viewer realizes one way or another that she was made up, that he made her up in his head to help with his woes, but now that he’s better and with Carol he doesn’t need her anymore. Really neat theory from a mentality standpoint, but I highly doubt that’s where the writers would go.

- Leah is in Season 11, but she dies - I know some folks have said this before, and I get it. Some of us are so done with the drama, we’re just thinking the worst case scenario at this point. What if Leah comes back and Daryl’s all happy and thinks that he’ll spend the rest of his life with her but then Leah dies somehow and he decides to go on a roadtrip with Carol to help with his man pain. I know some peeps feel like that would happen, but in my opinion, I really don’t think so. Angela Kang does have a lot of respect for Daryl and Carol (I know we don’t feel that way right now b/c of 10x18 but bear with me), as she’s said that this is about their story and their journey I really don’t think she would have the story go as low and as misogynistic as that. I honestly don’t.

Now these next two theories are the ones that I believe have a much higher chance of happening in season 11:

2). Leah is in Season 11, and is a part of the new antagonist group (Reapers) - So it wouldn’t be a season of the walking dead without some sort of antagonist being around. The Reapers have already made their presence known with the first extra episode, and I’m sure is going to cause issues throughout the season. An interesting theory that I’m a fan of that people have thought up already is that Leah is part of the Reapers. Whether she’s the leader or one of the followers, it doesn’t really matter, for she’s still a plot device for Daryl. 

The current fantasy I’m having is that Leah comes back and tries to get close to Daryl, which Daryl isn’t necessarily against but is still wary. But then Carol notices things about Leah and catches her doing stuff and she’s like “wtf?” and she tells Daryl her concerns but he brushes her off because he doesn’t trust her judgment very much right now. Most ASZ peeps think Leah is a good person but Carol’s like “mehhh something’s off”. Then the reveal happens where Leah is a double agent of sorts and betrays them all by having the Reapers infiltrating Alexandria or some crazy shit like that. Then it looks like she kills Carol in some way and Daryl’s absolutely gut wrenched because his Carol just died at the hands of his crazy ex girlfriend that he believed more than his best friend and what the fuck is wrong with him?? But then Carol comes back and butchers the Reapers cause she’s a goddamn queen and Daryl looks at her like she could fart fairy dust and gives the biggest smile we’ve ever seen him give on the show. Then he hugs her fiercely and starts sobbing, telling her how sorry he was and how relieved he was at her being alive and... same old story that’s happened on MULTIPLE occasions with other shows and books.

Now considering how Leah is made out to be in 10x18, I would say this theory is ‘less likely’ than what I thought it would be originally, but there’s still a decent chance. I don’t think Leah’s a cold blooded/narcissist, but it’s possible she could get roped up with the Reapers... and lets face it, Daryl isn’t the same person from who he was in the woods, so there’s a good chance she won’t be either when she comes back.

3). Leah is in Season 11, and pushes for a relationship with Daryl - Admittedly, this one would hurt to watch, but I think it’s a fair possibility we can’t rule out. Daryl is arguably at a better headspace now than he was way back when in the woods, and he knows he belongs with his family. But then Leah shows up and wants to start things over with him, and it could go multiple ways. He could realize right away that he doesn’t want that, and maybe he and Leah both get closer together. Or maybe he will give it a try for old times sake, but then he realizes that she’s not the person she was, or whom he thought she was, and they’re not actually a good pairing, and then he realizes “you know who I really want? That grey haired queen”... it would probably more emotional than that though.

I mean, we’ve all been there. We break up from a long term partner and it hurts like hell but we heal and we’re stronger for it. But then the ex comes back and is wanting to be with you again, and you’re at the very least tempted to give it a go b/c you were happy with them at one point. But then you’re with them and you realize that maybe this wasn’t a good idea, and maybe you should’ve listened to your goddamn gut all along b/c it was warning you that there’s a reason why it didn’t work out the first time.

Arguably, this theory would be more satisfying than the last one, because it would be Daryl who would choose who he would want to be with in the end. Think about it. We were initially bummed that Ezekiel wasn’t going to get his comic death in season 9 (and of course we were pissed about Henry), but then it turned out for the better because Carol willingly chose to leave him instead of being forced out of the relationship via death. So for Daryl to choose Carol over Leah in the end would be incredibly satisfying, albeit looooong overdue...

I still very much think Caryl is endgame despite the tough road we’re facing. I know folks are taking this last hurdle really hard because it’s been ingrained in our heads that Daryl is a “one woman kind of guy”, but... maybe that’s still the case. Maybe his heart is a “one woman kind of organ”, but Daryl’s been able to move past his traumas enough to be physical with more than one person. At least that’s how I’m seeing things at the moment. Obviously, it’s not good taste to go completely backwards on what is “known” about a character and assume that the audience would catch on as to why it would happen (like how Daryl reading the “children of abuse” book was never addressed in the show, but we’re having to assume he did b/c Norman said he did). Hoping the audience assumes the things that the writers are thinking of has always been an ongoing issue with TWD, so this whole shindig wasn’t necessarily surprising to me.

Anyways, that’s my two cents on things. I still think they’ll happen, and I still trust Kang. I’m just thinking of this as just the angsty part of a fanfic that I love and adore, and I just have to grit my teeth and wait for the author to finish writing the next chapter before hauling ass to my computer to see the update and breaking my desktop in the process. We’ll get to the healing part, I promise.

And if the spin is anything like the playful banter between them in this episode (albeit more mutual and fun), then sign me the fuck up and let me be a voyeur in their passionate travels.

Cheers my loves! 

[365days365movies]

March 7, 2021: Onward (Review)

Guess what my favorite Pixar film is now!

Yeah, it’s still Finding Nemo hands down. Not even a little bit of a question. But there is still a question. Where does this movie rank for me? And by the way, Finding Nemo is my FAVORITE Pixar film, but I don’t consider it be objectively the best.

I mean...come on. It’s Ratatouille. The hell else was I gonna say?

Ahhhhhh, SHIT, you make a good point there. Well...at least there’s only the two choices for objectively best

OH HOW GODDAMN DARE YOU

...Any more you wanna throw at me, you goddamn monsters? Huh? HUH?

...Crying, probably. Goddamn, OK, there are a LOT of good Pixar films, and this one doesn’t have a GODDAMN CHANCE against these movies. So...which ones does Onward beat, for me, anyway?

I mean, yeah, duh. I’d put all of the Cars films below Onward. Brave and The Good Dinosaur, too. All of the Toy Story films are above it, and...I think my initial assessment was correct.

And again, I like A Bug’s Life a lot! But I think that Onward’s about on this level for me in terms of favorites. Why is that? Well...let’s go through it, huh? You an check out Part One and Part Two of the Recap if you’d like, but the Review and my final opinions are down below!

Review

Cast and Acting: 9/10

OK, above everything else, I will say that Tom Holland and Chris Pratt are great in here, and they...mostly disappear into their characters. Maybe it’s because these are currently both MASSIVE names, but I never lost sight of the fat that these guys were playing Ian and Barley respectively. It’s a little odd, especially for a Pixar movie. Not as much for a Disney movie...which is an interesting point to revisit later. But they are good. And they’re also vastly surpassed, for me, by Julia Louis Dreyfus, WHO FUCKING OWNS HER ROLE! Yeah, sorry, Dreyfus is the MVP of this movie for me, and I genuinely love her and Laurel. Octavia Spencer was, of course, also good...but was also weirdly stilted in her line deliveries most of the time. I love Octavia Spencer, but she’s not a voice actress, what can I say? Still, Corey’s another of my favorite characters, so she’s not bad at it. Tracey Ullman and Mel Rodriguez are also good in here, for the record.

Plot and Writing: 9/10

You know...it’s funny. This movie doesn’t really feel like a Pixar movie, as much as it feels like a Disney movie. Not a bad thing, I promise, but it just doesn’t...feel Pixar to me. I can’t quite pinpoint the reasons for that...yet. But in terms of the plot, it’s mostly standard Disney/Pixar adventure fare, with some decent writing and good universe building behind it. However...I’ve been thinking about the ending, and it’s actually the most Pixar thing about the movie, mostly because it was, well...extremely unexpectedly good.

Yeah, I mean that. Ian’s sacrifice is NOT how I expected that to go down, and probably would’ve been different in a straight-up Disney movie. Credit to Dan Scanlon, Jason Headley, and Keith Bunin for crafting a unique and emotionally deep ending. If Pixar’s good at one thing, it’s emotionally complex endings. Coco eventually ends with Coco dying, Boo’s sort of just gone in Monster’s Inc (I know Sulley sees her again, BUT WE DON’T), Toy Story eventually ends in Woody leaving the gang with Bo Peep, and Finding Nemo...I mean, Nemo surpasses his disability, and Marlin learns to let go of his son, so...OK, maybe that’s the exception. STILL MY FAVORITE DO NOT @ ME

Directing and Cinematography: 8/10

Well...on one hand, it’s a Pixar movie. Obviously it’s got good directing (by Don Scanlon), but...I think this movie broke Pixar films for me. YEAH. I’ll explain, and understand: I’m not saying that the cinematography by Sharon Calahan and Adam Habib is bad, but it’s very Pixar formulaic. Here’s what I mean: I’m gonna put a bunch of GIFs of Pixar films up here. Look for the commonality.

