#hot guy actors 2020

[kkginfo]

Australian singer-turned-actress Olivia Newton-John, 73, has died | KKG INFO

Australian singer-turned-actress Olivia Newton-John, 73, has died | KKG INFO

by IANS August 9, 2022 09:44 IST Disaster Australia bushfire Australian actress and singer Olivia Newton-John, best known for her role as Sandy Olson in the blockbuster movie “Grease” and for such hit numbers as 1981’s “Physical,” died Monday, her husband said in a statement. She is 73 years old. Her official Facebook page confirmed the news in a statement Monday, saying, “Dame Olivia…

[tygerland]

[very-grownup]

So a couple years ago, I fell into watching Chinese dramas and because my posts about the most recent one garnered some curiosity, here are the dramas what I have watched.

Hikaru no Go

DID YOU KNOW. DID YOU KNOW. THAT IN 2020 THERE WAS A CHINESE DRAMA ADAPTATION OF HIKARU NO GO AND IT IS AMAZING AND MADE ME CRY ALL OVER AGAIN? It is faithful in spirit while making understandable alterations both for the setting and to avoid managing child actors for the entirety of the series (there are about six episodes with Hikaru/Shi Guang as an elementary school student before a time jump to high school).

If you are unfamiliar with Hikaru no Go I recommend becoming familiar with Hikaru no Go, my first and still one of the best sports manga. It's what Takeshi Obata was the artist on before Death Note and my hot take is that Obata post-Hikaru no Go is mid at best.

Hikaru no Go is a sports series about the most normal boy finding an antique go board that houses the soul of an ancient go master who died too young and with go regrets, so he bullies/guilts the boy into helping him play go so he can see or play a divine go move. In the process he acquires a rival/stalker in the form of the genius son of a go master. It's amazing and the drama absolutely does it justice.

The heart of the series is the relationship between Hikaru/Shi Huang and Fujiwara no Sai/Chu Ying.

It's just a fucking good series.

The Untamed

According to one description on imdb, this is about two friends solving a series of murders. This is technically true, although it neglects to mention a few details.

Sixteen years after doing a whole lot of demonic blood magic shit and dying because of it, hated by society, Wei Wuxian (Xiao Zhan) is brought back from the dead by more super demonic blood magic and is recognized by his noble and esteemed peer/friend Lan Wangji (Wang Yibo) and trying to deal with why Wei Wuxian has been brought back from the dead leads to their investigating a series of murders that result in their becoming entangled in wider political schemes stretching back twenty years.

It's got weird pacing, prolonged flashbacks to explain a lot of the relationship dynamics, and basically an entirely self-contained sub-story that brings the main plot to a grinding halt. There are creatures and CGI effects of interesting quality. There are amazing wigs. There are piles of corpses. There's physical torture and emotional torture and some doomed love stuff and sword fights and musical instrument fights and a donkey and chicken theft and brotherhood and what you're willing to sacrifice for your goals and what goals you're willing to sacrifice for and it is based on a novel that ends in the protagonists raw dogging on the side of the road.

That part's not in the show.

Douluo Continent

Ignorant country boy Tang San (Xiao Zhan) finds himself involved in the world of martial arts and magic after discovering a hidden talent and ends up in the group of fellow martial artists who are all weird or unorthodox or hiding crucial bits of their backstory like girl who is actually a rabbit and immediately decides Tang San is her best friend/husband (Wu Xianyi), guy who needs to become powerful enough to kill his older brother (Gao Taiyu), girl who rejected an engagement to the would-be brother killer and wants to fight him (Liu Mei Tong), guy who wants to ditch martial arts to become a great actor (Liu Run Nan), and girl who is too rich to be here (Ding Xiaoying). They learn together, they grow together, they fight monsters and embark on a tournament arc, and there's an overarching mystery about Tang San and his weak but simultaneously super powerful spirit summoning.

Even though the best technique is clearly the one where the boy in question can summon a sausage that you eat and heals you.

It's very much of a specific genre that can be pretty samey, but Douluo Continent has a charming cast that makes up for its predictable plot beats.

It does end on a cliffhanger that is possibly resolved in the sequel series where ... all the main characters were recast with, I'm guessing, slightly less pricey actors. Such is the way of things.

Word of Honour

Do you like knowing what's going on? Then get the fuck out of here, Word of Honour is not for you. Real ones want to be immediately submerged into chaos and confusion and secret identities. You want Mr Bones' Wild Ride in plot form. Why has former superassassin Zhou Zishu (Zhang Zhe Han) abandoned the sect of assassins he created to live in wandering drunk anonymity as he slowly dies? Why is Wen Kexing (Gong Jun) stalking him aside from poorly censored horny desires? Is Wen Kexing actually a ghost? Can any of the impressionable youths attaching themselves to Zhou Zishu and Wen Kexing be stopped from their very poor choices in role models? What is up with this legendary hidden armoury and why do Zhou Zishu and Wen Kexing seem unable to escape the conspiracy around it? HOW HARD IS IT TO GET WOLONG'S FAMOUS NUTS?

Not recommended for people who constantly want to know what's happening or why X is doing Y, but great if you want to watch with someone and then after an episode, walk your dogs and try to figure out what's going on and what's going to happen (you will be wrong).

Advance Bravely

What if the most ridiculously unrealistic and unhinged slashfic by a teenage girl who doesn't fully understand anything was adapted into a drama series where censorship means everything must be painted with a special "no homo" brush? You get Advance Bravely which is the most incoherently homoerotic thing I've ever watched. No one thinks you should watch Advance Bravely and you watch Advance Bravely and you agree but sometimes you just have to watch a beautiful trainwreck where the protagonist explains his lack of a girlfriend with erectile dysfunction and the series climax involves his being, essentially, trapped in a well.

Love Between Fairy and Devil

DO YOU WANT TO GO FULL SHOUJO MANGA FANTASY?

Innocent fairy Orchid (Yu Shuxin) just wants to strengthen her immortal spirit and pass the exam that would let her serve in the palace of the fairy capital so she can catch glimpses of the War God Chang Heng (Zhang Ling He) who she is hopelessly in love with. Instead, an attempt to help her crush causes her to bumble her way into the high security spiritual prison that has held Dongfang Qingcang, the Moon Supreme (Dylan Wang), for 30,000 years.

DO YOU LIKE BIG NUMBERS BECAUSE YOU WILL GET TO SEE SOME BIG NUMBERS IN TERMS OF TIME SPAN AND AGES.

Because of some plot magic, Orchid and the Moon Supreme swap bodies and loophole out of prison, much to her distress. Their fates are tied together and Orchid becomes more familiar with the wider world and the politics between the realms and how much the fairy realm's supreme ruler fucking suuuuuuuuuuuucks while Moon Supreme finds himself having feelings again after they were tortured out of him in a mystical coffin prison as a child.

Moon Supreme's closest friend is a dragon. Orchid's closest friend is an opportunistic snakeoil saleswoman. There's a pissy younger brother and a bitchy but honourable love rival. There are secret origins and reincarnation and hidden identities and the way it alternates broad comedy and melodrama and sweet romance may give you whiplash.

I just love a bodyswap, you guys.

Sailor Moon vibes but Mamoru is actually interesting and becomes likeable.

Guardian

Okay so the best thing about Guardian is not only that it's a censored adaptation of a novel with a same-sex romance, but that /the entire premise/ is altered for television purposes.

The novel is steeped in Chinese folk religion and the Underworld is real and mythical creatures secretly walk among us.

In the show?

ALIENS, BABY.

Ghosts? THOSE AREN'T REAL BECAUSE HUMANS DON'T HAVE SOULS, THEY'RE JUST ENERGY BEINGS.

It's so ridiculous it's endearing.

Anyway, it's about bros solving mysteries with a Monster of the Week vibe until it becomes about possibly the end of the world and alien domination and evil twins.

Mysterious Lotus Casebook

IT'S TIME TO SOLVE CRIMES. IN ANCIENT CHINA.

Quack doctor Li Lianhua (Cheng Yi) is just trying to live a quiet life with his dog and his horse-drawn house. Fang Duobing (Joseph Zeng) just wants to gain admittance into the martial art cop organization that's carrying on the legacy of his dead teacher, Li Xiangyi, who was maybe never actually his teacher and also wasn't killed ten years previously by Di Fei Sheng (Xiao Shunyao), the head of an evil martial arts sect who is also not dead. Not nearly as many people as people think are dead! Identities are cleverly hidden behind pseudonyms and various levels of mask!

Crimes are solved and Li Lianhua is very tired about the whole thing. It's an unwilling buddy cop sort of thing until it becomes about youthful hubris and the sins of the past and also one woman's determination to conquer the world and give it to the man she loves, even if he doesn't want the world and also doesn't love her. We love a woman who takes what she wants and if necessary cuts a man's tendons and imprisons him in a torture pool so his blood can't clot until he agrees to be her wife, don't we, folks?

Folks?

Story of Kunning Palace

The scheming empress Jiang Xue Ning (Bai Lu) dies and wakes up, eighteen-years-old, at the point in her life where she's on the verge of making the start of the decisions that lead her to the Very Bad End. She is going to make different decisions this time and prevent the things she regrets and avoid becoming the empress at all costs.

What you need to know about Story of Kunning Palace is that Bai Lu could have chemistry with a rock and she inadvertently collects a bisexual harem. Her end game love interest is Xie Wei (Zhang Ling He), the man who killed her, an advisor to the emperor, music teacher, double or triple agent, and sufferer of vampire snow madness and a fear of cats, whether adorably fluffy or badly CGI'd. But she's in love with noble civil servant Zhang Zhe (Wang Xing Yue), a pure and hardworking man who she seduced into betraying his principles, leading to his imprisonment and probable death. However, her childhood friend Yan Lin (Zhou Jun Wei) is in love with her and previously she rejected him VERY HARSHLY after his family fell into disfavour due to political machinations and Jiang Xue Ning had cemented the likelihood of her marriage to the next emperor. Also there's Princess Le Yang (Liu Xie Ning), who Jiang Xue Ning made an enemy of after the Princess fell in love with her when Jiang Xue Ning was crossdressing and did not take the reveal of her true gender well. Xue Shu (Elisa Ye) is an unfavoured daughter of a scheming lord who was the only truly loyal person Jiang Xue Ning knew as empress. ALL OF THESE PEOPLE FALL IN LOVE WITH JIANG XUE NING and you look at Bai Lu and go 'yes, that makes sense'.

