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thesunnyshow · 4 years

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Name: reya

Writing Blog URL(s): @chu-ni

Age: 19

Nationality: african-british

Languages: english, swahili, korean

Star Sign: libra

MBTI: enfp/entp (it always changes lol)

Favorite color: purple!

Favorite food: i really love chicken burgers

Favorite movie: princess and the frog

Favorite ice cream flavor: vanilla!!

Favorite animal: elephants

Go-to karaoke song: fancy - twice

Coffee or tea? What are you ordering? caramel frappe with whipped cream, in general i prefer tea though

Dream job (whether you have a job or not)? secretary general at the UN….or an author

If you could have one superpower, what would you choose? making anyone agree with me and do what i want them to do

If you could visit a historical era, which would you choose? ancient egypt!!

If you could restart your life, knowing what you do now, would you?.....no.

Would you rather fight 100 chicken-sized horses or one horse-sized chicken? neither if i could lmfao but i’d go for 100 chicken sized horses

If you were a trope in a teen high school movie, what would you have been? the nerd who’s actually really pretty after she gets a cool makeover

Do you believe in aliens/supernatural creatures? im not sure about aliens, but i definitely believe in ghosts and spirits.

What are some small things that make your day better? when i can have moments to myself to enjoy my own company. or when someone asks me what i want to eat and they bring it for me 🥺

Fun fact about yourself that not everyone would know? uhm…...probably the fact that i write fanfiction lol..but outside of that! i sing in the shower. and i talk to myself a lot.

What fandom(s) do you write for? nct dream currently, but in the future i want to expand to other groups!

When did you post your first piece? 17th of June 2018.

Do you write fluff/angst/crack/general/smut, combo, etc? Why? i can never write just one genre. predominantly i write fluff with a dash of angst for spice simply because i love a story that has an issue and then having that issue be resolved for a happy ending. when i started my blog i was 17, and so i said i wouldn't write smut. now that i'm older im feeling more and more comfortable writing suggestive content at the very LEAST.. so maybe in the future i might write smut, who knows? i like writing fluff because i like making people feel good, but i like adding angst to it because i feel like the contrast between the two is very *chefs kiss* to me.

Do you write OCs, X Readers, Ships...etc? i only write x readers!

Why did you decide to write for Tumblr? i first got tumblr when i was 13 years old and i was a fresh kpop fan lmfao. i wanted somewhere that shared my interests. of course i discovered x reader fics on here and i was in awe, i guess of how much power writers had in contributing to fandom content and keeping readers satiated. i’d always loved to write and so i’d always wanted to start my own writing blog, and for 2 years i did write for other blogs! it wasnt until 2018 that i finally took the leap and decided to start my own, because i wanted to impact people's emotions and take them on a journey through my writing.

What inspires you to write? what inspires me….teen movies, music!! music is a big one for me, and also the books that i read. i also grew up playing otome games so the plots and writing from those influence my writing a lot.

What genres/AUs do you enjoy writing the most? i really enjoy writing royalty!aus as well as exes!aus. i love to do them cause they require me to build a world and with royalty aus specifically i love weaving together bits of political intrigue, or arranged marriages, etc. its so much fun!!

What do you hope your readers take away from your work? that if this world is too rough or too much, you can always escape from it. it might not be physical, but immersing yourself in a universe that's entirely different for a little while can help soothe you.

What do you do when you hit a rough spot creatively? usually i try and take breaks. the problem with that is that my breaks can go on for longer than i’d like and im trying to fix that. so my other solution is to read read read!! read as much as i can, or go back to books that i loved. ask myself what i liked about the writing, what are some parts that i thought were amazing examples of good writing - i note them down then see if i can apply that to my own work. another thing i do is take a break from writing my longer, fleshed out works and write blurbs! blurbs are a great way for me to write but not feel like its tedious because i don't have to spend as much time on them and it gets me into the groove of writing without feeling stressed out.

What is your favorite work and why? Your most successful? my favourite piece of work is miscommunication. it took me months to write that, even after i lost all the work halfway through, and its the longest piece of work i have written so far, so its kinda like my baby. my most successful is candy jar. its also the work i owe my blog exposure to - it was the first piece i published, and it was also the first piece of writing i did in around 4 years.