THEY’RE PERFECTLY BALANCED. Which, at first glance, obviously isn’t a bad thing. But I just posted GIFs of films from SEVEN different directors! And they ALWAYS balance their characters perfectly on screen! I’d provide more proof of this, but LOOK!!!! It’s a very formulaic form of cinematography, and while it’s obviously not bad, it’s also...obvious. You want more proof? Let’s look at more unique Pixar films and directors. Brad Bird first.

Bird’s scenes feel more dynamic, more interesting, and he has a MUCH higher focus on the foreground vs. the background than these other guys. And yeah, he also centers some of his characters, because that’s find of how film works, but his films are a lot more visually complex, and they’re considered the best of the Pixar movies. OK, what about a more recent film?

A HELL of a lot of shots in Soul are unbalanced. Which is interesting, because this is Pete Docter, one of Pixar’s most prolific directors. He’s also the director of some of their most unique films, like Monster’s Inc., Up, and Inside Out. And his flair is in a lot of unique camera movements, but also interesting angles and shot composition. And maybe I’m going CRAZY with over-analysis here, because I am NOT a film student, AT FUCKING ALL...but this film made me notice this because it just feels so visually...formulaic. Not bad, just plain. And not just in terms of cinematography.

Production and Art Design: 8/10

These are Disney characters. THESE ARE DISNEY CHARACTERS. Which, I must once again stress, IS NOT A BAD THING. But it’s also not really Pixar. I mean, look at that collection of GIFs up there again. One of the things that Pixar is lauded for is its unique character designs and concepts. And, uh...this isn’t that. It’s still good...but it’s not Pixar’s usual fare. Again, not a bad thing, as they’re more than allowed to innovate, but...is a lack of innovation really innovating? Breaking formula, yeah, but pointedly not anything new. Which, sure, fine, but...it ruins something for me, I’m gonna be honest.

Now, again, IT IS NOT BAD. It’s still actually VERY good, from the lighting to the rendering, and to the unique world that’s been constructed. Well...mostly unique. It’s kind of just our world with magic. There’s definitely some uniqueness, but not enough for me in a lot of cases. I dunno, it’s weirdly low-fantasy for something that is POINTEDLY high-fantasy in origin. Which is pretty interesting, now that I’ve typed that out loud. I like the look of this movie, again...but I’d love something a little less Disney, and a little more Pixar.

Music and Editing: 9/10

Music’s good! And so is the editing, for that matter. Composed by Mychael and Jeff Danna, and edited by Catherine Apple, this aspect of the production carried over pretty well, I think. Soundtrack is definitely fitting for a fantasy film, that’s for sure. And, yeah, no problems with the editing (which, to be fair, is not the easiest category to judge for e, ESPECIALLY here). The point of is because, well...not putting it on my playlist. It’s good, but not the best music I’ve heard, this month, or from a Pixar movie. Real talk, whenever I mention Finding Nemo (I KNOW I KNOW I’LL SHUT UP ABOUT IT BUT HOLD ON), the soundtrack plays through my head with reckless abandon. Can’t really say the same for Onward.

I’m more than cool with a 86% for this one.

Look, it’s a genuine rarity for Pixar to make a bad film. Although...it’s funny, this is barely a Pixar movie for me. It mostly just doesn’t feel like a Pixar movie, potentially because it has the overarching structure of your more typical Disney fare. Which, no, certainly isn’t a bad thing, but it’s not...quite the same.

This is still a great movie, and good for families. And I should say, I’m watching this film from the standpoint of an only child, and it was still a heartwarming look at a relationship between two very different siblings. I liked it, is what I’m saying. But this is it: we’re done with animated fare now. Although, blue animated magic characters from Disney does remind me of someone...

OK, the next movie is NOT ALADDIN, I swear. I’ve definitely seen that one. But, uh...since I’m moving to live-action anyway...

March 8, 2021: The Thief of Bagdad (1940)

[quickspinner]

These Two Hands (I’ll Never Not Know You)

I worked on this for ages, and I just couldn't get it to come out right, so I put it aside and worked on other things. I hadn't looked at it in months, and then the WIP meme came along, and I started looking it over, and it turned out to be ridiculously easy to fix and finish, so here it is at last!

Shoutout to all my artist buddies, whose complaining about hands being such a pain to draw gave me the idea for this fic. 😆 Love you guys.

I don't think I said anything that specifically made it clear, but they're university aged in this one.

It was a beautiful summer day in Paris, with just enough breeze to keep the heat from being unbearable. Enjoying the weather and his music, Luka had no idea how long he’d been sitting there playing on the warm, wide stone steps of the Trocadero. A while, by the sun and the hollow feeling in his stomach. Luka packed up his guitar and slung it across his back. He started to descend the steps, but paused as he nearly trod on something at the bottom. He bent down and picked up the book, plain black and with heavy, weighted paper, like an artist’s book. It wasn’t battered or dirty, like it had been there for days, though the canvas cover was frayed a bit at the corners. Well-used, he concluded, and lost only recently.

Luka looked around, hesitant. He couldn’t see anybody who looked like they’d lost something. He went back up the steps and looked around at the top, with the same result. 

Luka sighed. He got so into his music, he frequently lost awareness of his surroundings, so while he knew some people had stopped on the steps to hear him play, he had no memory of what they looked like or what they’d been doing, other than Officer Roger passing by and giving him the stinkeye. Apparently the officer hadn’t felt like ruining a perfectly good day by hassling about permits and nonsense, though, and once he’d moved on, Luka had played without regard to his audience.

He went back down the stairs, thinking, and then sat down slowly on the bottom step. He felt like an intruder as he opened the book, as he thought of the battered spiral notebook full of embarrassing, half-finished scribbles he carried in his guitar case. He checked the inside of both covers first, but found only the initials MDC. No phone number, not even a full name.

Luka blew out a frustrated breath, fluffing his bangs away from his face. Reluctantly, he began turning pages. 

It was full of...hands. Hands planting a seedling, hands cleaning something indistinct. Hands buried in a lumpy mass. Clay? Or maybe dough? Hands twined in yarn, holding the vague suggestion of knitting needles. What they were doing was usually only lightly sketched in and suggested, but the hands themselves were detailed and bold. It was kind of weird at first, but as he continued to turn the pages, still checking each for some sign of the owner, he began to appreciate the different types of beauty and strength captured on each page. He could imagine the trembling in the wrinkled hands with swollen joints that held a flower stem delicately. There were fingers curved over a computer keyboard, charged with energy, and he could almost hear the rapid smack of the fingers hitting the keys. 

Luka found himself rubbing his fingers together. He’d never contemplated his hands from an aesthetic standpoint. Why would he? They were rough and scarred; his fingers from the guitar, his palms from the ropes and rigging on the boat, from the lifting and carrying required for the constant rearranging of the stuff on deck to make sure they could get around. He’d never thought about whether they were—any of what he saw in these pictures. 

He glanced up and around again, still feeling guilty to be poking through someone else’s private things, but no one was paying him any mind, and he still had no clues as to the owner. He tried to flip quickly, just checking each page for even a hint of where he might go to return it, but with everything but the hands indistinct there wasn’t much to go by. 

He stopped in surprise on the last sketch in the book, staring at the drawing of hands on a guitar. The guitar was just roughed in, once again more of a suggestion than a drawing, except where the left hand rested on the fretboard, pressing into the strings. 

The hands, though, were incredibly detailed, and, he realized with a sudden blush, they were his. He touched his thumb to the ring on his pointer finger absently. The right hand, curved to strum, the pick invisible from that angle but implied, had bracelets matching his stacked along the wrist. 

The nails were colored in, dark like his, but beyond that, he wouldn’t have recognized them without the jewelry and the small curving scar near the thumb of the right hand.

These hands were elegant, graceful, intentional. It had been a long time since Luka last consciously thought about the control he had over his hands, but he couldn’t help thinking about it now. It had taken him years of practice to get there, but when he played, his hands did exactly what he needed them to, found the strings he needed quickly and accurately. Though they were thin, they were strong and sure, equally capable of coaxing a melody and knotting a rope with speed and strength. 

That was what this person had seen in them, at least. 

“Oh!”

Luka looked up and found a girl staring at him with both hands over her mouth, her blue eyes wide. Her gaze flickered between him and the book. 