It's mostly about the politics and scheming and Jiang Xue Ning trying to find a way to have a stable, satisfying life without betraying everyone she knows and standing on a pile of corpses, but the love shape Jiang Xue Ning isn't fully aware she's in is comparable in complexity to the plots between ministers and lords and dowager empresses and cousins and rebels.

The choices the characters make are maybe not always the best choices, but DAMN are they a good time.

Story of Kunning Palace is also one of the only times I have begged a character in a show to take a particular action and then she DID IT and fuck it was satisfying.

The Sleuth of the Ming Dynasty

IT'S TIME TO SOLVE CRIMES. IN ANCIENT CHINA. AGAIN. BUT WITHOUT MARTIAL ARTS.

Tang Fan (Darren Chen) is a low-ranking government official and detective genius who loves food and hates routine work, but loves a fucked up crime. Since he spends most of his money on delicious food, he writes trashy porn under a variety of pseudonyms to pay his rent. Sui Zhou (Fu Meng Bo) is an imperial guard and ex-soldier with PTSD who has no time for nonsense but loves the passionate pursuit of justice and food. He's also From Money and has a very empty house that Tang Fan whines his way into after they solve a case together. Everyone is manipulated by dangerously powerful eunuch Wang Zhi (Liu Yao Yuan) who is the enemy of basically everyone, except for Tang Fan, who has the political and social awareness of a rock.

An amiably pathetic man solves a variety of mysteries, from murder to complex imperial assassination plots and also this really complicated one involving diluting the purity of silver currency, and also the executive producer is Jackie Chan.

It's missing the romance subplot that I understand is in the source novel and also apparently there's an overarching plot involving a cult?! which we don't get here, but there's lots of bombs which are almost as good as a cult, maybe? (They're not.)

Divine Destiny

This is the one we're currently watching and the ride that this show is. How many plots can be crammed into one show? How many ridiculous but true things can I say about this show?

Ji Ruochen (Ma Tianyu) is an orphan who dreams of martial arts adventures. Raised by a couple who run a Crime Inn, one day a customer robbery goes very wrong when the customer turns out to be the latest incarnation of Yin Feng, the Banished God (Marius Wang). Ji Ruochen accidentally kills the Banished God and his foster parents promptly take the body into the desert and dump it down a cliff, but not before taking a necklace made from a piece of Gu Qing, the Blue Stone Goddess (Xuan Lu), which is supposed to let her recognize the Banished God in their final incarnation. Accidentally stealing the Banished God's identity, Ji Ruochen finds himself a hotly desired commodity by the cultivation sects who are all eager to have the Banished God as a disciple for prophecy reasons. He goes with Zhang Yinyin (Angelababy), a feisty, argumentative girl who has had to work extra hard because her spirit was contaminated by a demonic root planted by the evil nine-tailed fox who is poorly imprisoned in a cave anyone can access.

MEANWHILE some dudes with amazing moustaches and a penchant for laughing in delight at their own evil have found the body of the Banished God and done some questionable mystical shit to put him in a new body and nurture a grudge against Ji Ruochen for stealing his identity.

THEN Gu Qing meets Ji Ruochen and like everyone else assumes he's the Banished God and she falls in love with him (Gu Qing having been a literal rock spirit who cultivated to immortality under the guidance of the Banished God, who followed her into the mortal realm and a cycle of 100 incarnations after Gu Qing accidentally Did A Crime) but then falls in love with HIM.

ALSO Zhang Yinyin is always at risk of succumbing to the temptation of using the demonic fox power that is within her even though that will literally turn her into a demon but maybe it's worth it if a woman who is actually a goddess who is actually a rock is making eyes at the junior you brought into the sect and are in love with and you want to be more powerful than her?

ALSO what's the mysterious power that let Ji Ruochen kill the Banished God in the first place?

IS the woman seeking revenge for the death of the Banished God's mortal incarnation his sister or his cousin or his "cousin"?

WHY is the only love language of immortals stalking?

There's a homunculus and a baby snake demon who is the most precious angel in the world and so many evil dudes delighted in how evil they are and TWO GOOD AND ALIVE PARENTS and a pair of comical monks who have a special attack with a name they have to shout out every time they use it.

Oh and the imprisoned fox demon may have an ex who just hangs out on a rock in something called the Endless Ocean wearing a mask and playing go against the homunculus he made.

And there's an ancient master who lives in an ice mountain and eats memories of love.

Also some people might be secret demons.

There's some weddings.

There's a tiny woman with an ice sword who brutally murders so many dudes.

Do you like CGI birds?

Do you like giant mechanical CGI birds that are for riding purposes?

There's a desert hermit who has a son who is a giant tortoise.

So many things are going on and terrible decisions are constantly being made and it's over a week before I can watch another episode and it's driving me mad. WHAT WILL BE THE FALLOUT OF THE MOST RECENT BAD DECISIONS?

[new-sandrafilter]

Timothée Chalamet Goes Electric

In Chapter Three of our ongoing project, the young actor talks candidly about coming of age over the last few years — a process he calls “adultifying" — during which he turned a professional corner, discovered a cohort of colorful peers, and learned to embrace his spirit of rebellion.

By Daniel Riley

Photography by Cass BirdOctober 17, 2023

“I don’t even know if I want to share this with you because it’s quite intimate,” Timothée Chalamet said, “but as an actor, you sort of live at a dining room table in your head, and you have about 30 personalities at the table, and you’re trying to attend to them, without going crazy.”

Assembled at the table were, yes, the many characters he’d embodied in films. But there were also the versions of himself that had been constructed in public and reflected back at him. There were the versions constructed through truth. The versions constructed through conjecture. The versions constructed through outright fabrication. And then finally—lastly—there was the person that he actually was and is beneath it all.

“And it was when that guy didn’t align with the first ones that things could get very trippy.”

One weeknight this summer, after when I typically go to sleep, Timothée Chalamet—the real one—came by my apartment building in downtown Manhattan. It was steaming hot and he had his hood up and a jean jacket on. Layers. He had a mask, too, a holdover for so many of his kind, even as a mask in public, at night, draws more eyes your way than it diverts. He was walking with pep, with freedom of movement.

He preferred to prowl his hometown at night these days, like Batman, when he can move readily in the shadows. Batman was hungry. “Do you know where I can get a sandwich?” he asked me.

After walking a little, he looked up. “I would just go there, but is there a better place than that?”

It was a grimy bodega that I know to be run by cats.

I persuaded him to get a bowl of pasta from a place that was willing to stay open late. We talked about his forthcoming blockbusters, Wonka and Dune: Part Two, and the transformation that had occurred both professionally and personally since the last time I saw Chalamet, in 2020.

“I bet I’m way calmer than I was talking to you in Woodstock,” he said.

That was the first COVID summer, which he’d spent between New York City and upstate New York, doing his best not to lose his mind. He was 24 years old then and an emerging Hollywood star, with all the opportunities laid out before him that he’d spent his early life fantasizing about. And yet there he was—there we all were—stuck, suspended mid-life, and bursting at the seams to get back to work. “I had spent a lot of time after high school with my head in the clouds, imagining a life as an actor, and totally oblivious to the life I was actually leading,” he said. “I was out of touch with an in-touch life. And during COVID, it flipped, and I was forced to become very in touch with my increasingly out-of-touch life. It was not good for me.”

But when I saw him this summer, he was three years older, three years wiser, and willing to indulge me with measuring the distance between then and now. For those keeping score at home, this is Chalamet’s third GQ cover, and the third story we’ve done in what has become a sort of longer-term project in progress. Six years ago, when I met him in his initial blush of fame from Call Me by Your Name, I saw up close a person in the last moments of their Before life. Three years ago, when we met for Chapter Two, I saw up close a person reckoning in real time with that rocket ship of fame and acclaim. And then this summer, here we were again, doing a version of what we’d done before—just walking around, hiding out, and otherwise taking stock of a moment in time in an early and extraordinary career.

“Even going to my friend Julian’s apartment,” he said, “there’s a Polaroid, ’cause he Polaroids everyone who has lived in the apartment, and there’s one of me from 2015, and when I see my expression there, I’m like: Man, I feel like I’ve lived seven lives since then.”

It was not just the stack-up of time—but the pivot he felt he was riding from one phase of his life and career to another. He brought up the recent bestseller Four Thousand Weeks (thesis: A good life is only 4,000 weeks, so how do you plan to not waste any of them?) and the 27 Club (he was now 27 himself) and the creeping fog that had slowly then suddenly enveloped people his age. “You start going on Instagram, seeing people from your high school getting married, friends having kids, and you start going: This balls-to-the-wall thing, even at this amazing level I’m at that probably couldn’t have gone better—you still start wondering, How long till you have to change?”

Material change was not that simple. This was, after all, one of the most beloved young actors in Hollywood. This was someone who had been told he was plenty good enough precisely as he was. This was a young man who, when he emerged—as though fully formed both onscreen and while promoting films, in both his talent and ebullient charm—went on one late-night show and was implored before a live audience to: Don’t ever change! Please don’t change!

“People are going to roll their eyes that these are actual problems to have,” he said, “but that is an interesting challenge to have to feel like for your life and your work and your art, that these are things where there actually shouldn’t be an evolution.”

“It’s like Bob,” he said, meaning Dylan, whom he’d been preparing to play in the forthcoming James Mangold film, A Complete Unknown, for over three years now. His head was in it, Dylan day and night, and he was attuned, as ever, to echoes between his own life and the stories he was training to tell. “The Dylan metaphor is going electric,” he said, referring to the infamous moment at the 1965 Newport Folk Festival when Dylan, that era’s one true acoustic god, plugged his guitar into an amp, brought out a band, and started to really rock. “Now, the great thing about going electric is that was in the name of art. That was an act of rebellion and a push in a musical direction that happened to be…. So I don’t want to say….” He wasn’t saying it—but he was straining to maybe connect the metaphor to some other things on his mind, as well. “God, it’d be so ironic to talk so much about acting and the art and the work, and then get caught in a loop about the demands of a public life. But…”

It went like this. The balance of indulging the aching artist’s desire, on the one hand, and navigating the blessing and burden of celebrity on the other. He took deep breaths. He knocked on wood a lot. On more than one occasion he broke into a confession with: “I definitely want to contextualize this with an attitude of gratitude—I heard Denzel say that on Desus & Mero.” He did not want to tread hastily, he did not want to toss any of it to the wind. “Every career is a miracle,” he said, with real gravity. But it might feel good, necessary even, for a little rebellion.