Who is your favorite person to write about? i don't have much out for them, but i really enjoy exploring mark’s and jeno’s characters. they're people, but in my work i enjoy analysing them and judging how they’d act in different contexts.

Do you think there’s a difference between writing fanfiction vs. completely original prose? the only difference for me is that fanfiction (depending on the fandom) has some of the stuff fleshed out for you already, such as the world its in. if youre the type to write AUs then the only thing you already have is the characters - the planning, the writing, the drafting, and everything else is still the writer's responsibility. therefore there isn't much of a difference between the two for me.

What do you think makes a good story? a good story, to me, is one that takes me on a journey. it could be any genre, but i like to feel immersed and connected to the characters and the world in it. also aside from the obvious, like good grammar, a good story feels natural to read. i don't feel like skim reading half of it.

What is your writing process like? my writing process consists of me getting inspiration - usually from a song, or a film or a book ive read or a game ive played - i note down my idea and who i want the story to be about, and then bullet point the whole story, with some snippets of particular dialogue i want the reader or the other person to say at certain scenes. i then open another document ( i have a writing app on my phone, called werdsmith, so i use that!) and set a word count goal i want to hit so i can track my progress and start writing the fic, with fleshed out language and exposition. when im done (usually after a couple weeks up to a few months, depends on the length of the plan) i read through it to fix any mistakes, then i transfer it to docs so i can read it again and italicise any areas i feel need it.

Would you ever repurpose a fic into a completely original story? i...don't think so. mainly because the original fiction i read and would like to write for myself is predominantly fantasy, whereas the fanfic i write on my blog is usually non-idol, normal fics.

What tropes do you love, and what tropes can’t you stand? im a SUCKER for enemies to lovers, royalty ofc, “and they were roommates”, and i think superhero aus are really cool but there isnt enough of them :( idol/you as member aus....not feeling her… also abo/werewolf/vampire aus….not feelin em

How much would you say audience feedback/engagement means to you? a LOT. a HUGE amount!! i said before how i like giving my readers somewhere where they can immerse themselves as an escape, even for a short while. hearing about how my work affected them, made them feel, makes me feel less insecure about what im writing and thus more confident to publish it.

What has been one of the biggest factors of your success (of any size)? i’d say reblogs. and also putting out more content. when i first uploaded candy jar i went to my one of my favourite writers (jaeminlore) and asked her if she'd be okay with reading it and giving feedback. to my surprise she loved it and her reblogging it to all her followers is literally what gave me a bunch of followers all of a sudden who loved what i’d written. to keep that momentum i created more and more content, and while i haven't uploaded as often as i've wanted to or written as much as i’d wanted to, i can say i have a good amount of work on my masterlist for people who are looking for more to read.

Do you think fanfic writers get unfairly judged? 100%. fanfic has an unfair reputation for just having bad writing and cringey fics (and i feel like this is because of the way society views the demographics who predominantly consume and create it), when in reality i feel like those who write fanfiction are extremely talented and selfless people. they're on the internet creating content for free for people to enjoy and like any other work of art they're putting time and effort into it. i think it should be respected. any form of art is going to have its good and bad sides.

Do you think art can be a medium for change? hmmm….yes. i feel it can be a way to reflect the thoughts of people and also be a way to inspire people to do more.

Do you ever feel there are times when you’re writing for others, rather than yourself? sometimes. sometimes i feel like i'm forcing myself to write because i feel like if i don't then people will forget about me or they’ll forget about my blog. while what i choose to write about is for me, i feel like the speed of my writing and what im writing isn't to the quality i want it to be cause i feel like i gotta get it out for people to read.

Do you ever feel like people have misunderstood you or your writing at times? i've never felt that way!

Do your offline friends/loved ones know you write for Tumblr? only 2 of my friends know, and i only told them like. a week ago!