“Is this yours?” he asked without thinking. 

She nodded slowly, pink spreading over her cheeks. 

Luka closed it quickly and stood up, offering it to her. She took a hasty step forward, grabbing the book gratefully, but somehow got her feet tangled up and yelped as she tipped forward. Luka caught her shoulders and steadied her. “Woah, easy.” He shifted her back until she was solidly on her feet, and let go. “I’m sorry for snooping, it’s just I found it on the steps and I was trying to find a name or something so I knew who to give it back to. I wasn’t having much luck, though, so I’m really glad you came back.” 

“Oh,” she said, blushing and holding the sketchbook to her. “It’s okay, of course I understand. I’m glad it was found, at least. I just...I’m just kind of embarrassed, I know it must look kind of weird, and I usually ask before I draw someone but you were busy and the music was so lovely and I started watching your hands and just kind of got caught up in the moment but I’m really sorry—”

“Hey, it’s okay,” Luka said, putting a hand on her shoulder briefly to interrupt as she began picking up speed. “I thought they were cool, and I’m flattered you saw something in my hands worth capturing.”

She smiled shyly. “I like hands that make things. They’re my favorite. I mean, it started just as a drawing exercise, because hands are hard, and so I thought if I just kept drawing them I’d get better. And...and then when I started looking, I got interested, and I kept going. It’s kind of stress relief now. And that probably doesn’t make it any less weird.” She put one hand back over her face, the other still clutching her sketchbook, and made a little whine. “Why am I still talking?”  

“That’s amazing,” Luka smiled, and then hesitated. “Um, are you busy? On your way somewhere? Because if not, I’d really like to look at some more. If it’s okay with you.” 

Her eyes widened slightly, and the flush on her cheeks deepened. “R-really? I mean, sure, if you, um. If you want to. I didn’t really think they were that interesting, to be honest.”

“Well, I do,” Luka said, and backed up to sit back down on his steps, tipping his head to invite her to sit next to him. “My name’s Luka.”

She smiled nervously, perching on the step and tucking a strand of hair behind his ear. “I’m Marinette.” Luka turned back to the beginning of the book, and began to page through more slowly, pausing now and then to ask Marinette about a picture.

“That’s my grandmother,” she told him, as he looked at a picture of half-gloved hands resting on the handles of a motorcycle. “She travels a lot.” 

“I really like this one,” he said after a moment, pausing at the hands twined in yarn. 

“I, um,” Marinette hunched her shoulders a little bit. “I love drawing people knitting. They all look so different, even though they’re doing the same thing. Everyone holds the yarn a little bit differently, knits just a slightly different way.”

“And this?” he asked, tilting his head slightly. “I can’t quite figure this one out.”

“That’s my friend Kim,” Marinette explained. “He’s a swimmer. He was doing backstroke time trials and I just got really fascinated with the way his hands held onto the wall. I didn’t quite get the perspective right, though.” She giggled nervously, and Luka smiled at the sound. “The blurry spots are from when he dripped on me trying to get a look at what I was doing.” 

“I can see it now,” Luka nodded. “The tension in them, and why you did the eyes here between them—”

“They ended up looking kind of buggy, with the goggles,” Marinette admitted. 

“No, I really like it, though,” Luka looked up to flash her a quick smile. “You really get that sense of power about to let loose.”

Marinette blinked. “Y-yeah,” she smiled. “Yeah...thanks.”

“Why make the rest of the drawings so incomplete compared with the hands?” Luka asked curiously, looking up from the book to meet her eyes. “I mean, I get why the hands are the focus, but why make the rest of it so vague?”  

Marinette blushed. “It’s...stupid. I don’t know if it’ll even make sense if I say it out loud.”

“Try me,” Luka smiled. 

“It’s just, no matter how I draw them, it’s not the full picture,” Marinette said thoughtfully, and then glanced up at him with an adorably shy smile. “No pun intended. I just mean that there’s so much that these hands can do and when I draw them, I’m really only capturing one. I’d be fascinated to find out what else your hands can do besides play guitar,” she added, and Luka’s face flamed red, though Marinette didn’t seem to notice anything suggestive about what she’d said as she picked his hand up, examining it. Luka swallowed as she turned his hand over and ran her fingers over the calluses on his palm. “You didn’t get these from the guitar,” she said. “Sports? Or something else?” 

Luka cleared his throat. “I live on a boat on the Seine,” he said, watching her. “I work with a lot of ropes, and I’m always climbing around fixing something or other.” 

Marinette nodded, looking up at him, his hand still cradled in hers. “That explains the tan. What else?” 

“Um…” Luka blinked, trying to think. “I carry sound and boat equipment.” 

“Okay,” Marinette said, still listening. Looking at him like he was a puzzle she was trying to solve. He wasn’t sure what she wanted to hear, or why he suddenly very much wanted to be worthy of her interest, but...

“I...comfort my sister,” Luka said softly, dropping his gaze to his hand again. “She’s nervous, she gets worried. I put my hand on her shoulder so she knows that I’m there with her and she’s not alone. I...I calm my mother down. She’s kind of...passionate, she gets worked up about stuff a lot. I put my hand on hers or on her arm to remind her to take a minute to breathe.” 

“And you help up strangers who trip over their own feet,” Marinette giggled. 

“Yeah,” Luka smiled, looking at her. “That too.” 

“It sounds like your hands do a lot of good,” she said. “Your hands help people. Lift them up. You carry, you support. That’s very noble, Luka.”

Luka’s face heated. “Poetic, but...I think that’s giving me a bit too much credit,” he said, looking down at her little hands on his. He was beginning to be fascinated with their contrast, by the way their fingers looked together. Impulsively he closed one hand, capturing hers gently.

“You’re really special, Marinette,” he said. “I don’t think I’ve ever met anybody that thinks like you.” 

Marinette stared at him for a second, and then looked down at their hands. It seemed to hit her all at once that she’d been holding onto him, and she jerked her hands back, face reddening. “I’m so sorry—I’m being really weird, aren’t I?” Marinette hunched her shoulders. “I’m sorry—”

“Maybe a little bit,” Luka broke in, stopping her from another apology spiral. “But what’s weird anyway? Just something a little different than normal. Unique. Nothing wrong with that. Let’s just roll with it.” He grinned. “Embrace the weird. May I see yours?” 

She looked startled. “W-what?” 

“Your hands,” he said, holding out his own. “May I see them?” 

Marinette couldn’t get any redder but her mouth opened and closed soundlessly for a moment. “It’s okay,” Luka said quickly. “If you’d rather not. I’m not trying to make you uncomfortable.” 

“No, it’s fine,” she said, hunching her shoulders again. “It’s only fair, right? Gosh, I didn’t even ask you, you must think I’m so—” She made a wordless noise in her throat and held out her hands stiffly. 

“I don’t,” Luka chuckled. “I didn’t mind. It doesn’t have to be fair, though,” Luka said, making no move to take her hands again. “If you’re not okay with it, don’t feel like you have to.” 

“It’s really okay,” she said. Her hands relaxed a little, her shoulders came down, and there was enough sincerity in her smile to convince him. “It’s just, I don’t think mine are anything special.” 

“Hmm,” Luka chuckled, slowly reaching to take her hands. “I didn’t think mine were either, until today.” His hands dwarfed hers as he closed his fingers lightly. Her fingers were slender and elegantly tapered. Her fingernails were short but filed meticulously into perfect ovals. He ran his thumbs lightly over the backs, tracing the veins and gliding over the bumps of her knuckles.  

“So what do you do with these hands, besides drawing?” he asked as he looked. 

“Sewing, mostly. Some knitting and crochet and things like that, but mostly I make clothes. I’m in school for fashion design and I’m always working on some project or other. That’s why my hands are always so beat up.”

Gently Luka turned her hands over, letting go of her left hand to trail his fingers over the palm and fingers of her right, noticing the calluses on her fingertips and one on the side of her middle finger. 

Luka looked up at her and grinned. “You said hands that make things are your favorite.”  

Marinette shrugged slightly, smiling. “It’s worth the callouses. The business stuff, I could live without, but the making—it doesn’t feel like work. I like making things that help people express themselves.” 

Luka picked her left hand up again and noticed a shiny burn scar on the heel of it. He turned that hand up and let go of the other to run his fingers lightly over the scar. “What’s the story here?”

“A boring one,” Marinette chuckled, making a face. “I’m a klutz and I live in a bakery. I tripped and put my hand down in the wrong spot. I’ve gotten lots of burns for various reasons but that’s the only one that really left a mark.”

“Do you bake?” 

“Sometimes. Not for the bakery, but for friends and family on special occasions. I also do a lot of decorating. Cakes and cookies and stuff. I’m a master with a piping bag.”