As we strolled through the Village after his midnight snack, every block sparked a memory. Here was the theater where his grandmother, mother, and sister were all part of the same dance piece. Here was where the first party was where kids were drinking “Mike’s Hard.” Here was the bookstore where he first met Ralph Fiennes and proudly declared that he’d just done a movie with Luca Guadagnino. I shared one of my own. Here was where Jennifer Lawrence lives, I said.

“Really?” Chalamet said. “Should we see if she’s home?”

We kept on moving to the place he was staying during his time in town. It was getting very late, and was very possibly the stillest night of the summer. No Taylor Swift concert close by. No film set in production. No playoff game just let out. It was, I will say as a now longtime resident, the absolute last circumstances in which one would expect to spot a movie star. And yet there, out of nothing, came a male cry from down the street, out the window of a passing cab.

“Timothée?!?!”

He looked toward it, head down and shoulders hunched. “Whattup.”

“Oh! My! God!” the voice replied, having been validated with a bull’s-eye.

A few blocks later, it happened again.

“Oh, my God!! Can we…?!”

And he slipped into photo mode, like a robot butler whose switch had been flipped to the On position. “Where are you guys from?”

I apologized for leading him through the heart of NYU.

“These are my people,” he joked.

Despite getting hounded by photographers or stopped or recognized, he still loved walking around New York on his own. It was what he’d done all his life, as everyone else did. It was equalizing, he said, even the idea that an air conditioner can drop on your head at any second.

But in recent years, it was his intense familiarity with those daily rhythms of his in New York City that made him realize it might be time for a major pivot. “After one too many days of doing the same thing, I just got this overwhelming sense that I was still playing the same hand of cards I’d had for a long time—but that I had a better hand to play,” he said. “I was living in this rental place that didn’t feel like home. I was getting the same bacon, egg, and cheese at the same deli. Resisting any lifestyle change.”

All the while his circumstances had changed. He had grown older. The movies were bigger. His profile was immeasurably larger. But he was holding onto something—why? He had seen it up close in Hollywood. The man-child. The people who so loved playing characters that they played characters in their real lives, too, without actually transforming themselves into more mature human beings. He knew the cliché about celebrities staying developmentally the age that they were when they became famous. But how is a beloved movie star meant to change the right way? How is he supposed to grow up? How does he meaningfully evolve his life and art without killing his core? This was only the most important thing there was for Timothée Chalamet. It might be worthwhile to chart the course. “All I knew,” he said, “was it was time to level up.”

After our time in Woodstock in the summer of 2020, Chalamet flew to Budapest for Dune: Part One reshoots and got sick immediately. It was a familiar story after that summer spent locked down: The moment they let us out of our cages, we caught everything else there was to catch. It was another false start for him, every cell crying out to work.

It had been so onerous getting into Europe during COVID that when Dune wrapped he stayed on the continent. He spent some time in the South of France with Hedi Slimane, in Paris with Haider Ackermann, in Rome and Milan with Luca Guadagnino. Guadagnino handed him a script, Bones and All, a cannibal love story, an addiction-parable road film set at the fringes of the American middle. “Luca said: ‘I’ll do it if you do it,’” Chalamet said. This was both a validation of their fruitful creative partnership—but also a statement that seemed literally true. In the few years since Call Me by Your Name, Chalamet had become the sort of Hollywood property whose presence in an otherwise borderline project could get it greenlighted, and made quickly.

Chalamet was staying in an Airbnb in Rome, wandering around the city, just living out “a sort of blank period.” One thing he does recall is that he watched Nomadland, thought it was the most amazing thing he’d ever seen, and wanted to do something like it. Bones and All was maybe that something. He went to Milan to talk things over with Guadagnino and committed on the spot.

In the meantime, he returned to the US, hosted SNL for the first time, and prepped for his brief role in Adam McKay’s Don’t Look Up, alongside Leonardo DiCaprio and Jennifer Lawrence. He was in Boston for 24 days—14 of which were spent in quarantine and 10 of which were actually working. Chalamet, in his mellowest state, is a threat of energy, and here he was locked in another hotel room. “By the time I got to set I was buzz-ing,” he recalled, seemingly feeling the crazy in his body all over again. “That was the day Jennifer said was the most annoying day of her life, working with me and Leo. I exploded out of my room.”

He started prep on Bones and All right away that spring, still somewhat in the thrall of director Chloé Zhao’s Nomadland. Zhao introduced Chalamet to Derek Endres, one of the rootless travelers whom she cast to play themselves in the Oscar-winning film. Chalamet, who was born and raised in New York City and had spent no real time in the Midwest or the South, soaked up several blurry weeks driving around Ohio, Tennessee, and Nebraska with Derek, talking about life on the road and listening to folk music.

It’s difficult to underscore how polar the two ways Timothée Chalamet experiences time are. There are the long stretches during a movie production, during a press cycle, during a fashion campaign, when every minute is scheduled for days or weeks or months at a time. But there are other long stretches, in between the making of movies and promoting them, that are seemingly devoid of time as we experience it, with infinite expanses for developing a film character or developing himself.

Plan B producers Jeremy Kleiner and Dede Gardner, who worked with Chalamet on Beautiful Boy and The King, have a unique, rolling conversation with him about film and music and books, with references that range to the philosophical. “I think there’s a dimension of him that maybe not everybody would know necessarily,” Kleiner said, “where he just has this really wide wingspan in terms of what he’s taking in from the world around him and how that factors into what he feels he should be doing with his time.” These periods between films were historically the intervals that Chalamet said he would sometimes get “existential”—for better or worse. “Restlessness can be a pejorative term, but I mean it in a good way,” Kleiner said. “There’s a searching, a seeking.” Even early in his career, Chalamet seemed to exact total control when he was working on a film and an evolving sense of control when he was not. Those weeks on the road with Derek, those were good, restless weeks of searching, seeking.

“It’s something I think about a lot with Dylan,” Chalamet said, “that life rhythms are different. When you’re raised in the city, going stir-crazy during the pandemic, your life rhythm becomes agitated. And driving through the middle of the country listening to Townes Van Zandt, your life rhythm adjusts in a great way.”

They filmed Bones and All in the spring and summer of 2021, really moving from place to place as the characters do. His life rhythm adapted. “I got my second jab in Cincinnati,” he said, of his COVID vaccine, like it was a long-lost love, or a lyric to a Townes Van Zandt song. Lee, his cannibalistic character, wore the clothes of his victims and dyed red streaks into his hair, an act of what Chalamet called “self-styling” that he could relate to—a guy trying to express himself through his hair and his clothes. Living out of a truck at the American periphery, that took some effort to get in tune with. I saw immediately why it appealed.

Lee is an “eater,” a cannibal by blood, not choice. Chalamet plays him with an appropriate blend of swagger and self-loathing. During preproduction, reports revealed that Chalamet’s Call Me by Your Name costar Armie Hammer had been accused by several women of sharing sexual fantasies in which he represented himself as, yes, a cannibal. (Some DMs allegedly sent to one woman by Hammer read: “I am 100% a cannibal. I want to eat you.”) There were those who wondered if the seemingly ironic choice for a next film by Chalamet and Guadagnino was a little insensitive; there were those who wondered why Chalamet and Guadagnino didn’t lean into the insane confluence even more. “I mean, what were the chances that we’re developing this thing?” Chalamet said, reflecting on that strange period. When false reports suggested the film was inspired by the news, “it made me feel like: Now I’ve really got to do this,” he said. “Because this is actually based on a book.”

Chalamet’s face went stiff when I asked him to describe how he personally experienced the allegations against Hammer. “I don’t know,” he said, reluctantly. “These things end up getting clickbaited so intensely. Disorienting is a good word.”

Lee was the first character Chalamet helped develop in a major way with a screenwriter. It was also the first film he produced from tip to tail. When he introduced Bones and All to the world at the Venice Film Festival, he did so with a backless red jumpsuit from Ackermann. “When you’re promoting a smaller movie, you can stir it up a little,” he said. The role was new, subtle, and strong. There were flavors to it that felt at once different from anything else he’d done, and yet built around a center of intense familiarity. When I asked Dede Gardner how “the industry” regards “Timothée Chalamet the Entity,” whose name and face you can put on a movie poster and get to promote your film, she seemed almost incapable of looking past the pure performer: “I suspect he sits at the top of the totem pole,” she said. “But he is just so good. His gift is ferocious. His ability is just prismatic—in a way that it would by definition take him years for all the sides to show.” Lee, then, had come and gone—never to be seen again. He was already down the road.

The day they wrapped Bones and All, Chalamet cut off his blood-streaked mullet, dyed his hair brown, and flew to Cannes for the premiere of Wes Anderson’s The French Dispatch. At one point, he leaned over to costar Bill Murray and asked him what he’d whispered to Selena Gomez on the Cannes red carpet in 2019. Chalamet laughed, reflecting: “He said, ‘Fame is fleeting!’ ”

Chalamet tried to take some time off, to soak up some vacation, but, he said, “the Wonka factory pipes were calling.” Director Paul King, best known for the beloved Paddington movies, had met Chalamet in London around the 2018 BAFTAs when, like so many, he’d been bowled over and seduced by Chalamet in Call Me by Your Name. When Wonka came King’s way, Chalamet was really the only choice for the role, King said. “It was: This could be great—but it could also be great for him.” Still, King couldn’t help but wonder what this guy, whom he’d met just once, would be like now that he’d become one of the biggest stars in the world. “It’s not always a recipe for ‘charming and focused,’ ” King said. “I’m a neurotic workaholic who will sort of leave no stone unturned—and I really felt he was a kindred spirit.”

This Wonka is also a musical, and Chalamet sings and dances throughout. It is, Chalamet said, “a throwback to LaGuardia,” meaning his performing-arts high school. “We’re telling a story here. This isn’t, like, athletic naturalism. It’s a shot of earnestness and sincerity, without the cynicism or dread or all the stuff we’re exhausted by.”

He trained in New York and London with Tony-winning choreographer Christopher Gattelli. “Sometimes with someone of that caliber, it’s almost like a chore to get them to do things, especially if it’s out of their comfort zone,” Gattelli said. “But he was the exact opposite—he wanted to go and go and go and do it over and over.” Chalamet hadn’t previously studied tap, among the hardest forms of dance to learn, but once he gained his confidence, Gattelli said, he couldn’t get him to stop. “He would Skype with his mom and his grandma, just to show them, because you could tell that he was genuinely proud of himself.” Of what he was picking up, but also of the way he was sort of carrying on this family tradition from his grandmother and mother—both trained Broadway dancers. “He would joke about it—like ‘It’s in my blood!’ And I was like: It is. It literally is.”