What is one thing you wish you could tell your followers? i wish you guys would message me more! i'm quite a sociable person, and i’d love to have regular anons who talk to me 👉🏽👈🏽

Do you have any advice for aspiring writers who might be too scared to put themselves out there? i think one common thing amongst all writers is that we write what we want to read. so don't feel like nobody's gonna read your work, cause somebody will. you gotta act like your work is top tier even if someone says it isn't - always write the best you can, and just do it! like don't even give yourself time to overthink it, write that fic, make it look pretty, upload it onto tumblr and do not be afraid to ask your favourite fic writers to read your work once its up!! i’d be happy to read and give feedback for any fic writers as well so don't feel afraid!

Are there any times when you regret joining Tumblr? ive been on here for 7 years….i grew up on this site lmfao. but i don't think i regret joining tumblr once.

Do you have any mutuals who have been particularly formative/supportive in your Tumblr journey? shes not very active anymore and i miss her very much but user hyuck-s was so supportive and i love her!!

Pick a quote to end your interview with:

she believed she could, so she did.

BONUS ROUND: K-POP CONFIDENTIAL

#@chu-ni #thesunnyshow #featuredauthor #episode 32 #nct dream

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vitalmindandbody · 7 years

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Blockbusters assemble: can the mega movie live the digital era?

From Star Wars sequels to superhero dealerships, blockbusters still rule the film industry. But with Amazon and Netflix tearing up the freeing planneds, are they on shaky sand?

Is the blockbuster in hassle? On the surface, to hint such a thing might seem as absurd as handing out the wrong envelope at the biggest phenomenon of the movie docket because you were busy tweeting pictures of Emma Stone. This is the blockbuster were talking about. Its Luke Skywalker, Jurassic World, Disney, The Avengers, Batman, Superman, Spider-Man, Pixar. Its the Rock piercing his fist through a structure. Its the effects-driven culture juggernaut that powers the entire film industry. Does it look as if its in trouble?

A glance at the balance sheet for its first year to year would cement the view that the blockbuster is in insulting health. Total gross are higher at the present stage than any of the past five years. Logan, the Lego Batman Movie and Kong: Skull Island have all drew in big-hearted gatherings globally. And then theres Beauty and the Beast, a true-blue cultural phenomenon, currently racing its method up the all-time higher-rankings. All this and theres still a new Star Wars instalment, another Spider-Man reboot, Wonder Woman, Justice League, Alien: Covenant, Blade Runner 2049, plus sequels of (* deep breath *) Guardians of the Galaxy, Cars, World War Z, Kingsman, Transformers, Fast and the Furious, Planet of the Apes, Despicable Me, Thor and Pirates of the Caribbean still to come. Hardly the signs of a crisis, it would be fair to say.

Dig a bit deeper though and the foundations that blockbusters are built on start to look precariou. Last-place month, Variety produced a fib that painted a picture of an manufacture scared stiff by its own future, as customer flavors accommodate with changes in technology. Increased pres from Netflix and Amazon, those digital-disruption barbarians, has caused the big studios to consider changing the behavior they exhaust movies. The theatrical space, the 90 -day cushion between a cinemas introduction in cinema and its exhaust on DVD or streaming, is set to be reduced to as little as three weeks in an attempt to bolster dwindle dwelling amusement sales. Its a move that service industries sees as necessary, as younger onlookers develop more adaptable, portable viewing procedures, and certainly numerous smaller productions have begun to liberate their cinemas on-demand on the same day as in cinemas it was one of the reasons that Shia LaBeoufs Man Down grossed a much-mocked 7 in cinema.

Ana De Armas and Ryan Gosling in Blade Runner 2049. Photograph: Allstar/ WARNER BROS.

At the same time, investors from China long thought to be Hollywoods saviour have suddenly chilled the best interest, cancelling major studio slews as the Chinese box office abides growing hurtings( with domestic ticket auctions merely increasing 2.4% in 2016 against a 49% rise the year before)and the governmental forces crackdown on overseas investment starts to burn. Contribute to that a couple of high-profile recent busts Scarlett Johanssons Ghost in the Shell, Matt Damons The Great Wall, the unintentionally creepy Chris Pratt/ Jennifer Lawerence sci-fi Passengers, Jake Gyllenhaals Alien knock-off Life and you have an manufacture thats not as expanding as the blockbuster bluster might suggest.

