#damn putting all of aster’s looks together has me noticing how my art style has changed over time haha

[astererer]

🦄 👚 💞 🧠 for Aster, Vernon, and Kaz??

Ask meme here!!

Putting things under the cut because it got Long lmao

🦄 — something wonderfully unique! a headcanon about what my muse believes sets them apart from others in their life?

Aster

Her life experience is different enough from other people’s that it makes her feel one of a kind at best, like a bit of an outsider looking in at worst. She hasn’t really met anyone else that’s shared her experience of the Galar League, plus dropping out of school early due to constant travelling at a young age has also caused her to feel a bit isolated socially. Not that she’s insecure about it, she just acknowledges that her situation was a bit unusual compared to most.

Kaz

Genuinely believes he’s the most handsome man on the planet. He’ll acknowledge other people are hot, but Kaz sees himself as a cut above the rest. Even when his face is busted from getting into fights he still has the confidence to act like he’s the hottest person in the room.

Vernon

Doesn’t see himself as anything particularly unique or special, instead he views his pokemon as the exceptional ones. Doesn’t matter that they aren’t good at battling and are just companions (except Roddy, who’s a Working Bird), he has the best ones. His special little guys :))

👚 — pretty in pink! for a headcanon about my muse’s wardrobe looks like and what their favourite colour to wear is.

Aster

I have drawn some of Aster’s outfits before!! they can be found in her tag, but I’ll stick them all here too :)) Green and orange hair is from her old design/when she was living in Nacrene City, but she still wears the same clothes!! Outfit repeater and proud of it lmao

Generally prefers vintage clothes, her wardrobe has elements of the 60s, 70s, 90s and 2000s. Likes low rise pants and skirts, and her hemlines short. Wears boots almost exclusively as far as footwear goes. At work, she prefers wearing stuff that’s comfortable, easy to move in and doesn’t matter if it gets dirty. For favourite colours to wear, she goes for deep reds, oranges and browns.

Kaz

Still working on a proper wardrobe ref for Kaz, but for now here’s some examples lifted off pinterest for the sort of stuff he wears:

On a day to day basis he dresses in outfits that are kind of edgy, dark colours and details like chains, studded belts and silver jewellery. When playing shows with his band, he goes very flashy. Effeminate and revealing, he dresses to keep the audience’s eyes on him and look sexy. Favourite colour to wear is purple.

Vernon

Like with Aster, I’ve drawn some outfits for Vernon before!!

Used to lack a sense of style until he got sick of Aster roasting his outfits over facetime and gave into her demands to “fix”. his wardrobe. He currently wears a mix of a few things he already had and some stuff Aster found for him online. Unsurprisingly, her more retro influence has rubbed off on him. Not very confident in experimenting with accessories, but he can’t really go wrong with just jeans and a decent shirt. Likes shades of green in his outfits.

💞 — you stole my heart! for a romantic headcanon from my muse’s past, or even potentially from their present.

Aster

Been on dates here and there but never had a long term relationship before arriving in Unova, it just isn’t convenient when you’re travelling and the other party might not want to leave their home region when you’re ready to explore somewhere new. Tried long distance with someone she met in Sinnoh, who wanted to stay in Hearthome City, but once Aster left for Alola things fizzled out on her end within a month. She felt bad at first, but got over it quickly.

Kaz

Not a lot of romantic experience here, though when he was a teenager and the band was just starting out, Kaz dated someone who became infatuated with him after seeing him on stage a few times. He wasn’t really interested in this groupie, just wanted to soak up their attention (and maybe use the relationship as an opportunity to have sex for the first time). Things ended abruptly when he got bored and told them to fuck off.

Vernon

Had a boyfriend when he was in his last couple years of school. It was a pretty normal, if awkward, first relationship for both of them. Vernon was the one who got dumped, though it was mostly mutual. The boyfriend was about to go to university in another city and wanted a fresh start (read: get drunk and be promiscuous during freshers week without cheating on someone). Vernon had already started his training to become a cabbie pretty much the moment school ended for them, and had less and less free time to spend with his boyfriend anyway, so while disappointed he figured it would be for the best if they parted ways. Have not spoken to one another since.

🧠 — brain vs. brawn! a headcanon of two times in my muse’s life: one where they used their intellect, and one where they used their physical strength or skills.