In Wonka, Chalamet plays a young Willy, fresh off a literal boat. It is pre-factory, pre–chocolate empire, pre–midlife trauma that curdles the previous film versions of the character, who’ve turned their backs on the world. “It would’ve been so easy to do an impression of Johnny Depp or Gene Wilder,” King said, “and it would’ve been sort of horrible. Because the people who’ve played Wonka before are brilliant and captivating and have done some famously wonderful performances that people have loved. So it’s really putting your head above the parapet.”

Between the choreography boot camp in New York and London, the voice training in LA, and recording songs at the Abbey Road Studios in London, there was considerable work before day one of filming. And then the already sizable shoot doubled in length due to COVID pauses. Every time someone on the crew tested positive, it was a mandated two weeks off. Production crawled, through the fall of 2021, the winter of 2021, and into the spring of 2022, with Chalamet posted up in the UK. It was, he said, a new challenge to keep his intense focus over that interval.

There was, as well, a distraction at home. His grandmother, whom he’d been especially close to all his life, had been sick and dying for some time—and it was becoming more and more evident that he might not make it home in time. “She was always so supportive of my career,” he said, “as she was also the voice in my ear to just live as normal a youth as possible.” Before he left New York for London that summer, Chalamet had her over to the apartment he’d been renting. He set up his laptop to film what he knew might be their final lengthy conversation. They just sat there for hours talking about stuff that she had never shared with him before. “But then when she left,” he said, “I saw that my laptop had died. And that was just a little metaphor for how scattered I was during that period—like, I was present to the conversation, but couldn’t even keep it together enough to chronicle it.”

It was a lot all at once that summer and fall—from Bones and All to promoting The French Dispatch to cohosting the Met Gala to starting on Wonka to promoting Dune. “I tried doing way too much, in retrospect,” he said. It was this awareness that he brought to Paul King when, with one major scene remaining, Chalamet asked to leave to be at his grandmother’s hospital bed. Chalamet had taken pride in the fact that he’d never shut down a production, but this felt like one of those moments in life. I asked King about it. “I think it’s sometimes easy because he’s a movie star and the lead to forget that there’s also a young man at the heart of this going through something,” he said. “And it’s very easy for the film to seem like the most important thing because everyone is turning up to work, but actually there’s something far more important going on.”

When he returned to London to finally wrap Wonka, he wandered the studio lot while they prepared the final scene. He stopped by the set of Barbie to say hi to his sometime collaborator and enduring caretaker Greta Gerwig. He bumped into Jason Momoa, in full Aquaman costume, walking to a soundstage. He looked at his own Wonka overcoat and top hat. “You start to realize you’re just another job on the lot,” he said, grinning. No matter the acclaim, no matter the fame, to the crews in Leavesden in the UK, Timothée Chalamet or anyone is just another guy in funny clothes, like the many who have come before and the many who will come again. It was good medicine. It was also a sign that it was time to go home—but where on earth was that now?

“I don’t naturally feel this way,” he said, “but during the throes of COVID it felt like people that were in LA with a little more privacy had it better figured out than I did.” There were many months on movie sets ahead of him, but for the periods in between, maybe there was something more permanent to return to. So before leaving to shoot Dune: Part Two last year, he bought a house in Los Angeles on a bit of a whim. “I was able to spend 10 days in it before I went to Dune, and just having it as the home base, it psychologically helped.”

Chalamet had never had the ability to just pick right up with the same cast and crew, as he did with Dune—and the result was a uniquely complex enterprise made “remarkably smooth,” he said. “For Part One,” director Denis Villeneuve said, “it was for Timothée his first big studio-movie experience. He had assurance, but I was feeling that he was kind of vulnerable, trying to find his way on a set like that, trying to find his focus and discovering how to protect his own bubble. And on Part Two, he came to set the first day and learned so much between both movies about how to secure his focus and to own his space.”

Something else happened in the run-up to filming related to one of his new costars, Austin Butler. “It started on Zoom,” Chalamet said, “when we did a cast reading.” Was Butler still talking like Elvis? I asked him. “No, here’s the thing, he was already talking like Stellan Skarsgård.” That is, on day one of the first read-through, Butler had already dialed his way all the way into the character, the heir to Skarsgård’s Baron Harkonnen. “And you could see everyone was, like…”—he laughed a little nervously—“I can’t overstate how inspiring it was to me personally.” It persisted throughout the production. “Because here was someone who’s a little older than me, but generationally we’re similar, and I don’t know how he would put it, but his journey was different than mine.” Butler had come up via Disney Channel and Nickelodeon before breaking out in Quentin Tarantino’s Once Upon a Time…in Hollywood and getting nominated for an Oscar for last year’s Elvis. “But he takes the work incredibly seriously. And I feel like I hadn’t seen that among someone my age, whether it was in drama school or on set, that did take the work that seriously but then after ‘cut’ wasn’t, you know, in some show of how seriously they took it—and instead is this tremendously affable, wonderful man.”

What Chalamet instantly recognized in Butler was someone who would challenge his own commitment—and force him to raise his ceiling. I suggested to Chalamet, a basketball fan, that the dynamic was like a star in the NBA who’d dominated straight out of high school but was suddenly confronted by a rookie who’d maybe cut his teeth in Europe and threatened his perch in the league. “Okay! Exactly!” he said. “I love that metaphor!” This was all just acting, of course. But here was someone who Chalamet felt could push him. Like: Man, I’d better practice harder.

“I think any great actor has a competitiveness to them, and Timmy is no exception,” Dune producer Cale Boyter said. “Whether that’s something they carry on the inside, or just in paying attention to what their peers are doing, a scene only gets better when one actor really brings it and then everyone else elevates.” Boyter described for me the emotional climax of Part Two, an enormous set piece that took weeks to film, and that centers on a showdown between Chalamet’s Paul Atreides and Butler’s Feyd-Rautha. “You’re talking about two of the most talented young actors of our generation facing off. I would say Timmy’s level of preparation going into the scene—well, knowing he was fighting Austin enhanced it.”

When production wrapped, Chalamet’s interest in the Austin Butler Playbook did not end. “You asked me what I’ve been doing in LA this year?” he said at one point. “I’ve basically been working with his entire Elvis team for my Dylan prep. There’s a wonderful dialect coach named Tim Monich. Vocal coach named Eric Vetro. Movement coach named Polly Bennett. I just saw the way he committed to it all—and realized I needed to step it up.”

There was another person who had been in Chalamet’s ear—or at least his inbox—about the greater spectrum of training required for this new phase of leading---man-dom. “After I met Tom Cruise, right after finishing the first Dune, he sent me the most wonderfully inspiring email,” Chalamet said. It included a Rolodex of sorts of all the experts he might need for stunt training. A motorcycle coach. A helicopter coach. “He basically said, in Old Hollywood, you would be getting dance training and fight training, and nobody is going to hold you to that standard today. So it’s up to you. The email was really like a war cry.”

While filming Part Two, in the summer and fall of 2022, Chalamet said he saw Top Gun: Maverick eight times. On one occasion, he bought out a movie theater in Budapest for two bucks a seat and took the whole cast and crew. “Top Gun was just hugely inspiring to me last summer when we were making Dune,” he said. “Some of the crew were kind of scoffing at going, but I just thought it was one of the greatest films I’ve ever seen.”

Dune: Part Two marked the beginning of a new sense of self and purpose for Chalamet, who clearly embraced the opportunity and the responsibility of standing in the center of the frame in these bigger films. “Action-wise,” Villeneuve said, “I felt that he was much more trained than in Part One, and ready for the fighting sequences. I was impressed by his level of discipline for Part Two. You know, when you are the lead on a movie, there’s a presence, the way you approach your work and your discipline will necessarily have a ripple effect on the rest of the crew. He was the first one on set, always ready. And I was super pleased and impressed with how Timothée really embraced that discipline and became, for me, a real leading actor on this film.”

It always feels rare for an audience to witness a real-life off-screen pivot in a movie—someone growing up, someone breaking down, someone redeeming themselves. Call Me by Your Name was one of those pivots: a true coming of age, a transformation before our eyes. And here now, it seems, was another. “In Part One,” Villeneuve said, “the camera was capturing the performance of a teenager—I’m talking about the character, someone who was learning about the world and experiencing a new reality. But Part Two is really about someone who goes from the boy to the man, and becomes a leader, and even, I will say, a dark charismatic, messianic figure. It was the first time that I witnessed someone growing in front of my camera.”

When Dune wrapped in December, Chalamet returned to his new house in Los Angeles. He spent most days since, he said, “Dylan-ing hard.” He’d been rereading Dylan’s Chronicles, and it felt newly important to him to protect the artists’ imperative Dylan lays out there: “You need your ability to imagine, your ability to observe, and your ability to experience,” Chalamet said. “And if any one of those is compromised, your ability to create is compromised in some way.”

The place in LA provided him new cover to do just that. It was a sanctuary—a key to novel comfort, peace, and freedom. The house used to belong to Kenny G, and Pete Sampras after that. It had a beautiful tennis court, over which Chalamet had rolled in a basketball hoop and a Ping-Pong table, on which he was training most days for a potential new film. He was always toiling on the next thing or things. Preparation for roles that may or may not come to fruition. And some new things outside of acting. It was all top secret, he said, but one of those new projects sparkled, the other got you drunk. This spring and summer, though, it was Dylan in Position A.

Chalamet was very aware that the last time we talked at length, he was also deep in his preparation to play Bob Dylan. He had been, both literally and metaphorically, carrying around his guitar with him for three years now. He teamed up with Butler’s vocal coach, Eric Vetro, first on Wonka and then again for A Complete Unknown prep. Vetro, who’s worked with a number of actors on their high-profile music roles, singled out Chalamet for his balance of anything-is--possible enthusiasm with reverence for the work: “He does everything with such a playful air, but there’s always that core of real seriousness where he is gonna nail it.”

That balance of spirited and sober, of young and old—it was the lightning running through his body and mind at all times. When we’d been talking about celebrities staying forever the age they were when they got famous, he’d joked: “The trouble with me is I had an 81-year-old mind when I was 17.” That duality will probably make a pretty good Dylan. The voice work, Vetro said, was not about creating a perfect copy: “It’s taking on all the characteristics of Dylan’s voice and his mannerisms and his speech patterns, and bringing that into the music—so that when you hear Timothée do the music, what you’re really getting is the essence of Bob Dylan. You’re not getting an impersonation of him. It’s breathing new life into that voice that we know so well.”