“That makes sense,” Luka said softly, thoughtfully. 

Marinette tilted her head and looked up at him. “Luka?”

“These little hands create so much beauty,” he mused aloud, marveling. Marinette squeaked and he glanced up at her, a question on his tongue, but he froze instead, caught by her eyes, clear baby blue, framed with dark lashes, and currently wide and staring at him. It struck him all at once as he took in her vibrant blush and pretty parted lips that she was really, really beautiful, and that he’d been fondling her hands for the last several minutes and he should...he should probably let go.

He didn’t want to. 

He didn’t want to let go of those tiny, strong, capable, beautiful hands. 

“Sorry, I was just thinking,” Luka said, and cleared his throat to smooth out his suddenly rough voice. “What you were saying about my hands lifting people up. Your hands...make things beautiful. You take ordinary things and make them better.” He looked back down at their hands, rubbing his thumbs absently across her knuckles as he spoke. “That’s a pretty special gift, Marinette. Making the world a more beautiful place, or even just making it so that people can see the beauty that’s already there...you’re amazing.” He took a deep breath and forced himself to look back at her face. “Would you, um...this is going to sound really forward, but would you go out with me sometime?” 

“O-out?” Marinette stammered, looking rather like she’d just been hit in the head with a board.

Luka tried not to laugh. “Yeah. Out. On a date? Maybe this weekend? I know we just met, but…”

“I’d like to,” Marinette blurted, face red. “That...that sounds really great.” She dropped her gaze for a minute, and then flicked her eyes back up shyly, a slow smile curling her lips. “But if you want my number, you’re going to have to let go of my hands first.” 

Luka grinned back, squeezing her hands instead of releasing them. “Or I could just take you out right now. Are you free for lunch? I’m starving, personally.” 

***

It was another sunny summer day, on the same stone steps, and Marinette and Luka sat pressed close together, the fingers of his right hand threaded together with her left, as she sketched busily on the sketchbook in her lap. They’d been there for a while now, but Luka was comfortable and happy lounging on the sun-warmed steps, humming a tune to himself and trying not to fidget in a way that would tug on the hand Marinette was holding. 

He was staring blankly at nothing, remembering their first kiss. Well. Not their first kiss, standing outside of her home while he held her hands in his and leaned in to press his lips to hers for just a sweet, soft moment. Their first real kiss, when his hand came up to cup her cheek as hers slid back and slipped into the hair at the nape of his neck and he kissed her for real. He remembered noticing how his hand felt so big compared to her face as his thumb brushed her soft cheek, his touch feather-light and reverent even as hers was firm against him. She tilted her face to better meet him, and his thumb slipped down to her jaw, his calloused fingertips fanning out along the side of her neck. He remembered the way she gasped, leaning into his touch, which pulled her lips away from his. He’d kissed along her jaw as his rough palm skimmed down the elegant line of her neck and followed the curve of her shoulder before stroking back up again to pull her closer. How their other hands had met and twined together, fingers locked as they were now, palms pressed tight together. He remembered how the strength in those little hands had surprised him.  

Movement beside him jerked him back to the moment, as Marinette sat back to look at her page critically. Swallowing, Luka seized his moment. 

“Can I see?” he asked as he sat up and leaned over, and Marinette shifted the sketchbook so he could look at the drawing of their joined hands she’d been working on.  

Marinette had teased him a little bit about asking for such a thing, but not too much. He was just as in awe of her art now as he’d been the day they met, and she knew it. Her portraits of his mother’s hands and his sister’s hands were already hanging on his wall, so this was a logical addition to his collection.

“Beautiful,” he murmured, looking over the nearly-finished picture. “I’m loving it, but...I think it’s missing something.” 

Marinette frowned, turning the picture back towards herself. “What do you mean?” she asked, just as Luka shifted his grip on her hand. She looked back at their hands, opening her mouth to protest, but instead her mouth just dropped open as Luka slid a small sparkling ring onto her finger. 

“There,” he grinned, looking up at her face as Marinette did a credible imitation of a fish. “That’s better.” His eyes softened as he looked at her. “Marinette, will you—”

He never got a chance to finish as she tackled him awkwardly back onto the steps, her sketchbook falling from her lap and bouncing down to land in nearly the same place it had almost exactly a year ago.  

[im-gettingby]

30 Days of Carry On

posted (and written by?) @captain-aralias

(I’m doing most of these at once because I said so. it’s long so under the cut)

1. Favourite major character

I literally thought — Simon no Baz no Penny no, Agatha!

I guess I will pick Simon, since I relate to him the most — or at least, my connection to him led me into the fandom.

2. Favourite minor character

I think we all know this one 🐑🐑🐑

I have written many a treatise on Lamb Rights. I’ll spare everyone now

3. Character you relate to the most

Oops— I already answered this, kinda. I relate to them in different ways: I relate a lot to WS Simon because he has abandonment issues and “kid who was told he was extraordinary and then grew up to be ordinary” issues. We also both have a “fix all the things for everyone” complex, too.

Baz — It took me a while to get into Baz’s head, but I would say, I relate to him because of his intense emotional world and tendency to see the world through an intensely romantic/tragic lens. But also he’s a Pisces. and I’d never do that like a Pisces does. (Sorry, not sorry.)

4. Which character would you like to go to lunch with?

SHEPARD obviously. I don’t feel the need to elaborate.

5. Favourite non-Snowbaz ship

Ooh! Probably Lamb/Baz or Simon/Shep or just...literally anything. Like, I will read anything as long as it’s well written. The weirder the better. (Within...legal and moral limits.) in my other fandoms I’ve been a big multishipper and there’s not a lot of options for that in CO - which is fine - but wholeheartedly support rarepairs :D

6. Favourite non-romantic OTP

So, obviously Simon/Penny and Baz/Penny are great ones, but I think the nearest & dearest to my heart is Simon/Agatha. The kind of siblings/unwillingly dating/weird exes dynamic and the way they both shaped each other’s lives is just so interesting. And while Simon & Penny are closer, Agatha and Simon represent their aspirational selves to one another. And the way that they were both tied to one another along with their gender roles/places in society and both broke away at the same time is just...mwah

7. Favourite Baz outfit

I honestly dress kinda like Baz. Anything involving a printed silk shirt or a floral brocade suit, so like, all of them? I love WS Baz, his fashion sense is so thoughtful yet fun. He’s so expressive with it — in the sense of both being guarded, being sexy, and playing with masculinity/femininity.

8. How do you feel about Wayward Son?

In case it wasn’t obvious, I absolutely love it. I mean, from a writing/narrative standpoint, I don’t think it’s the most elegant or engaging book ever written, but it’s just so raw and fresh. I don’t see many examples of an author trying to do what Rainbow did, which is build a complex emotional AND plot-driven story with so many characters and so much lore. I’m very excited for AWTWB.

9. Favourite scene from Carry On, besides Chapter 61

I like what the book does/sets up overall. Honestly probably the first scene, where Simon walks to the bus stop & takes the train and just thinks about his life and makes lists -- I love Simon. I know Rainbow said she thinks that bit is boring, but it honestly says so much about his character in a short time. (and he’s an extremely complex character!) Also, Baz’s dramatic entrance. Also, the chapter where Baz says “and I’m hopelessly in love with him” because it’s just so dramatic, and it comes out of nowhere

10. Favourite scene from Wayward Son, besides Chapter 41

Baz and Lamb’s journey across the Strip - vampire lore, jealous Simon, Baz getting to be his own character— it’s beautiful.

11. Remind us about something in canon readers might have forgotten about

Ahahaha um. Simon says he thinks Baz’s cousin Marcus is fit. That’s pretty funny.

12. What are your hopes and fears for Any Way the Wind Blows?

I don’t have any hopes because I don’t want to be disappointed - and that’s not a cynical thing, I just want to go into it with an open mind. (I’ll take a break from fandom and reread the books beforehand so I’m (more of) a blank slate) I guess just...interesting emotional journeys, whatever that ends up being. There’s a lot that Rainbow has to do in the book and I don’t think any one person could get through all of it -- that’s why we have fanfiction.

Fears? I don’t know. I think just...the series ending. Even though I’ve been in fandom for less than a year I just really love this fandom & the thought of that kind of eroding away is sad. But also I don’t think that will happen immediately, and change is a part of life. I’ve never related as much to Cath as I do now :’)

13. An unpopular/cracky opinion you hold

unpopular: Lamb is the best character; I don’t want Simon to get his magic back; both Simon and Baz should have other romantic options.

14. Something from your head fanon

Hmmmmmmm well. Just mean things about Baz really. Like that he’s weird looking, not that great at football, and actually has kind of garish fashion sense. (which is a self-roast as well - see above.) I just feel like Simon/fandom put him on a pedestal, and Simon’s an unreliable narrator re: Baz anyway. So I like the idea that Baz is this average looking kinda strange nerdy guy who is everything Simon has ever wanted in life.