Aster

Intellect: Aster would be put to the test by her mother in childhood, in that she’d frequently be taken to art museums and galleries, then the two of them would talk about the stuff on display and what Aster thought about them. This ‘mother daughter bonding time’ would cause Aster to think harder than usual about certain artworks, especially more abstract ones that don’t really look like anything specific. Caused her critical thinking skills to improve a whole bunch.

Strength: While living with Romy, Aster would occasionally help out with various things that involved heavy lifting. Packing and transporting Romy’s sculptures for exhibitions or helping set up sound equipment when Kaz’s band would play at the apartment for rehearsals or parties. This was on top of working at the Route 3 Daycare, which is a hands-on job in itself handling other people’s pokemon.

Kaz

Intellect: Usually not very smart, but very good with a guitar. Plays by ear, messes around with alternative tuning methods and varying time signatures etc. Can’t write lyrics for shit but could probably come up with very complex instrumentals or solos given the chance.

Strength: Uses his physical strength all the time. To beat people up. Also uses his strength to wrestle with his pokemon for fun. A regular human can’t really compete with an Electivire in a sparring match, but that’s not going to stop Kaz from trying.

Vernon

Intellect: Read the entirety of James Joyce’s Ulysses and managed to make sense of it. Or the pokemon world’s equivalent of that book. He didn’t have an annotated copy so spent a lot of time looking up the relevant historical context and doing his own research to help pull the text apart more easily. Took a long time but finishing the book felt like a major achievement.

Strength: Flying on the back of a Corviknight all night requires a lot of stamina and physical strength. Flying at high altitudes while in the open air for extended periods of time while also straddling a giant bird can be exhausting, and just being able to stay on the saddle at the same time requires above average strength lest the cabbie be sent flying off their Corviknight’s back during turbulence. It’s actually a pretty dangerous occupation to go into.

[mrmichaelchadler]

The 4-Star Reviews of 2018

As the year comes to a close, and you’re wondering what to see before you make your top ten list or pick up the latest Twitter fight about awards season, we are here to guide the way. First, check out Chaz Ebert’s guide to her personal picks for films to see before the end of the year, and then peruse the 32 films from the year that our staff critic gave the highest possible rating—4 stars.

“24 Frames”

“Kiarostami was, finally, more than a great filmmaker; he was an artistic titan whose work transcends both cinema and the culture of Iran. How fitting that this lovely final film is one that could be enjoyed by fourth-graders as easily as the most knowledgeable of Kiarostami’s admirers.” (Godfrey Cheshire)

“Amazing Grace”

“Whether you’re religious or not, you owe it to yourself to see this movie if the chance arises. You’ll see how much love and feeling went into the construction of the resulting album. Additionally, “Amazing Grace” is profoundly moving and extraordinarily soothing. Nowadays we could use a good salve. To paraphrase another gospel standard, if we ever needed this film before, we sure do need it now.” (Odie Henderson)

“The Ballad of Buster Scruggs”

“What’s most bewitching throughout “Scruggs” is its sense of detail. Its meshing of formal discipline and screwed-down content sometimes give it the sense of a work that has been carefully and elaborately embroidered rather than photographed.” (Glenn Kenny)

“Black Panther”

“For all its action sequences (they’re refreshingly uncluttered, focusing on smaller battles than usual) and talk of metals that exist only in the mind of Stan Lee, “Black Panther” is still Marvel’s most mature offering to date. It’s also its most political, a film completely unafraid to alienate certain factions of the Marvel base.” (Odie Henderson)

“BlacKkKlansman”

“This is not only one of the year’s best films but one of Lee’s best as well. Juggling the somber and the hilarious, the sacred and the profane, the tragedy and the triumph, the director is firing on all cylinders here. "BlacKkKlansman" is a true conversation starter, and probably a conversation ender as well.” (Odie Henderson)

“Blindspotting”

“This movie swings between high drama and low comedy, and between terrifying danger and sweet moments of near-romance. Then it climaxes with an intense, brilliant monologue that is an almost otherworldly dare, a piece of performance art that some viewers are bound to question. Like all great movies, “Blindspotting” is a force to be reckoned with and wrestled with. No matter where you land in your assessment, your expectations are guaranteed to be shattered.” (Odie Henderson)

“A Bread Factory, Part One: For the Sake of Gold”