Chalamet has not yet met Dylan. “I didn’t want to three years ago, because I just didn’t want to for superstitious reasons,” he said. “Now I would love to.”

The study of Dylan was aiding him in ways large and small. “Bob is like my Fame for Dummies,” he said. “It’s a different thing now because there were so few people who were that well-known then that you could really just dodge everything and be unknown.... But I still try to learn from him.” Do the work. Then disappear. Do the work. Then disappear.

Chalamet spent much of the first half of 2023 keeping a low profile, disappearing. What was most important, for both him and his work, he said, was to protect the piece of his humanity that fuels performance. “You’ve got to have the experiences in your personal life that are usable to you,” he said. “The experiential rush of my career taking off was so new to me that those were the experiences that were feeding my work for a while. But you’ve got to have real experiences. Human experiences. You’ve got to fall in love, you’ve got to be bored. I talked about the crease in the cushion of the couch the last time we talked”—that is, in 2020, his bone-deep desire to get off his rocket ship and reacquaint himself with stillness, with just sitting on the couch for a minute—“but I never found the crease in that time! I never slowed down. I never disappeared from view. But this year, in LA, I feel like I have in a great way.”

On the occasions that he did pop up, the world took notice. The first time, in January, was in an Apple TV+ ad—where he experiences FOMO watching all his contemporaries star in hit Apple shows and films. The ad is charming, knowing, and cuts devilishly close to the old anxiousness I’d encountered earlier in his career.

The second time, in April, was when he was spotted filming a Bleu de Chanel commercial in SoHo with Martin Scorsese. When they first started talking about doing the spot together, Scorsese asked Chalamet if he’d ever seen the 1968 Fellini short Toby Dammit. Recalling it, he laughed (no, he hadn’t), but the first jolt of the 80-year-old director’s energetic vision was exhilarating. It didn’t let down during the shoot: “We were in Queens at four in the morning and he was bounding up the subway stairs,” Chalamet said. “It should’ve occurred to me sooner that I try to find something to work on with him. Yes, it’s a perfume ad, but for me it was an opportunity for an enormous education.” The result is another cunning facsimile of reality in which Chalamet sends up a caricature of himself. “It’s not lost on me that the only things I’ve shot since wrapping Dune,” he said, smiling, “are ads for billion-dollar companies satirizing a version of my life.”

Over the past six years, as Chalamet became famous and then very famous, he sometimes found himself measuring the distance between the real Timothée Chalamet and these varied perceptions of him. The dinner table of Timothée Chalamets. But this was precisely the sort of needle spinning that seemed to have subsided. This summer, it seemed the signal for true north was evident and clear and that the other noise was receding. He couldn’t control how the distortions traveled. He could only control who he was—and he was happy to own it.

Which related to the other time Chalamet popped up in early 2023. This spring, he was spotted on his way to Tito’s Tacos in Culver City. Notable only because the person he was supposedly with was Kylie Jenner, and the photos of each of their SUVs in proximity to the other spun around the world instantly and sparked rumors of a possible pairing.

Chalamet is not naïve about how celebrity culture works. In fact, besides living it every day, he is perhaps the foremost member of the first generation of mega-celebrity who himself was as internet obsessed with his favorite artists as people are with him. Kid Cudi. Leo. Et cetera. He is a product of that fever, in no way above it, and so he understands the desire to get close, to get all the way in. “I can’t say that this stuff doesn’t matter,” he said, “because my intense fandom has led me to where I am.” But he also bristles at the suggestion that he might not be entitled to a wholly private life.

When I told him that this is all a fair and practically inalienable right, but that if he really wanted to be left alone he might not spend time with one of the four most followed people on Instagram, he nodded and chuckled: “This reminds me of that recent South Park episode with the Worldwide Privacy Tour,” he said, referring to a send-up of Harry and Meghan flying around in a private jet and appearing on a talk show to demand: We want privacy! We want privacy! “Sometimes, people are going to be hella confused when you say you’re trying to live a private life.”

After months of dodging rumors, the pair confirmed them by attending a Beyoncé concert together in LA in September, then the US Open men’s singles final together in New York, and otherwise not shying away from being out and about and affectionate together in public. Due to the SAG-AFTRA strike, I couldn’t follow up to ask him what happened to his existential plea for this part of his life to be left offstage, but I imagine he might’ve just protested: “We want privacy! We want privacy!”

That night this summer, roaming around New York, we got back to the place he was staying, and a little before 1 a.m., we really started talking. Chalamet wanted to get into the difference between how he was three years ago versus how he was now—and why.

Three years ago, he said, life was spinning. This was the moment in the cabin in the woods in Woodstock. He felt quite alone with his budding fame; literally isolated, with no one around who could really understand what was happening to him. It was like being the first one to hit puberty. He’d been “pedestaled,” he said. He did not know how he was meant to live. He did not know how a person, a person in his lonely cabin, was meant to be.

On Dune: Part One, he’d attached himself to the older men on set, men who were more like uncles than equals, like Josh Brolin, Jason Momoa, and Oscar Isaac. “I feel like for a while there, it was really just older people in the room around me,” he said. “People I love but just, generationally above. And there was a moment when I—I don’t want this to come across wrong, but I felt like I was without peers.” Whereas on Part Two, he was with his contemporaries. Other actors who understood as well as—if not better than—he does, he said, how to balance the improbable fame with the life’s desire to act well. There was Zendaya. Austin Butler. Florence Pugh. And even Tom Holland, who dates Zendaya and would visit the set.

“It was so incredibly valuable to spend so much time with Zendaya and her assistant, Darnell, and when Tom would come to set too,” he said. “They’re level. They’re good Hollywood. They’re good-energy Hollywood. And then Austin and Florence. I feel like I’m creating a community for myself of people who care about the right things.”

“In Part One,” Villeneuve said, “Timothée was a little puppy with big dogs. The younger actor with the older mentors. In Part Two, he was with friends.”

“Look at Zendaya,” Chalamet said. “Just how much she’s able to achieve while also sort of letting everything roll off her back is mega-inspiring. She’s just doing.”

Here now was his class. The people his age who’d joined him in his strange circumstances, but who’d seemingly figured it out, whom he could look up to. It brought him peace. It gave him the comfort, the fellowship, the confidence, the inspiration, and the competitive motivation to do what he needed to hold onto what was worth holding onto and move on from the rest. It was time.

“At 24, I could have been content with the way I was doing things,” he said. “But that period of being stuck or stopped ended up being tremendously beneficial. It wasn’t just being isolated. It was actually a place to sprout from. And to bring more tenacity.”

It came up again and again from those I spoke to who’d come in contact with Chalamet these past three years. Here was this actor who had been elevated in such a way that he might’ve come to believe that his immense talent was enough, that his personhood alone was worth strangers’ obsession, that he inherently deserved the center of the frame. Instead, those people who knew him well said, he insisted on bringing even more effort, as though compulsively resistant to resting on his laurels. Not me—every rehearsal, every take, every interaction seemed to say. Let other people take this for granted.

“It’s this mix of challenging yourself and trying new things and venturing into new terrain—and so there’s that evolution,” producer Jeremy Kleiner said. “But there’s also a center—there’s a moral center, an aesthetic center. Whenever we spend time with him, it’s as it was, but it’s different. And you feel that mix of continuity and evolution—”

Yes, that was it exactly. Precisely the sensation of tracing my time with Chalamet from Chapter One to Chapter Two to Chapter Three. The way in which time passes, change occurs, but the center holds. That’s how you keep your mind, body, career, reputation, and integrity as an artist intact while still welcoming the rest—somehow performing the necessary surgery to shed that which needed shedding, while taking care to preserve it.

The efforts to push higher in his work dovetailed with the efforts to push ahead in his personal life. In both cases, the antagonist was the status quo—even if the status quo was much lauded and much loved. It was all part of growing up, of actively electing to evolve into the next version of himself. Of adding new versions of himself to that dinner table, or perhaps just asking some of those versions to head home for good. “When I was sitting in my grandma’s hospital room at Mount Sinai, and I knew I had two weeks left swimming in a chocolate tank to go back to, I was like, Wow, I’ve really gotta start putting some caissons into the earth or I’m going to be in trouble. I have no real solid footing to land after all this to spring forth from again. This is why people who turn 27 and refuse to start pulling the handbrake end up dying. It’s the last gasps of your youth hitting a wall. Your body is actually adultifying.”

Chalamet had asked me if he seemed calmer than when we were in the woods together three years ago—and the difference this summer was palpable. He had, it seemed, passed through some rough air but found clearer skies. He’d taken his ship higher. Leveled up. Things were simpler there. “Yes,” he said. “It had to become simpler in order for it to become really complicated again. And I hope that when I do this next movie, and you talk to me at the end of it, I’ll be in ruins.”

He had to change something to get out of a temporary storm. As a human and as an artist. He started treating his acting even more seriously. Embracing being a leading man. Training like he’d never trained before. He ditched his apartment in New York. Bought a house in LA. Started spending time with whom he pleased. But what happens when you eschew the things that made your career what it’s become? What happens when you deliberately defy the moves that led you where you’d always wanted to go, and try something altogether different? It was a risk. But it made perfect sense. It happens. Your family members start to die. Your elders get replaced by your peers. You pack up your life and plant roots elsewhere. You put down the instrument that made you known and pick up another one instead. You plug it in. Do you hear that? That’s the buzz of something new. Wait till you hear what it sounds like when you strum.

Daniel Riley is GQ’s global content development director.

A version of this story originally appeared in the November 2023 issue of GQ with the title “Timothée Chalamet Goes Electric”

[brf-rumortrackinganon]

Do you really think Meghan actually wants to make and sell products? And that she wants to create a brand that has a real marketable potential?

Everything we have seen so far, right from 2O12/13, when she first hit some recognition with with suits, all she has ever wanted was to famous. And by association, be known as beautiful, desirable, intelligent and high value.

All her ventures were geared towards increasing her own social capital - the people she knew, the places she was seen at, what she wore, what she used, the activities she did as leisure, her knowledge of all things fine, elite, luxury.