And before you tell me that Baz was hot at Watford and Agatha was into him, have you ever been to a tiny boarding school? Standards get weird 😂😂😂 and Terry being into him — come on. The guy’s a violent pervert.

also - back to Watford being a tiny school. Baz doesn’t have much competition to be the star of the football team. (also, does anyone except Simon even think that he is?)

16. Favourite location other than Watford

Vegas!

17, Favourite location in Watford

I’m pretty bad at Watford lore/geography bc again, I’m way more into WS. Probably the floor in the Cloisters where everything happens the same way, just a day later. There’s a fic there, but I can’t wrap my head around all the time travel implications enough to write it.

18. What would be your favourite subject at Watford?

Any potions-esque subject because I loved chemistry lab. Latin because I loved Latin in school. Uhhhh I don’t like history class, so not that — maybe a literature course focused on the derivation of spells.

19. What would your magical implement be?

Ooh! This is a good one. I’d like to think it would be a weird body piercing. Or a belt a la Gareth. Maybe some kind of traditional south Asian jewelry, like a nose chain or mang-tikka or something. maybe a hat. like, imagine your magical instrument being a fedora and you just have to...wear a fedora all the time.

21. Favourite canon spell

Hm. Kiss it better? Candle in the wind?I should try to think of a non-horny one. honestly they’re all so cool and clever - I love the magic system in CO/WS.

22. What would your eighth year spell at Watford be or do?

Maybe something from a poem I love. That would probably be pretty but not very functional. Or a healing spell.

23. Who would you want as your roommate?

Agatha is uptight, Penny is passive aggressive, Simon is a slob, Baz is both uptight and passive aggressive.

Definitely Shepard.

24. Favourite item of merchandise, official or unofficial

My @subparselkie sticker

25. Favourite book cover design

WS. Oh, another unpopular opinion - I don’t like the kevin wada cover of carry on. their faces look so weird and the colors don’t work for me. I own the version with the blue and yellow cover art instead

26. Do you want a movie? If yes - any fan casts for the movie?

Probably wouldn’t want a movie! Because I am way too possessive of these books/this version of the story. And I am historically extremely disappointed by adaptations — I get upset with the smallest of changes 😂

27. If they made a movie, what scenes do you think they’d cut that you’d be furious were missing?

See above. A LOT haha

28. If you could ask Rainbow Rowell one question, what would it be? (If you have already, you can share if you like)

What is Lamb’s full name????? Is it actually Lamb Lambert Lamborghini the third???

What is Rainbow’s relationship with sheep and goats. Why are there so many references to them

29. Have you read any of Rainbow’s other books?

Only Fangirl

30. How did you get into Carry On and/or Carry On fandom?

I read fangirl & the pages at the end mentioned carry on, so I read that, and enjoyed it but I wasn’t obsessed. Then I read WS spring 2020, reread it a bunch of times, reread CO, freaked out about the cliffhanger/cool vampire stuff/unresolved sexual tension, had pandemic cabin fever, got on AO3, and the rest is history.

As @annabellelux knows, I wrote my first (published) fanfic after reading her amazing fic Drop The Game. and the first fanfic I read was @captain-aralias’ Greener Grass. I was so obsessed that about a month later, I searched through the AO3 tags for it, because I couldn’t remember the title or author but kept thinking about it.

[whocalledhimannux]

now that I’ve had some time to reflect on Return of the Thief, I have some more thoughts that are... slightly more critical, in both the thinking-deeply and not-entirely-praiseworthy ways. I’m not going to tag this post because I don’t want to harsh anyone’s buzz, but I’ll just say return of the thief spoilers and rott spoilers right now, and hopefully the blacklist will catch those, and if not the rest of the post is going under a cut

okay so like first off, I want to say that I still think this was a very well-written book and it’s very satisfying from a character standpoint. there are so many great interactions, indications of growth, etc, and the layered writing of the first person POV is, as always, stunning. my main character complaint is not enough Costis and Kamet (or Costis/Kamet)--but even that, upon reflection, I think is colored slightly by my anticipation for a blatant Comet moment. When you’re waiting for a big payoff, and the story isn’t designed to have that, it’ll feel like a bit of a letdown. But from a different perspective, the ending of TaT can be a perfectly satisfying narrative ending, establishing that Costis and Kamet’s storylines are now thoroughly and primarily wrapped up in each other; their contributions to the wider plot from thereon out are mostly incidental, because sailing off to be together is their bigger ending.

side note: a character development I actually loved was us seeing Eugenides teetering dangerously close to a breaking point and being pulled back. I think...... from what I have seen of the fandom in general--bearing in mind I was never a part of Sounis and have dipped in and out of the discord without being majorly involved--based on my general impression of the tumblr fandom, I think there is a tendency among QT fans to let the Thief characterization of Gen affect our reading of him in later books. I think there’s sort of an assumption that he’s everybody’s favorite and that his choices are, by default, correct and sympathetic, even as the series progresses and he makes more, increasingly difficult and sometimes pragmatic or even cruel decisions. and I think RotT really, really challenges that kind of view. Eugenides is under immense strain in this book, and several times he lashes out in ways that are indefensible. Sometimes, even if he’s not being cruel to others, he’s being risky to the point of masochism, and the revelations about his backstory also suggest that quirky innocent Gen of The Thief is also not all he seemed to be.

and I think that was resolved in a very enjoyable and narratively satisfying way. The threats to the Braels had a real edge to them. God!Eugenides was terrifying, in a noticeable step up from the ways regular!Eugenides is terrifying, and it felt like payoff for the increasing role of the gods in Eugenides’s storyline up until now. And I really appreciated the subtleties of Sejanus saying that he won’t tell Eugenides the conspirators because it will damage him in the longrun, and the way Eugenides ultimately decides to forgive and trust Pheris and Sejanus anyway--those scenes, imo, were great followups to the scenes in QoA, KoA, and ACoK that discussed how rulers can maintain their moral center in difficult situations.

but... the Medes. plot-wise, I’m struggling with the conclusion to this storyline.

I made a different post already about What the Fuck is going on with the secretary of the archives, because it totally feels like shit is missing there, and to some extent I’m okay with that? it felt to me like a stylistic choice--like, Pheris the historian is writing specifically about the Mede invasion, so maybe the full story of Baron Orutus, and Relius, wasn’t actually resolved til years later and he thought it was an overlapping but ultimately separate story. fine. I actually did kind of like the parts where that was done more blatantly, like his comment that two of the queen’s attendants became famous later on for unrelated reasons. it helped with the framing of the story.

but I don’t feel that way about the Medes plot. For one thing, we’ve spent a couple of books now harping on the fact that Ghusnavidas (sp? I’m tired and my book is too far away to check, y’all know who I mean) is dying and that the primary threat is going to come from Nahuseresh’s brother, Naheelid. Costis made a point of saying last book that if the Little Peninsula could hold out for a year against Naheelid, not only would they win but the entire empire might be in danger of collapsing.

So... they spent ~a few months fighting a single army at a single battle site, with the Big Threat Guy not even present, and that’s it? everybody goes home and the Medes aren’t a threat anymore? it’s not even clear to me how many troops the Medes lost--their principal losses were in the form of Bu-seneth, Nahuseresh, and Baron Erondites, who, yeah, were key officers, but if the Medes lost, saying, 30% of their troops or less, what’s to stop Naheelid from hiring more soldiers and better officers and coming back in a year? it totally makes sense to me that an army that saw Eugenides call down lightning is willing to pack it up early, but inevitably that’s going to be dismissed as rumor and distortion so idk how it’s supposed to be a lasting deterrent. it may not be super realistic, because the downfall of empires takes time, but I think a bunch of us were expecting that the Mede Empire would, at the very least, but conclusively beaten by the end of the book, and I don’t think we got that.

Also, speaking of Big Bads: Nahuseresh. Oof.

I know part of the point of TaT was that Nahuseresh’s situation was becoming kind of sad and pathetic but... I think he went downhill too quickly in this book. and tbh I think part of it is the fact that we’re getting this from Pheris’s POV, and Pheris for one doesn’t have a whole lot of close contact with Nahuseresh in this book, and for another didn’t have any contact with him prior to this. His little “I will be king of Attolia!” outburst honestly made me cringe a little bit, and while I’m not entirely opposed to the idea of Nahuseresh being killed by an anonymous soldier--it has a very “reality ensues, war isn’t a series of epic meaningful confrontations” feel to it--I do object to the fact that Eugenides spent a significant amount of time in KoA and ACoK nursing a grudge against Nahuseresh and then barely got to do anything with it. and a lot of what he did get to do, the reader barely sees.