“A Bread Factory, Part Two: Walk with Me a While”

“This is my favorite film of the year by far—and when I say "film," singular, I'm referring to both halves of "A Bread Factory," because they flow together in the mind. As of this writing, I've seen both parts three times. With each viewing, I notice new things and am more moved by the characters, who are unique and eccentric in the way that real people are, but written and acted with the economy and directness that distinguishes characters in well-constructed plays or short stories—ones where the storytellers know what they want to say and how best to say it.” (Matt Zoller Seitz)

“Burning”

“The three main characters circle warily, looking at each other with desire, mistrust, need, never certain of the accuracy of their perceptions. Lee's explorations require depth and space. It's a great film, engrossing, suspenseful, and strange.” (Sheila O’Malley)

“Elvis Presley: The Searcher”

“The image of Elvis shifts, depending on the entry point. What is so refreshing—damn near redeeming—about HBO's two-part documentary "Elvis Presley: The Searcher," premiering on HBO on April 14, is that the entry point is Presley's art.” (Sheila O’Malley)

“First Reformed”

“Paul Schrader’s “First Reformed,” in which Ethan Hawke brilliantly plays an alcoholic Protestant minister undergoing a profound spiritual and psychological crisis, is a stunning, enrapturing film, a crowning work by one of the American cinema’s most essential artists.” (Godfrey Cheshire)

“Happy as Lazzaro”

 "While it renders a touch heavy-handed in the film’s final act when Lazzaro hastily tries to put his fairest foot forward amid a world ruled by merciless capitalism, Rohrwacher still manages to pack an undeniably poignant punch with the simplest of questions: in a world defined by helplessness and social injustice, how far would one get by instincts of basic decency alone? Easily among this year’s finest films and laced with an unapologetic social message, “Happy As Lazzaro” dares one to imagine a reality where each individual would task themselves to be as selfless and morally whole as its main protagonist. If only." (Tomris Laffly)

“Hereditary”

“Aster and the cast make you care about these disturbed people and fear what they might do to one another, themselves and strangers. When something awful invariably does happen, you feel sadness as well as shock, because now it's going to be even harder for the Grahams to climb out of the pit of sadness that the grandmother's death cast them into, and finally address past traumas that they've been ignoring or covering up.” (Matt Zoller Seitz)

“The Insult”

“Altogether, the accomplishments of “The Insult” place Doueiri in the company of such masters of politicized suspense as Costa-Gavras and Asghar Farhadi. A great director already, he is surely one to watch in the future.” (Godfrey Cheshire)

“King in the Wilderness”

“In Kunhardt’s film, the embrace of quiet, ordinary moments not only aids in the illumination of King himself, but also in the America in which he preached. The camera lingers on the normalcy of city streets, suburban neighborhoods, and churches, juxtaposing these peaceful places with chaotic footage from the '60s: loud, chaotic, taken with shaky cameras, or immortalized in static photographs.” (Arielle Bernstein)

“Leave No Trace”

“Everyone needs to choose their own way. In "Leave No Trace," Granik creates a specific mood, gloomy and yet redemptive, sometimes simultaneously. The redemption is painful, though, because it comes with such a hefty price.” (Sheila O’Malley)

“Let the Sunshine In”

“To add a twist to this demonstration, Denis breaks it off late in the movie, and jumps briefly into someone else’s storyline, someone who had been a stranger up to this point. Then the filmmaker wraps it up in a final shot that’s both cerebral, whimsical and wry in its wisdom. The film’s confidence comes in part from the acceptance of the things that can’t be known.” (Glenn Kenny)

“Life and Nothing More”

“Without ever spelling it out, Esparza shows us how our treatment of one another as members of the same human family is a direct rebuke to the divisions enforced by tyrants to keep us frightened and isolated. In its poetic simplicity, the film’s deeply moving final shot suggests that our estrangement can be mended the moment we choose to lock eyes and listen to each other, allowing our voices to rise above the deafening cries of our presumptions.” (Matt Fagerholm)

“Makala”

“The power in this story from comes from its very distilled manner: it tells a timeless story about hard work by completely immersing us in the steps of process, focusing on an act of incredible physical commitment.” (Nick Allen)

“Memoir of War”