All financial benefits she recieved were though her social capital. She did not undertake any activity that would add to her craft as an actor, which she apparently has a degree in. No auditions, no plays, no training workshops, no new longterm projects, no producer gigs or interests even after she had some financial security etc

Even the Tig was more like documenting an extended luxury vacation. All her focus was geared towards finding a rich guy with a luxury lifestyle, to settle down with. Her long term plans did not include acting, getting better projects or stable long-term business ventures.

And for all intents and purposes, she seems to have got what she wanted. We may side-eye her that she bagged Harry of all the rich eligible men she could find, we may even question her quality of life. But, she seems to be living it up pretty good.

She is miles from where she was. Harry is bringing in all the money and even if they go broke, that is never make money from their ventures, Harry's BRF connection is always the backup plan. At least financially.

She gets to live is a huge place, she is back in LA. She only ever wears designer wear. Everything she does is scrutinized and talked about, good or bad. She gets entry into places and circles she could never have imagined herself in.

Al she wants is be in special shows or docuntaries where she is the centre of attention. So she will never do a show about a charity or something. The money will keep coming in.

And a divorce settlement is always a viable option. Plus Harry is the one who has made a fool of himself infront of everyone that cared about him.

So, I don't think she cares about what products she seels, whether they could have long term money making potential etc.

She is living her dream life. And the past 7 years have only fuelled her entitlement.

So, I don't think she cares if Roop fails. Or the products are stupid.

Meghan wants to be so fabulously filthy rich and famous she never has to work again in her life. She thinks she is literally just one idea away from having it all, and we know that about her because the second she realizes it's not working, she bails.

Just look at her track record:

2011: Producer Wife

2012 - 2013: Suits

2014: Lifestyle influencer (The Tig) and humanitarian activist (Ice Bucket Challenge)

2015: Foodie

2016: Humanitarian activist (March), Tennis fan (June/July), Royal girlfriend (November)

2017: Better than Kate (January), Health/Beauty influencer (April/May), Royal almost-fiancee (June/July), Africa (August), Duchess Material (Sept/Oct), Royal rulebreaker (Nov/Dec)

2018: Shy Di (Feb/Mar), Bride (Apr/May), Country Girl (June - Aug), Global Superstar Di (Sept/Oct), New Young Mother (Nov - May 2019)

2019: New Young Mother (continued), Feminist Who Supports and Inspires Women (summer), Nobody Asked Me If I'm OK (Sept/Oct), Glam Military Wife (Nov)

2020: Protecting My Peace (January), Revenge Tour (March), Helping the Hungry Because Everyone Else Is (April), New Young Mother Again (May), Black Lives Matter (summertime), Author and Content Creator (autumn), Hot Military Wife and Nobody Asked Me If I'm OK Part 2: Miscarriage Edition (Nov)

2021: New Young Mother Part 3 (February), Still Protecting My Peace (March), Lilibet (June), The Bench, Humanitarian Activist and Time Magazine cover model (Sept/Oct)

2022: We're Still Royals Platinum Jubilee edition (springtime), Podcaster/Socialite (July/August), We're Still Royals Mini-tour edition (pre-HLM September), Grieving Granddaughter-in-Law (September), Humanitarian Activist and Netflix Superstars (December)

2023: We're Still Royals Coronation edition (March through May), Di-Chased-By-Paparazzi-in-New York (May/June), WME Superstar (June), Author and Content Creator (July/Aug/September), Hot Military Wife Dusseldorf Edition (Sept/Oct), Red Carpet Fashion Superstar (autumn)

2024: We're Still Royals Invictus Games in Canada Edition (February), Goop Wannabe (March), Duchy Originals Wannabe (April)

[endreal]

Noticed netflix got a load of DCU movies sometime this winter, figured what the heck I'll watch the suicide squad movies, got titles mixed up and started the last one first, committed to the bit and watched in reverse order over the course of about 4 weeks.

The suicide squad (2021) - kinda bad. Comic bookishly entertaining tho. Not upset about having watched it one time (esp since it didn't cost anything extra to put it on). Unexpected levels of pathos (still fairly shallow, but deeper than I'd have expected). Broadly speaking, satisfyingly attractively casted. Unsure if that's the shark that fucked Constantine or a different shark.

Birds of Prey (2020) - what to say about this movie that hasn't been said before? Sporadically gory comedy action escapade. Not sure if spin-off, AU, or narrative interlude, but serves the focus character (Harley Quinn) very well. Mary Elizabeth Winstead still hot. Only movie I'd seen before, so I knew where to set my expectations. Not remotely mad about a re-watch, even if it took two watch sessions over like 3 and a half weeks to finish. As described to my nesting partner, "it really is a love letter to a breakfast sandwich".

Suicide Squad (2016) - opens with Viola Davis' Waller introducing the idea of task force x. Obviously I'm gonna pay attention when madame EGOT herself is on the screen (authors note: in the course of writing this post, I learned what EGOT means). Is that will smith? Yeah, I trust that guy to play an emotionally complex villain/antihero. Oh wow, this is where the dcu harley quinn started huh? thank god for character growth. Ahh, so this is the joker portrayal everyone had opinions about after this movie came out. what the fuck everything about this man is terrible - I can't tell if it's the character or the actor I despise more. Watched approx 17 minutes, tapped out, removed from my continue watching list, have no plans to return to it. Ever.

[fitzrove]

Every time i look at 1992 uwe tod i come away thinking that tod just..... should be weird. We can't be having normie tods running around... I want him to be this completely inhuman figure who tries to get close to humanity (because how do you personify death??) but deeply misunderstands some things, especially things like human behaviour and emotions. Máté is good at this too, he just did it in a different way, but after those two the effect is never really potent enough again. I mean, there is something to say for prods with humanized or gentle etc tods, at least theyre doing something else than mrak seiber, but it's not quite it for me at least. He needs to be weird because Elisabeth is weird and, dissatisfied with her life, craves a poem in the flesh.

And for me personally (this is not me saying gender non conformity is weird or inhuman btw, it's not, it's just hot and looks good) i want back the mayerling dress and all that, and the actors should be styled accordingly, if he's not going to put on eyeshadow and blush and get dolled up to kill rudolf then don't fucking cast him?? There are enough musical actors out there who like straying from the mold, the overlap between drag performers and musical artists is not insignificant. Hell, if despite your best attempts macho guys are still the only guys you can find, then cast a woman (trans or cis - for a trans woman the role might be easier/not require rewrites, because of vocal range), cast a nonbinary performer. You don't really have to change stuff in the script, someone who's not a man can still be a "prince" if the styling is androgynous. It really is that simple...

also this should maybe be a separate post but 1992 is so iconic for portraying mayerling as a romance, rudolf running to embrace tod, twirly dancing, Big Damn Kiss (rudolf barely notices the actual act of shooting himself, he's so busy making out) - up until the very end, when rudolf is dumped unceremoniously on the floor. symbolism. It's such a better deeper way to tackle the subject. Suicidal ideation doesn't just beat you over the head violently, mental illness/depression lures you in with promises of a "solution" but actually only offers a miserable nothing.

This is also why it's so important for Elisabeth to get dumped on the floor as well - there's more care in that than in how Rudolf is treated, Tod is obviously distraught, but that's the point and the tragedy of the show!!!! Freedom is fleeting, dreams are fleeting, emotion is fleeting, but yearning for them is what makes us human!!

If he carries her away the moral of the story becomes "if you die you get a hot supernatural partner that's obsessed with you!!!" No!!!!!!! The romance narrative is a big lie, suicidal ideation is a big lie, history is a big lie, it's all connected, but we always cover shit up with kitsch because some people prefer a simple romantic reading to the degree that they warp the rest of the story around it. I stg people have just replaced sissi movie trilogy fairytale prince FJ (1950s) with elisabethdasmusical fairytale prince modern peugeot king mark seibert leather tod (2020s) or insert whatever other boyfriend death you prefer

[shimmerloid-ai]

Introduction - What is VOCALOID?

Hello everyone, Shimmer here! This is my first post in this guide blog thingy. I thought it would be a good idea to explain what VOCALOID actually is before I jump into how to use the software. Otherwise, it would be like baking a cake without knowing what cakes are.

So, let’s start by addressing what VOCALOID is not.

VOCALOID is NOT an anime series. Although Hatsune Miku made cameos in "Dropkick on My Devil!", she never originated from an anime series because she is NOT an anime character.

Second, VOCALOIDs are not those crappy AI voice models. You know, those weird “voicebanks” where you can make Spongebob Squarepants sing "7 Rings" or have Cartman from South Park rap "INDUSTRY BABY"? Yeah, those are actually illegal renditions of celebrity voices without the knowledge of the voice actors/influencers/singers whose voices were used to make the models. You just put the models over an audio track, and boom. Lazy, illegal shit.

Finally, this is just common sense, but VOCALOID did not originate from Project Sekai! Colorful Stage! The Cryptonloids (Miku, Rin, Len, Luka, Kaito, and Meiko) have existed long before the game was released; VOCALOID 1 was released in 2004, while the money making machine was launched in Japan in 2020. That is a gap of sixteen years, and if you compare the time between Hatsune Miku V2's release and Project Sekai, we have another thirteen year difference there.

With that being said, what *is* VOCALOID?

The best definition I can give you is that it is a digital singing synthesizer. Basically, it is an instrument, but instead of piano notes, you get vocals.

And no, *this* AKITO is not associated with the Akito Shinonome from Project Sekai.

To advertise this voicebanks and increase their appeal, Crypton, VSINGER, AH-Software Co., Internet Co. Ltd, and many other companies that make voicebanks for this software have cute or hot anime-style avatars designed for their box art. This was a great marketing scheme in my opinion, because wouldn't you be more inclined to purchasing something if it looks aesthetic, kawaii, or epic? Just look at GUMI's design!

Alright, I have a feeling I may have bored most users who are reading this weird info-dump, so I am going to add one final, important point. Remember our wood analogy? Well, we have the workbench (VOCALOID), and the wood (the voicebank(s) of your choice). Making a desk for instance would be like making a cover of a song. But people can make the same kind of desk with an entirely different appearance or texture. Similarly, a lot of producers can make covers of the same song, but they can sound entirely different in regards to their pitch, tone, or melody. This aspect is known as "tuning".

Tuning is basically the process of editing the properties of a voicebank and the notes/lyrics they are singing to create a specific sound. People can tune the same song in different ways. For instance, listen to the original "Rolling Girl" by wowaka, and then these covers. They are all the same song, but tuned in entirely different ways.

Below is the original song:

And these are all covers:

Also yeah, that last cover is mine, it's my blog, I can promote my content if I want to)

I hope that just by listening to these you can see how tuning can vary from individual to individual. Its all a matter of how you control the parameters of the singer.