I think there were ways to make Nahuseresh’s actions in this novel a bit more satisfying without fundamentally changing them. for example, bringing in more commentary from people who knew him before. if there was a passage where Eugenides looked at Nahuseresh and realized that his beard was raggedy, and he looked thinner, and there was a manic light in his eye and he just seemed pretty pathetic and honestly more comical than the villain Gen’s been building up in his head for years--I think that would go a long way towards establishing tone. it would feel more like the anticlimax is intentional and be more about Eugenides’s own character growth, whereas now it just feel like... Pheris doesn’t have a whole lot of personal stake in this conflict even though the reader has been waiting for it for so long.

(although I do find it interesting on a narrative level in contrast with Sejanus, who seems disproportionately important in this book imo--from my perspective, the threat of Nahuseresh has been a constant behind-the-scenes presence for the last four books and Sejanus stopped being important after KoA. and I get why the opposite would be true for Pheris, but I still... want more.)

anyway, I just feel like the villains in this book are a little--warped, somehow. like the huge enormous threat of the series up until this point actually isn’t all that bad and can be wrapped up in relatively little time. it’s a weird sensation for me wherein I’m glad where everyone ended up and I enjoyed the experience of getting to that end, but like... it just feels a little off. slightly anticlimactic. I mean, for a lot of us this series is All About the characters and from that perspective I’m mostly satisfied, but I feel like in previous books the plot has come together SO well that my expectations were really high, and this resolution didn’t really meet them.

and damn does it feel strange to be writing this. feels like I just cobbled together a few of my hottest and most controversial takes and like I need to throw in about twenty more disclaimers about how much I love the books overall, but I’ll resist.

[lunarr-rrose]

Advantages Of Joining A Mastermind - Fernando Angelucci

https://u109893.h.reiblackbook.com/generic11/the-storage-stud/advantages-of-joining-a-mastermind/

For Fernando, one of the reasons why he is finding a lot of success and starting to exponentially grow his different business is because of his ability to stand on the shoulders of giants, to leverage other people, and the network.

For him, one of the most important things is joining the Mastermind group. Specifically, a Mastermind group that is not geographically tied to your little market.

What is a Mastermind group?

This is a collective of individuals in the same industry and in Fernando’s case, it’s the real estate business. They get together quarterly and between those 3 to five meetings each quarter they also communicate through zoom or phone calls.

The great thing about these Mastermind Groups is you can leverage the expertise of the other experienced and smart investors.

And, the Mastermind Groups always bring in the greatest keynote speakers.

If you are interested to know more about Fernando’s experience in joining Mastermind groups just keep watching this video.

Fernando O. Angelucci is Founder and President of Titan Wealth Group. He also leads the firm’s finance and acquisitions departments. Fernando Angelucci and Steven Wear founded Titan Wealth Group in 2015, and under his leadership, the firm’s revenue has grown over 100% year over year. Today,

Find out more at

https://www.TheStorageStud.com

https://titanwealthgroup.com/

Listen to our Podcast:

https://thestoragestud.podbean.com/e/advantages-of-joining-a-mastermind-fernando-angelucci/

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So, one of the reasons why I've been finding a lot of success and, you know, really starting to exponentially grow my different businesses is because of my ability to, stand on the shoulders of giants and to leverage other people and the networks. So, one of the things that I think is super important is joining mastermind groups, specifically mastermind groups that are not, let's say geographically tied to like your little market. And one of the reasons for that is because, you know, then people are less willing to share. So, what is a mastermind group? A mastermind group is, a collective of individuals in the same industry or similar industry. So for me, it's real estate. We get together in person once a quarter. And then, throughout in between those three to five day meetings each quarter, we also do zoom calls, phone calls.

We run through, you know, best practices. And the nice thing about these mastermind groups is a, you can leverage the expertise of other super smart investors. With these investors, you know, you have people, you know, multiple minds, will always help bring up the collective, a rising tide raises all ships. And not only can I leverage these guys for tips and tricks that I see them presenting on, but another thing that's really cool is these masterminds will also usually bring in some really cool keynote speakers. So the way that the mastermind format is for most of the masterminds of my part of, is you come to the mastermind and then you'll have 30 minutes to an hour to present on a topic that is a gift. So, here is my gift to the group. Here's something I think will benefit you not only from a business standpoint, but it can be personal.

It could be from health, you know, a health angle. Half of the presentations we found are about business. The other half are about life and how to go through life as an investor or as an entrepreneur. Then, at the end of that ask, or the end of that 30 to 60 minute presentation, you'll usually have a slide or two saying, here's what I'm struggling with. Here's what I'm stuck on. Here's what I need help with. And then, everyone in the group will say, Hey, I can help you out with that. I've done X, Y, Z, or, Hey, I can't help you out, but I know this gentleman he's done this six, seven times, let me connect you with him and maybe he can help you solve your problem. So, it's all about this abundance mentality. This Go-Giver mentality, how when you give to others, it usually comes back tenfold.

The cool thing thing about this mastermind too, is because of the high caliber of investors that are in there. Usually you need to be doing 50 plus deals a year, just to get nominated, to get in. And once you get nominated, then you need to have people vouch for you. You need to go through a series of interviews. They look through your financials, they look through your transaction volume to just, you know, prove that you're actually doing what you're saying you're doing. So, once you get in there, because it's a high caliber group, because it's usually got a pretty high cost to attend these meetings they can bring in these heavy hitter, third party consultants, experts in each have their own fields. So recently, one of the things, one of the investors they brought in, or one of the consultants they brought in his name was John Burns.

And he is this research kind of economist, and he specifically focuses on single family homes, multi-family homes, build the suit, build to rent. And a lot of the large hedge funds and private equity funds will actually pay him for his services to get his reports and to get kind of what he sees in his crystal ball. So, one of the things that John was seeing as far as this crazy market that we're in. So, for those that haven't been kind of living under a rock in the real estate world, we're in the very interesting time, where one we're in the middle of it pandemic. So, just logically you think, okay, we're in the middle of the pandemic, that's going to trigger a recession. That's going to trigger home sales to drop and prices to drop.

But, what has actually happened is the exact opposite, because of this pandemic, people are deciding not to sell, not to trade up in their properties, causing a very artificially low inventory, because there's artificially low inventory. There's less number of sellers, but there's still the same amount of buyers, or if not more buyers, and this is causing artificial price increase. So, over time, what we've seen in the last six months is, properties are selling off. I mean, off the shelves quickly for way above what typically say 18 months ago, I thought they would sell for what they would be worth. You know, we're seeing 10, 15% increases on these ARV's. Not because of extra work was done to the house, but just because there's no inventory and people are really desperate to find a home that say has a home office or an extra room so that, you know, they're separated from the kids or they have a separate space that they can go work from, as opposed to, you know, working from the kitchen countertop or the living room, you know, coffee table, they want an actual place because they can't go into work right now.

They're working virtually. One of the things that John was saying is that, you know, we see this price pressure is going to continue for quite some time here. You know, he's still seeing rising prices in Q1, Q2 and Q3 of 2021, with maybe some starting to fall off in Q4 of 2021 or Q1 of 2022. So, very interesting to have these, you know, these experts that, if I were to try to go pay for John Burns services on my own, I'm sure it would cost an arm and a leg, but because we have a group of, you know, 140 investors from around the country. And I guess now, even around the world, because we have some international members as well, we can all pool our resources to bring in these heavy hitters, these huge experts to come teach us or to enlighten us on what's going on in the market.

Some other keynote speakers that I've seen recently in some of these groups are Chris Voss, which is a master negotiator. He worked for the FBI as a lead hostage negotiator for 10 years and created a system on how to negotiate with hostages, but which is also applicable when it comes to any type of negotiation, you know, your entire life is a negotiation. So, that was super cool. They brought in Mike Michalowicz, the guy that wrote the book, Profit First on how to get businesses to manage their money appropriately and how to take chips off the table and stash up an emergency reserve. So, really cool, really grateful that I'm a part of these groups. I've learned so much from them, every time I joined one of these groups. It's a little bit overwhelming, but very quickly you start seeing your trajectory of growth, just exponentially increasing because, you know, you're, you never want to be the smartest person in the room.

I actually prefer to be the dumbest person in the room, because that means everybody around me has a ton of information, a ton of value and knowledge to offer me. So, I really recommend if you're just getting started in real estate, or if you're just getting started as an entrepreneur, you know, make sure that you're spending a lot of time and networking with these individuals that are at the next level. You know, if you're here and everybody that you hang out with is down here, you're going to become, you know, the average of the five or six people that you hang out with the most. But if you're here and everybody that you're hanging out with and working with is up here, then just naturally over time, that's going to bring you up to these levels. The nice, another thing about these masterminds that are really cool is, the level of trust that gets created from being a part of these groups, these communities, because this trust is there and we're being vulnerable and we're telling people what our issues are.