Hollywoods response to this instability has been to double down, focusing on blockbusters to the exclusion of just about everything else. In the past decade the summer blockbuster season has mission-crept its lane well into spring, a phenomenon that has been period cultural global warming; this year, Logan was liberated a merely three days after the Oscars intent. The ensuing consequence is of a full calendar year of blockbusters, with a small drop-off for Oscars season in January and February and even in that span this year we still visualized the liberations of The Lego Batman Movie, The Great Wall, John Wick 2 and the regrettable Monster Trucks.

Meanwhile, the mid-budget film that hardy perennial that used to help prop up service industries by expenditure relatively little and often deserving plenties( belief Sophies Choice or LA Confidential) has largely been abandoned by the major studios, its potential profit margins seen as insufficiently high when the cost of things such as commerce is factored in. Which isnt to say that mid-budget movies dont prevail, its merely that theyre being make use of smaller, independent studios ensure Arrival and Get Out for recent successful specimen or most commonly as TV series.( Theres that Netflix, disrupting situations again .)

In essence, what this all means for service industries is the fact that it blockbuster or failure. Studios have looked at the altering scenery and decided to react by replenishing it with superheroes, war wizards and CGI mortals, acquiring more blockbusters than they used to, but fewer films in total. The old-fashioned tentpole formula, where a few large-scale films would shelter the mid-range and low-budget nonsense, has significantly been abandoned. The blockbusters are about reducing the films these studios produce down to a minimum, reply Steven Gaydos, vice-president and executive editor at Variety. They clear nothing but large-scale bets. You have to keep improving a bigger and more efficient spaceship.

Its a high-risk strategy and one that, in the form of Disney and their Marvel, Star Wars and Pixar dealerships, has brought big rewards. But this abrupt ratcheting up of the stakes means that the cost of default has already become far more pronounced. Last-place time Viacom was forced to take a $ 115 m( 92 m) writedown on Monster Trucks, while Sony took a writedown of roughly$ 1bn on their entire cinema disagreement after a faltering couple of years.

Hugh Jackman in Logan. Photo: Allstar/ 20 TH CENTURY FOX

While those losses might be explained away as the outcomes of bad stakes on bad films Monster Trucks was infamously based on an idea by an executives five-year-old son they hint at the holocaust who are able to ensue if a broader, industry-wide difficulty were to present itself. Namely, what if the public loses its appetite for the blockbuster?

Its not entirely without instance: in the late 1950 s, as television would be in danger of steal a march on cinema, studios responded by travelling large-scale. Spectacle was seen as the key: westerns, musicals and sword-and-sandal epics predominated. But gatherings soon thrived tired of these hackneyed genres and ticket auctions continued to shrink. That era the industry survived, thanks first to the infusion of vitality provided for under the jumpy, arty New Hollywood films, then later with the early blockbusters such as Jaws and Star Wars.

Could such a mass tuning-out happen again? Surely, theres an spooky resemble in the way that Hollywood has reacted to changing durations with width and spectacle, but also in their narrow focus. Once an sexual thriller such as Fatal Attraction or a musical drama such as Footloose might have reasonably been considered a blockbuster. Nowadays the blockbuster almost exclusively is still in the action, fantasize, boys cinema or superhero genres.

The superhero film including with regard to towers huge over the industry, as every studio tries to replicate the formula set by Marvel. Ever-more niche caped crusaders are being given their own cinemas Batgirl, Aquaman, the Gotham City Sirens in an attempt to unearth a new Deadpool. Spider-Man and Batman have once again been rebooted in an attempt to freshen up the respective franchises. And, of course, everyone wants their own cinematic macrocosm a immense galaxy of characters that together can generate a apparently infinite number of spin-offs, sequels and prequels. At this very minute, the creators of Call of Duty are actively seeking to turn their shocking shoot-em-ups into a series of interlocking films, while James Cameron a director whose preferred approach of cracking a seed is with a sledgehammer, you suspect is creating a universe around his smash-hit Avatar, replete with five sequels, graphic novels, actual fictions and, most bewilderingly, a Cirque du Soleil show.