So yeah, I yapped enough so I'm gonna end this infodump right here. I'm not surprised if you guys are still confused, so I'm going to leave some helpful resources down below as these people are better at explaining shit than I am.

My next post will involve some common terminology used in the VOCALOID community, such as “VSQx”, or “pitchbending”.

Goodbye for now!

[jasontoddssuper]

Jason Todd incarnations + Would i date them

Utrh movie:It's been my dream since i first watched movie years ago and doing that was the whole reason i got into DC so yes,definitely,absolutely.Slightly unrelated but i'll die on the hill that we should've gotten a follow up cartoon with at least three seasons

Ditf 2020:This movie fucks almost as much as Utrh and he looks like an moc in it so once again DUH(Talia's about to get a sondaughter in law)

Og Rhato:He's hot but treats Roy like shit in the whole run so nah

Rebirth Rhato:Lowkey mid run and he looks like the cissest man alive so pass yet again

Wfa:Huge softspot for him even if i have a few critisisms of the adaption so sure why not

Outlaws webtoon:He is literally my worst nightmare come true,he's a fusion of every bad fanon Jason so i'm passing and smashing his face in

Current canon:Messy ass plots but he's super hot and dilfy and edgy both in looks and personality so big BIG yes.Wish i Rose in those Gotham War Jayrose issues but also we should all date eachother because i want her so bad too

Titans tv:Eh,he's okay i guess but too different from what Jason should be and his actor does nothing for me so not really

Btas comics:100000%.He's one of the best Jason's designs and i love his personality and how much tboy swag he has and also i think it's funny when super hot and pretty girls date ugly guys

Flashpoint:Absolutely the fuck not.I'd rather kms than kiss a priest

Family Matters:YEAH as an autistic person it's kinda a requirement that i'm attracted to lego characters(See MK from Lego Monkie Kid)and he's a himbo take on Jason that still does him justice so i kinda have to

[aspiringwriter1111]

Hallmark PSA

I know since it's coming on the holiday season, I'm going to start seeing a lot of Hallmark slander.

But here's a little known fact.

Hallmark is actually really really good.

WAIT WAIT DON'T LEAVE-

Let me explain!

The movies people usually associate Hallmark with are the "old" ones (2020 and back). I bet after seeing how cliche and unhealthy they were, you didn't see a reason to watch them again after that, am I right??

But you knew them well enough to know they weren't worth your time and sanity.

Girl in a high stress job goes to small town, learns the meaning of Christmas, and then cheats on her also stressed out boyfriend back in the city with a hot cocoa making stubbly kind of rude lumberjack man then quits her job and moves to Vermont or something.

Yeah, they don't do those anymore.

At all.

I'm serious.

A part of it is that there was a purge. A year or two ago, there was a new Christmas movie company in town. All the actors that didn't like the forward direction Hallmark wanted to go in, left and joined GAC.

(Great American Family, or as I like to call it GACK. The movies are exclusively awful old Hallmark style, but Republican, badly decorated, very white, and also much worse.)

GAC took all the problems away from Hallmark, and made movies out of them. Hallmark, now cleansed, is pumping out cinematic greats that I WILL be rewatching every Christmas.

The whole of Hallmark was Recast, save for the best of the best fan favorites (Like Lacey Chaubert-)

They have plus sized actors now and people of color, cast as main characters on a regular basis.

Half of the movies aren't even romance centric anymore, instead focused on life, and moving forward, but when they are, they're really well done, and actually healthy.

If you know me (which you don't), then you'll know I hate unhealthy relationships. Especially when they're treated like they're okay. I will pick apart ANYTHING over toxicity in a relationship, wherever that might come from.

I used to hate Hallmark movies, because they were predictable, unrealistic, flawed, and toxic.

But now the characters talk with each other, and they don't get in the others space without permission. If there's an accident and it does happen, it's not used as a plot device to move the relationship along. It's not treated in a "OMG hot guy is literally right in my face!!! I've only known him two minutes and I hate him, I'm in love!!"

It's more of an, "OMG I'm so sorry, I didn't mean to do that at all, im so sorry, I'm so sorry- *Immediately backs away*"

I can't even begin to explain how much better they are now.

To further prove my point, here are some gifs of Three Wise Men and a Baby, one of my favorite Christmas movies ever:

Just listen to this one.

It's about three brothers, one of which is a firefighter (this is important). A baby gets dropped off at the fire station, with a note. The firefighters name is on it, asking him to look after the baby until Christmas.

This is not his baby.

This IS a joke throughout the entire film.

They have no idea who dropped him off.

So they end up taking care of him for a week, and seriously bonding with him. The make his first Christmas ornament with clay, they do a holiday photo dressed to the nines.

They talk about how hard it is to actually take care of a baby, and how hard it must have been for their mom doing it alone.

Talking about how their own dad left, and finally processing that trauma together.

Their mom confesses that if she didn't have support, she may have done what the babies mother did. How she must be going through such a rough patch, and building empathy for her.

All three of the brothers go on complete cathartic emotional journeys about it, and all the other issues in their life.

I can't do it justice.

It's called Three Wise Men and A Baby. I'm begging you please go watch it, you will NOT regret it.

I CRIED SO MANY TIMES YOU HAVE NO IDEA.

I'm tearing up now just thinking about it oh my gOD-

The ending just sent it home for me, so I won't spoil anything.

Its amazing. I can't explain the whole thing, I seriously beg you please go watch it.

And, if you're more into comedy, I present to you Haul out The Holly:

A Christmas comedy starring your very own Gretchen Weiners!! Abso-fucking-lutley HILARIOUS.

It's about a woman, just broken up with her boyfriend, and coaxed into going home for the holidays. Here's where it gets interesting.

Her parents are the head of the Christmas neighborhood watch, something that has plagued her since childhood. Her childhood friend has now taken over the position, as her parent ditch her for retirement on a beach someplace, and she's left stuck, having to decorate against her will.

She wants a nap. The neighbors want her to carve ice sculptures. And her nutcracker apparently isn't up to code.

Includes: Girlboss and male wife power duo (madly in love), insane chainsaw man with way too much time on his hands, the ML an anxious wreck, and many, many, MANY MORE.

Another recent movie was built around a woman who is an astronaut (She's mixed) who was about to finally go to space (The goal shes been working on her entire life) She got into a car accident and her eyesight was impaired. She's currently grieving the loss of her dream (like, actually grieving, she took three months off-).

Her company asks her if she wants to do an exhibit in the planetarium for Christmas, that she doesn't have to, but she can if she wants to take her minds off of things. She says yes, and ends up working with the planetarium director on an exhibit about the sun and it's connection to Christmas through how people used to celebrate with the sun (I don't remember exactly, but it was explained thoroughly, and i think pagan???)

She and him don't constantly argue, or be angry at each other. They cooperate. They show genuine interest in each other. It's actually adorable, and it's also not just about them.

She meets his daughter, who is a wheelchair user. She asks why the Female lead isn't in space if she's an astronaut, and the FL tell her it's because of her eyes. The daughter tells her it's okay, because she'll never be able to go to space either, even if she wants to, but she can still enjoy it from Earth.

I'm not even doing it justice.

By the end of the movie, the FLs eye problem doesn't heal. Nothing is miraculously solved. But the ML and the FL are now dating (After the best, slow paced, healthy, communicative, collaborative bonding freaking ever-) ALL OF THE CHARACTERS HAVE FULL BLOWN EMOTIONAL JOURNEYS THAT ACTUALLY MATTER.

SHE GRIEVES.

HER BROTHER FINALLY FIGURES OUT ITS OKAY FOR HIM TO DO WHAT HE LOVES, AND THAT HE'S NOT A FAILURE FOR IT.

THE ML LET'S GO OF THINKING HES A BAD PARENT.

AND MORE.

There are soft bits, nothing is cliche, nothing is icky or gross.

It's healthy, it's cute, it's emotionally driven, I'm actually learning about things I didn't know before, and amazing.

And all the new ones are either like this or better than this. I could name over ten, but I can't even explain how good they are.

Some of the are still a little dark ages, but it's only every one out of six or seven.

Hallmark movies from 2022 and onwards are 5 star television, and you can't convince me otherwise.

[mrdarcygenderenvy]

Recent Austen adaptations yelling

Ok I DID make this blog to review historical-set Pride & Prejudice adaptations (with an exception made for iconic B&P). But for everyone who was DEFINITELY WONDERING, yes I have also been storing away a lot of opinions about other recent Austen adaptations that I Must Tell Someone.

.

Fire island (2022)

A modern gay party cheesy rom-com P&P that genuinely made me laugh. Having seen some other (whiter) cheesy gay romcoms that were extreeeemely PG & playing it safe, I was pleasantly surprised.

Also Bowen Yang and his story just came across really earnest in a way I was into - would watch this man cry again, 10/10.

Personally as an extremely disabled british nerd (now tragically unable to travel and/or go to the club...) this gay scene is a long way from my queer scene. But I still had emotions, you know?

Kinda wanted more of the Mary analogue and generally just normal looking people (almost everyone is so ripped) but I appreciate that's how beautiful smooth people often look in mainstream american films, we can't have everything.

DARCY WATCH: I do not want to dress like this adaptation's chinos Mr Darcy. But Conrad Ricamora was generally great and very hot and awkward and understood the assignment. Good ice cream throw.

.

Emma (2020)

I know I know, it's pretty... but I don't think that's enough!!!!!

Lovely production, beautiful costumes, a candy wes-anderson cinematography that really suits the story, and it's fun to notice references to actual outfits and prints from the time but lads. LADS. UNPOPULAR OPINION TIME: Where is the chemistry???

You can’t make Mr Knightley a nice sweet boy (so funny to have cast a posh folksy singing man) and leave the plot the same and expect it to work!! Also I was personally pissed off that a lot of the promo/ ads for this made it look like ~forbidden love~ when it's the 2 richest white people in town getting together?? ? There's actually not even a class difference in this one, guys.

Basically this romance was nothing to me!!! I felt nothing!!!!!!!! WHERE'S THE DEPTH

I did like the bit where he lies down though. Relatable.

Also why are you drawing so much attention to the servants when you don’t seem to have anything to say about class...? 'Wow look how many servants they had! Anyway, they don't get any speaking lines'... it's 2020 guys!!! like what are we saying here. 'isn't it cool to think about how people were rich'??

kind of the point of Emma (character) is she's pretty superficial, but the story does not, in fact, have to be

.