“Among its many notable achievements, “Memoir of War” is one of the best films I’ve seen about the ways in which grief can pull a person in both directions simultaneously. Whereas the film’s first half plays more like a thriller, the second half proves to be an emotionally wrenching interlude perched on pins and needles.” (Matt Fagerholm)

“Minding the Gap”

“This movie doesn't just give you the general outlines of its main characters' lives and send you out wiping away tears; it paints a vivid picture of lower-middle class life in a depressed American city (Rockford, Illinois) that movies rarely show us.” (Matt Zoller Seitz)

“Mission: Impossible – Fallout”

“It’s got that finely-tuned, perfect blend of every technical element that it takes to make a great action film, all in service of a fantastic script and anchored by great action performances to not just work within the genre but to transcend it. This is one of the best movies of the year.” (Brian Tallerico)

“Monrovia, Indiana”

“Wiseman, who customarily mans one camera, oversees the audio mix and edits his films, is 88 years old now; despite its lack of overt subjectivity, the movie seems preoccupied with mortality in a way that has little to do with its ostensible subject. I hope Wiseman is well and happily at work on his next film. But there’s an implication of a testament here that makes “Monrovia, Indiana” unalike in a poignant way.” (Glenn Kenny)

“The Other Side of the Wind”

““The Other Side of the Wind” is a very rich film and a very difficult one. I’ve seen it nearly three times now and what I intuit about the aspects of it that “work,” and those where the seams just show too nakedly shift all the time.” (Glenn Kenny)

“Private Life”

“This film is a reminder that the smallness of life can feel huge when we're in the middle of it. A perfect final shot sums up everything "Private Life" has been telling us and showing us, while letting us imagine Rachel and Richard's destiny for ourselves.” (Matt Zoller Seitz)

“The Rider”

“Chloé Zhao’s “The Rider,” is the kind of rare work that seems to attain greatness through an almost alchemical fusion of nominal opposites. An account of rodeo riders on a South Dakota reservation, it is so fact-based that it almost qualifies as a documentary. Yet the film’s style, its sense of light and landscape and mood, simultaneously give it the mesmerizing force of the most confident cinematic poetry.” (Godfrey Cheshire)

“Roma”

“Cuaron has made his most personal film to date, and the blend of the humane and the artistic within nearly every scene is breathtaking. It’s a masterful achievement in filmmaking as an empathy machine, a way for us to spend time in a place, in an era, and with characters we never would otherwise.” (Brian Tallerico)

“Shirkers”

“Cardona may have taken something from them they will never fully get back, but Tan’s documentary returns the narrative back to her and her friends. He no longer has the last word on “Shirkers,” they do. And isn’t reclaiming our stories what this cultural moment is all about?” (Monica Castillo)

“Shoah: Four Sisters”

“This is minimalist directing of a high order, practically invisible in its choices and effects, but repeated so often that it seems unquestionably indicative of a very particular style—one that aims to create the conditions necessary to birth a compelling though understated remembrance of unimaginable pain. The story is shaped in the process of recording it, rather than being excessively manipulated after the fact.” (Matt Zoller Seitz)

“Shoplifters”

““Shoplifters” feels like a natural extension of themes that Kore-eda has been exploring his entire career regarding family, inequity, and the unseen residents of a crowded city like Tokyo. With this movie especially, his characters and their predicament are not merely mouthpieces for the issues that interest him but fully-realized people who feel like they existed before the film started and will go on after it ends.” (Brian Tallerico)

“Widows”

“The emotional currents that power Steve McQueen’s brilliant genre exercise are different—it’s societal inequity, exhaustion at corruption, and outright anger at a bullshit system that steals from the poor to give to the rich. McQueen’s masterful film is the kind that works on multiple levels simultaneously—as pure pulp entertainment but also as a commentary on how often it feels like we have to take what we are owed or risk never getting it at all.” (Brian Tallerico)

“You Were Never Really Here”

“"You Were Never Really Here" is a taut and almost unbearably intense 90-minutes, without an ounce of fat on it. Ramsay doesn't give you a second to breathe. It's grim, it’s dark, it’s delirious fun.” (Sheila O’Malley)

“Zama”

“”Zama” is a mordantly funny and relentlessly modernist critique of colonialism that makes no conclusions, ultimately resting on a scene of verdant nature not entirely stained by humanity.” (Glenn Kenny)

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