These shared natures actively tribunal the sort of gatherings who will turn up to every movie, buy the action fleshes, don the cosplay outfits and ingest the branded breakfast cereal in other words, teenage sons. The dominant ideology is fanboy culture, says Gaydos. It is adolescent. It is the conflicts by violence. It is wish-fulfillment, spectacle and diversion phone and delirium, if we are seeking to get Shakespearean.

Truly, the geeks have inherited the earth. But what about the rest of us? How many people have the time, force or inclination to sit through, say, all the cinemas in the forthcoming Universal Monsters shared universe, which begins this year with a reboot of The Mummy and has resuscitations of Wolf Man, Van Helsing and the Invisible Human in pre-production? Greenlighting this serial of movies without be seen whether anyone is going to bother to watch even the first of them looks like a risky struggle, and the most recent plight of the Divergent YA movie franchise, whose recent movie is being exhausted as a Tv movie due to lack of interest, offers up a cautionary tale that studios should perhaps be paying attention to.

Cars 3. Photo: Allstar/ WALT DISNEY PICTURES

But whats impressing about all these blockbusters is how youth-skewed they find themselves, at a time when a one-third of cinemagoers in the US are over the age of 50. Older gatherings can experience The Avengers as much as everyone else, of course, but sloping your sell primarily towards young people is a risky strategy. Young parties tend to be the most fickle audience, one whose attention is split in thousands and thousands of regions, mentions Gaydos. Theyre too the gathering least able to splash out on cinema tickets. And of course theyre an audience who are becoming increasingly accustomed to watching material on their phones, laptops and smart TVs.

In other terms, theyre the ones likely to action through the seismic change service industries is currently fretting over. If they lose interest in the modern blockbuster in the way that younger audiences turned away from the westerns, musicals and historic epics in the 1960 s, the studios will have to find something glistening and brand-new to wave in their faces and this time they wont have something akin to the New Hollywood to court them with, as that kind of transgressive, edgy, groundbreaking fare is increasingly revolving up on the small screen.

Perhaps the best thing the studios can do in the face of this new world is to show some imagery in how they develop and present their blockbusters and there are signs that this is already happening. Producer Stephen Woolley, who has worked on cinemas such as The Crying Game and the forthcoming adjustment of On Chesil Beach, quotes Deadpool as a film that has subtly managed to shift the feeling of the superhero movie. Its taking a much more sophisticated viewpoint of that world-wide and ridiculing it, while at the same reinforcing it. It was a clever have-your-cake-and-eat-it from the people who made it.

Meanwhile, Disneys successful live-action reimaginings of their animated pieces most notably Beauty and the Beast and The Jungle Book suggests that its possible to play the sequels and remakings activity without it seeming like a retread over old floor. Most outstandingly of all, the musical think this is making a comeback with the success of La La Land, that rare mid-budget movie to have spanned over into blockbuster status, grossing more than $400 m at a budget of $37 m.

Woolley is aware of the risks twirling all over the blockbuster, but considered it important that mass extinguishing is still some road away, if it ever comes. The chance you have is that audiences are fickle, and they could abruptly turn off, he says. Something occurs for them to say: Actually, we dont such as those movies any more. And theres always this inkling that it might materialize. But every time it seems to happen on the blockbuster front, another movie comes out to prove you wrong.

Ultimately, though, what might keep the blockbuster safe for the time being is not the films themselves but all the stuff around them. The thing that the studios are doing is something akin to a hypermovie or a supermovie, mentions Gaydos. Its a whole other thing. Its a toy-delivery arrangement. A Cars movie will gross $500 m or $600 m but the Cars commodities will exchange$ 4bn. Ultimately the movie is designed to be a monster sell implement for merchandise and theme parks that produce billions and billions.

As Hollywood agonises over its own future, it might be that the best direction for the blockbuster to survive is to subsume itself into bigger, most secure revenue streams: playthings, recreations, merchandise, live attractions. So if you want to keep the blockbuster around for a while longer, you should get your Superman outfit on and run yourself a container of that branded cereal.