And instead of just trying to beat our chest and say, Hey, look how cool I am. But just being very honest and straightforward with everybody, with what your issues are and how, you know, if anybody has ways to help you solve them, is this innate level of trust that gets formed, which allows you to do deals on handshake agreements. And I know that's super crazy to say, especially in this day and age, when everybody wants to sue and there's, you know, 40 pages of paperwork just to buy a pen from somebody it's ridiculous, but that has helped foster these huge relationships. I've raised a bunch of money in these groups. I've helped other people raise money in these groups. I found deals in these groups. I've sold deals to these groups. Just really awesome things. I really recommend that you get involved in some of these, that the two masterminds that I'm a part of right now.

The first one is called, Collective Genius, and it's a cross investment mastermind. So, there's a single family home guys. There's multifamily home guys. There's self storage. There is assisted living, there's notes, there's seller finance guys. It just land flippers, anything having to do with real estate, you name it, it's there. And the cool thing about that is, when you can look outside of your lane, you can start learning things from other industries or other asset classes that you can maybe apply to your asset class that may be novel in your industry. So, that was super cool, really love those guys. Absolutely wonderful group. The next group that I joined as well is, The Self Storage Mastermind. So, this is an asset specific mastermind. We only talk about self storage, not really any other asset classes. But it's kind of the same format where, you know, it's not only about business, it's also about life.

You know, we're in this together. If all you do is work, work, work, you know, on your deathbed, I've never heard of somebody saying on their deathbed that they wish they worked more, right? Usually it's a, I wish I had learned how to operate life, how to spend time with my family and friends, how to really be super efficient with my time. So, that I can spend my off time or my downtime with my family and friends with people that matter. So, I really loved that mastermind as well, bunch of trust. The guy that runs it actually mentored me. Taught me how to get into self storage. And he's actually partnered with me on a deal already in the past, pretty large deal. So, really excited to be a part of those, and excited to see what's what's coming in the future.

So, that'd be my recommendation to you. If you're looking to scale quickly, if you're looking to get better at your business, if you're looking to network with high level individuals, you know, you're going to have to pay for that, right? Because that's how you keep all the people that shouldn't be in the room away. You have to price it to a level that only people that are successful enough to take one of these big checks and write them each year to be a part of these masterminds are allowed in the room. So, you know, be prepared for that. But what our businesses do is we have a separate bank account, where that bank account is funded each month with a portion of our profits. And that bank account is specifically for mastermind, for travel, for basically that learning and knowledge and helping to continue the growth cycle of our companies as well as individually, as investors or as owners of those companies. So, stay tuned. I'll come back with some more tips for real estate investors and entrepreneurs in general. In the meantime, if you have any questions, feel free to drop it in the comments, or shoot me an email or come to our website and connect with us that way.

[crossdressingdeath]

Okay yes I will ask your thoughts on Anders :D

Well, to start with something simple (and I assume not particularly controversial): the sequence of events we’re given for how Anders ended up in Kirkwall makes no fucking sense. I mean, it makes sense that the Chantry would ignore the Right of Conscription and try to drag him back to the Circle, but where the fuck is the Warden in all this?! If memory serves in some piece of the canon it’s implied or outright stated that the Chantry went over their head to get Templar agents into the Wardens, but they’re still the Warden-Commander? We’re expected to believe that the Warden, someone who will in most saves count Anders and Justice as dear friends and can be adamantly against the Circle, the Templars, and the Chantry as a whole, would just let a bunch of Templars run the two of them out of Amaranthine? The Warden would permit the cat they gave Anders to be taken away from him without so much as a fight? They may have to answer to Weisshaupt but even so! If Weisshaupt was interfering in the running of the Ferelden branch that much I’d expect it to be at least mentioned! If you played your Warden as someone who cared about the people under their command Anders and Justice getting forced out by the Wardens makes no sense. Honestly even if they don’t give a shit about their people Anders has friends! At the very least there should have been some mention of how exactly this was allowed to happen (maybe the Warden and the Awakening companions minus Anders and Justice were called away for some extremely long mission or something), or preferably Anders and Justice should have been chased out of Amaranthine through means entirely unrelated to the Wardens; you could have a bit about Anders being scared that after merging with Justice he’d bring trouble down on the Wardens that they couldn’t weather, it would be good and give him an element of connection to the people we spend the entirety of Awakening watching him bond with, and most importantly a connection to the previous player character that both Oghren in Awakening and Varric in Inquisition get but he doesn’t. Like, think about that for a second; Oghren obviously already knows the Warden and Varric pretty much waxes poetic about how great Hawke is every time they come up, but Anders doesn’t even react to learning about a fucking assassination plot against the Warden! Give me some friendship points for dealing with that, at least! And when you run into Nathaniel if memory serves Anders doesn’t even ask about the Warden, who Nathaniel is presumably still serving under! He doesn’t ask Zevran about the Warden either, even if you romanced him in Origins! Basically just the fact that DA2 doesn’t acknowledge your approval value with Anders even while remembering such things as whether or not you slept with Isabella in the Pearl irks me. This is your carryover companion, Bioware! Try a little harder to remind us of that!

Anyway, moving on. Honestly so much about Fenris and Anders’s dynamic bothers me? I remember seeing a post about how maybe actually after a while they settled into actual discussion and learning from each other but Varric decided to spice it up by keeping them super aggressive in his storytelling, which I do like better, but in the canon story? I mean, they’re just playing hot potato with the misery poker at this point. And do not get me started on the guy with the spirit of justice in his head approving of selling someone into slavery. I don’t care how much he hates Fenris, Justice disapproved of having a pet cat in Awakening! And Bioware seriously expects us to believe that the guy with, again, the spirit of justice in his head would wave off fucking slavery because “mages have it worse”? I do not buy that. It makes far less sense now than it did in Awakening, where Anders had spent most of his life in a tower where elves were at least nominally on equal footing with humans and was only just getting out in a way that was likely to be permanent.

And of course, the big one: the whole thing where the narrative flattens Anders forcing a confrontation by blowing up a building that’s closed at night and only really has a couple people in it even during the day to kill the woman signing off on the mass slaughter of innocent people with the expectation that if the Templars are really interested in justice they will execute him instead of killing the mages of the Circle to just “crazy mage blows up a building and kills huge numbers of people to force everyone to go to war” pisses me off. This is a series that allows you to justify abandoning an entire town to be killed by skeletons! In this game you can sell your friend to slavers! And yet there is no serious moral discussion about Anders’s actions. It’s bad, case closed, no possible justification for it. And... other people have made this point more eloquently than me, but it seems pretty obvious that they made it a big, dramatic (and incredibly nonsensical, what the fuck is even happening with that explosion, was the point not to do it without magic, why did it look like that) explosion to set off that knee-jerk “explosion = terrorism” response that most people have; a public killing didn’t have to involve blowing up a church, now did it? I don’t believe for a second that a man who could plant a bomb in the Chantry without anyone noticing despite being a known apostate couldn’t find a way to get Elthina out of the Chantry and into a public area where she could be killed dramatically and without any risk of collateral damage from his own actions, especially with the situation reaching the point where she was having to directly interfere to keep the chaos from going too far. Hell, even burning it down would’ve been better (and honestly more satisfying I think, given how much time every other part of Kirkwall spends in flames)! Note also that in Trespasser, which would’ve been written well after 2 came out and people started talking about how Anders had a point, they have a bit where Varric talks about massive death tolls and enough rubble to change tidal patterns in a port city. The destruction of one building cannot do both those things! I don’t actually think it could do either given we’re shown that it is practically empty when it goes up, but it certainly couldn’t do both! We were not supposed to actually... think about this explosion. We were supposed to conclude that Anders was wrong because explosions are Bad and then when people didn’t come to that conclusion they crammed in a bunch of nonsensical bullshit about death tolls and tides without considering whether that made any sense from a logic standpoint in an attempt to push us to stop questioning it. And... in a series that put so much thought into complex morality in the first game, that was just a massive disappointment and step back in the complexity of the morality. And almost certainly the first step towards Inquisition’s “Well actually in this conflict where one side wants to be allowed to imprison and torture people and the other side wants to not be imprisoned and tortured both sides are just as bad as each other” bullshit, which just makes it even worse.

Basically at the end of the day Bioware took a complicated character with every reason to hate the Chantry and a brilliant plan for exposing just how uninterested the Templars are in justice (a plan that works, may I add; the Circles didn’t rebel because the Chantry blew up, they rebelled because the Templars proved beyond a shadow of a doubt that they would use anything as an excuse to murder their charges even if they had the actual perpetrator of whatever they were using as that excuse right in front of them) and flipped the narrative to “crazy terrorist mage who killed infinitely more people than logic would suggest was possible while still doing all the other shit they claim that explosion did”, and I hate that.

[aion-rsa]

Why Tom Holland Was Terrified of Playing a Bank Robber in Cherry

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All of a sudden Tom Holland is everywhere. He’s got two movies out right now–the sci-fi thriller Chaos Walking and the drug/crime drama Cherry–and the latter is making its premiere on Apple TV+ this weekend after a limited run in theaters. He also recently wrapped production on the long-developing adaptation of the Uncharted video game franchise, and he’s currently working with director Jon Watts again on their third standalone Spider-Man adventure together, Spider-Man: No Way Home.

In Cherry, based on the best-selling semi-autobiographical novel by Nico Walker, Holland stars as the title character, a young Cleveland man who joins the Army after his girlfriend (Ciara Bravo) announces she is going away to college. He returns home from Iraq with PTSD, develops an opioid addiction, and eventually turns to bank robbery to support his habit.

The often harrowing film is directed by Anthony and Joe Russo, making it the first motion picture directed by the Cleveland-born brothers since 2019’s Avengers: Endgame. Cherry marks Holland’s fourth collaboration with the Russos, following Endgame, Captain America: Civil War (2016), and Avengers: Infinity War (2018), but his first time working with them without a superhero costume.

Cherry is also one of two recent movies, the other being last year’s grim The Devil All The Time, in which the British actor steps away from his generally sunny, innocent demeanor to take on a darker, more tormented character. We touched on that, working with the Russos, researching the world of addiction, and more–including little nuggets on No Way Home and Uncharted–when we hopped on Zoom recently with the young Mr. Holland.

Den of Geek: What did you respond to in the character of Cherry, as well as the script? What was your emotional and visceral response to his story?

Tom Holland: I think my initial response was that I was terrified of the idea of playing this character. It’s the type of role I’ve definitely never done before, and I was a little sort of apprehensive and questioned whether I could do it. Knowing that the Russo brothers were going to be there to support me through the job is what kind of tipped me over the edge into saying yes. But my initial response was, “I don’t think I’m the right person for this job because I don’t know if I can do that.”

You probably had a level of trust established with the Russos from working on the three Marvel pictures you did together. Did that make you feel comfortable right away?

Yeah. Absolutely. Still, I had that element of awe when it came to the Russos because they were the directors of the Avengers films, and I was still very much the new kid on the block when I was making those films. It was really nice for me to get to know them both on a more personal level and, obviously, that level of trust grew as the film progressed. It grew and it grew and it grew, and it’s now to the point where Joe and Anthony could ring me up, and I would be on set for them in a heartbeat. The trust between the three of us definitely grew.

How is their style of directing different on this? Was there more of a personal rapport because of the fact that they’re not dealing with the same kind of visual effects as in the Marvel movies or servicing 50 different characters?

I felt a little spoiled to be honest, because I was getting their utmost attention. But I mean, their direction style didn’t change in the way that they spoke to people, in the way that they addressed people, in the way that they treated people on set. But the style in which they would use the camera or the way they would get you to portray or work in a certain scene is very different because, obviously, it’s a very different type of film.

But from a logistical standpoint of how they made the film, they were basically the same two guys, just having fun. It’s nice to see two people who are so in love with cinema just having a good old play and figuring it out as they go along.

Was it interesting and maybe refreshing for you to do a film where you’re not in the Spider-Man suit for so much of the movie, and you’re not acting against a green screen?

Absolutely. Working on green screen and blue screens and wearing a spandex Spider-Man suit is amazing, and it’s awesome and I love it, but there’s something freeing about everything on set is what is in the shot, what is in the story. I don’t have to imagine anything, because everything is a tangible asset and is right there in front of me. It’s a different process, and I love both equally. But it was nice to kind of have a change of pace and dive into something a little bit smaller.

How was it working with Ciara on her first feature film? Was it easy to establish the rapport with her?

We were so lucky with Ciara. I remember when I watched her audition tape, when the boys had cast her, and they sent it to me just to say, “By the way, this is the girl who’s going to play Emily,” for the first time in my career, I was so intimidated. She just has this gravitas that she brought to the character in her take that was so amazing.

I was really excited to work with her and I was really happy when I found out that her and I were very similar and had a lot in common. We became very, very good friends, which was so valuable for us, because this film was such a difficult film to make, physically and emotionally. The fact that we got along so well meant that we could help each other through the process. She was like my emotional support person, and I was hers, and it was great. We were a little team.

Do you take a role like this, or something like The Devil All the Time, knowing that these are going to not just challenge you as an actor, but show a whole different side of you to an audience that maybe only knows you as Spider-Man?

I love playing Spider-Man, and I think it comes with its own set of challenges. I think sometimes people overlook that superhero films do require performance, a character arc, building up a backstory, an objective of where you want to go. It’s just these films are very different. They’re very different in style, but they’re not very different in the way that you make them. The process of making a film is pretty similar. They just spend less money, and it’s less blue screen. But, yeah. I enjoyed the sort of creative freedom of making a film a little bit darker.

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Did you get to meet and talk with Nico Walker? I know you did meet with some people with addiction problems, as well as some veterans.

I’ve never actually met with Nico. We were supposed to meet a few weeks ago, but for some reason, our schedules kind of got a bit jumbled up, and we couldn’t get together. But I hope to meet him. He’s obviously the one person that I’m really nervous about watching the film, because we took a portion of his life, and we turned it into this piece of art, and I hope it’s something that he likes.

But we did loads of research when it came to speaking to veterans and people suffering from PTSD and substance abuse, and it was so valuable in the making of this film, because I couldn’t have made this an authentic experience for the audience without having that information from those people. I’m very grateful that the men and women I spoke to were very open to talk about the things that they’d been through, which were sometimes very harrowing.

What did you learn that maybe you hadn’t known before and were able to apply to the part?

Wow. I could go on and on. I think one of the biggest things for me that helped drive a lot of the motivation in the scene was that once you’re hooked on heroin, all you can think about is getting more heroin. It was a really good kind of catalyst to tell these stories authentically. I think that was one of the most valuable things I took away from my research.

What was the most physically challenging aspect of the shoot?

The most physically demanding portion of the film was dope life, when I was losing all the weight, and I was skinny, and I was having to starve myself. And robbing the banks was tiring, because I was so weak from being so skinny and frail, I guess. So that would easily be the more physically demanding aspect of the film.

Apple TV+

You also play this character as he ages over 15 years. Is it fair to say this is the first time you’ve actually played a character who’s aged over that kind of span of time?

Absolutely. On The Lost City of Z, a James Gray film I did, there was quite a large progression in age, but I was no way the lead of that film. A lot of my stuff sort of happened off camera. Obviously in Cherry, you are with this character from the beginning to the end. That meant that I had to do a lot of the growing on screen, and it was difficult. It was tricky, because trying to play older, to me, felt very fake. That’s where I was so lucky to have my amazing makeup artist, Rachael Speke. She did a wonderful job of aging me up throughout the course of the film.

It was difficult, and I just had to trust the Russos and that they knew what they wanted and they were happy with what they were getting. But it wasn’t the easiest thing in the world to do.

Is that something that you would like to apply to other characters? As you continue to play Spider-Man, would you like to see him age a little more noticeably, if it’s appropriate?

Yeah. Peter Parker is a character that everyone knows and loves. It would be really interesting to sort of find a side to him that people haven’t seen before. Whether or not we do that, I don’t know.

What can you say about Spider-Man: No Way Home in terms of how it expands the MCU and how it evolves Peter’s character?

Well, there’s not really much I can say, obviously. What I can say is that I’m having the time of my life making it. It’s so fun being back with Jacob [Batalon] and Zendaya, and [director] Jon Watts. The film is incredibly ambitious, and I’m delighted to say that we’re succeeding in making it. It’s going really well. We watched a fight scene that we had shot a few weeks ago, and I’ve never seen a fight scene quite like it in the MCU. I’m really excited for audiences to see that.

You also just recently wrapped Uncharted. What do you think people will see in that if they’re not fans of the video game?

Well, an interesting idea and one that I really think lends itself to our film, is that when you watch a video game film–if you’re a fan of the games–I often wonder, “Why would you watch the film?” Because it’s less immersive. You can go and be that character. Why would I just want to watch that character?

But what we’ve got is we’re telling the prequel story of how the character, Nathan Drake, became this worldwide known character. For the fans that love the games, they’re getting an aspect of the story that they’ve never seen before. And the people that haven’t played the games are getting a really nice introduction to a character. It kind of works for everyone.

It’s a really fun film, and the action is amazing, easily some of the coolest action I’ve done so far. I had a lovely chat with Tom Rothman, the chairman of Sony, he saw the film, and he’s over the moon with it. If the boss man is happy, then everyone is happy. We’re really good.

Cherry premieres on Apple TV+ on Friday, March 12.

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