Persuasion (2022)

Weeping softly into a pillow........ did you know this version meant a version with Sarah Snook and Joel Fry got cancelled?? we could have had it all

(standing on a table yelling) THE MODERNISATION WAS NOT THE PROBLEM WITH THIS FILM!!!

Honestly I actively liked all the entire secondary cast in this. Louisa and Mary were extremely charming fun takes to watch. ('I'm an empath' IS right for the character if you're doing modern jokes!!!) And nobody can deny this was a correct and powerful use of Richard E Grant.

Henry Golding was naturally great. Apparently he got offered the lead and took the villain instead, which DOES mean the villain is super charming and fun to watch which is... hard to match and.... kind of shows up.... the main man.

It's been said before but the main two were WOEFUL imo. I have no beef with the actors I just question the DIRECTION and whether anyone making this knew (or cared) why people... enjoy things.

Book Anne is the quietest gentlest loser and I LOVE HER and so does basically every Austen nerd. Making her a quirky wine-bath girl who's honestly just cruel sometimes fully stops the main romance chemistry and plot from working.

And it means the main boy is still like 'god I'm so horny for how KIND AND CAPABLE YOU ARE' which is just 100% no longer true. You can't transplant a personality in a romance but leave the plot the exact same and expect it to work. The chemistry IS the plot in a romance..........

you can't act morally superior to your siblings and still rate people out of ten.... also so funny to me that everyone else gets period outfits and hair whereas this protagonist looks like she just glanced at a picture of any time in the past and grabbed a couple shirts from primark. it doen't even look good or build character!!!!!

Anyway, not to be an elderly man like 'ohhh why does nobody care about character these days' but the reason something like Clueless works is because it has the heart of the story right, instead of just copying the surface level stuff.

[kkginfo]

Taking over the reins of a restaurant business with good success - Naveen Agarwal | KKG INFO

Taking over the reins of a restaurant business with good success – Naveen Agarwal | KKG INFO

As a restaurateur, he has established several brands in his journey and managed to create his own unique niche! The food and beverage industry has faced turmoil over the past few years due to the global pandemic, but now things are back on track and picking up where it left off. Naveen Agarwal has been around the food industry for a long time, picking up its nuances and walking the long road,…

[nancydrewwouldnever]

While he'd never be offered a role in a high profile serious movie (think: DiCaprio level) because he is not a reliable actor // I can’t think of one role in a quality film or show in the last year that I thought he could do better or that he’d even be serviceable in. He’s too old for the hot guy romantic role and he isn’t believable in age appropriate roles. Other actors have come up and they are more bankable, more believable, more talented. I don’t think he’s not taking the right roles- I don’t even think he’s getting offered them. Back in 2020 people would argue that he’s A List and he wasn’t. You have to qualify his name by saying “… you know, Captain America.” If he’s good with his career or if he’s good staying home and pretending to be the guy he wishes he was 10-15 years ago. He’s got the money but it’s not gonna be there when he wakes up and realizes it’s gone. His career is at best stagnant or more likely dropping off at a pretty impressive rate. I don’t know if he miscalculated the staying power of the Marvel recognition but he was right on with Knives Out but then the car stalled and rather than calling a tow truck or hitchhiking, he’s just hotboxing it with his 25 year old wife.

....

Couldn't he have done Scott's Ken role?

[toasttt11]

HIIIIII

idk if youve written this before, but

is there a time that sebastian comes out to luke? and vice versa?

does it happen at the same time or does it take luke a little longer?

HIIIIII

i haven’t written it yet!!!!

honestly i haven’t thought to much about it but i see them watching a movie together like in the end of 2020 and luke says the actor is hot and sebastian is like yeah he is and they look at each other and are like ohhhhh… they kinda just realize they both like guys. honestly both of them are so nonchalant about it

[99pacificpassions]

Cat Corners a Mouse

@absolutebl:

The Cornered Mouse Dreams of Cheese AKA Kyuso wa Chizu no Yume wo Miru (Japan 2020) - Drama llama queers so queer and so dramatic it's like Japan is trying to PROVE something: obsession, cheating, break-up, reunion, then break up again, all of it explicit. This show is just SO JAPANESE. I can't even, but you should watch it and you'll know exactly what I mean. Something like My Personal Weatherman owes it's lineage to this kind of BL. If you like Japan naked, boney, emo, and smoking (hot & ciggy) you will love this, and should watch it. It's objectively amazing, I can't stand it, but I NEED people to talk about it more.

Absolute-kun gives so much and asks for so little. Here's my personal appreciation of this terrific film, for him and others interested in top shelf BL…

Spoilers ahead, but I felt Cornered Mouse (currently on Viki) was better the second time because I could soak up the details. If you haven’t seen it, you might enjoy it more with some background beforehand. It's a bit difficult to keep up with.

The seme is Imagase Wataru (on left above), a gay man passionately in love with Otomo Kyoichi, a businessman married to a woman. Wataru (given name) is like a character out of American Noir… literally a chain-smoking private investigator.  Like a Noir protagonist, we may not like his means, but he has a code he lives by.

Kyoichi is handsome and sympathetic, but he places himself in situations where women eventually suggest a sexual liaison and his fatal character flaw is that he can’t say no to women. But the philanderer can say no to Wataru, to a point. He’s much rougher with Wataru’s feelings than he is with any of the women in the movie.

The Cornered Mouse Dreams of Cheese is based on a manga of the same name and reviewers say that it’s about 65% faithful to the original story. Another reviewer compared it to Wong Kar-wai’s In the Mood for Love, which is one of the best films ever made. I won’t claim Cornered Mouse is in Mood's league, but I would say it's close and that the main differences are Mood’s opulence and heterosexuality. Cornered Mouse is the best-crafted BL I’ve seen to date.

The film has some great writing, but prefers to show instead of tell, which requires a lot from the talented actors. Narita Ryo as Wataru is remarkable and a couple screenshots aren’t going to do his performance justice, but here he's hunched on a stool like a cat:

Here's Wataru after Kyoichi wakes up to find him looking through the text messages on Kyoichi's phone... in the same room: 

Narita Ryo transcends the AbsoluteBL bar for great acting. Elsewhere, he’s not afraid to look ugly in a scene.

Obviously, this film’s in the BL category of “gay man converts straight man”, generally considered a doomed goal within the queer experience. Somehow, Cornered Mouse’s river of details makes this seem realistic, mostly due to the straight lead’s indecisiveness and Wataru’s persistence... and his fellatio techniques.

Negative reviewers of Cornered Mouse never dispute that it's well-crafted. They tend to complain about the ending and that the characters were difficult to like. Yet, the movie is about accepting people for who they are. If you don’t believe me… well, here’s the director Yukisada Isao:

My hot take is that Cornered Mouse is less about the lead characters accepting each other for who they are and more about the audience accepting them despite Kyoichi’s duplicity and Wataru’s lack of ethics.

The audience is also asked to accept the dilemmas inherent within the “gay man converts straight man” BL subgenre. At a key moment, well along in the men’s sexual relationship, Kyoichi’s college lover has called them both separately for drinks. She makes Kyoichi choose between them, resulting in this exchange:

Kyoichi (to Wataru): “I could never choose you. No straight guy would. You get it, don’t you?”

Wataru, smirking: “Yes.”

Kyoichi then goes to bed with the ex-girlfriend, but can’t perform. He returns to Wataru and is “punished” for his hubris. 

Previously, Wataru has asked to be the top during sex, but was rebuffed. After getting drilled, Kyoichi treats his relationship with Wataru with new respect. Yes, he will break up with him and even get engaged with a woman, but he goes through the formalities of a break up, on par with a heterosexual relationship. He’s far more concerned with Wataru’s feelings, even as he’s crushing him, than he was before that key moment.

The film asks its contemporary audience to come to terms with this more traditional implication: that Kyoichi “turned gay” by taking the sub role.

The other problem for many reviewers was Cornered Mouse’s open ending. They thought it was open, anyway. I didn’t. Kyoichi breaks off his engagement to a lovely woman and vows to “prepare” for the return of his lover Wataru. Kyoichi has always been the reluctant partner. Throughout the film, Wataru pursued Kyoichi no matter his target’s resistance... stalking, blackmailing, pleading... as if he had no limits. Of course, he’ll be back for more. Besides, in the manga, it’s made clear that’s what happens.

Wataru talking earlier in the film:

[ghostcat3000]

SKAM Fic Masterpost - Ghostcat

It took me a few years, but I finally have enough stories to put together a SKAM fics master post for myself. Here they are:

Burn Bright

Rated T, 10/10 chapters, 92K, Red Curtains AU written for SKAM Big Bang 2020 featuring art by vanderheijen

Isak Valtersen thinks nothing could be worse than getting accidentally cast in Nissen's production of Romeo and Juliet. Until he gets to know the play's student director, Even Bech Næsheim, who smiles way too much and is a constant, unnerving reminder of everything Isak wishes he could have.

The Boyfriend Experience - co-written with MinilocIsland

Rated E, 21/21 chapters, 177K

Even doesn’t really need a bot.

What he needs is an actor. One who won’t bitch about the concept or the lighting or quit suddenly to follow a hook-up to Barcelona.

He won’t be cruel or irresponsible. Even just has to make some films again soon before he forgets how or gets too scared to.

Later on, when the Bot is sitting on the living room couch, one hand, soft and unexpectedly gentle, at his thigh, Even will think, shit.

It’s more than that.

He’d been lonely.

(An Evak Botfic AU A love story)

The Dull Flame of Desire - co-written with MinilocIsland

Rated E, one-shot, 11K

In general, Even wouldn't consider himself a lucky guy. But, having landed a cat-sitting job in an Alsatian country house for the summer, having to do nothing but lounging in the garden and editing his script, he really feels like one.

If only it wasn't for this tanned, underdressed, hot mess of a problem that is the gardener.

Rest Easy

Rated E, 18/18 chapters, 167K, Nordic Noir AU written for SKAM Big Bang 2021 featuring art by sergiospastries

The body of a teenage girl is found in a Tromsø garbage dump, and it’s up to Kripos police detective Isak Valtersen to solve her murder. He’s tested―by the midsummer sun which never dips below the horizon, the suspect he can’t get out of his head, and the sleep that’s always just out of reach.

A Lord's Sauce

Rated T, 6/6 chapters, 19K

“Hi,” his nemesis says with a twitching sort of wink. “I was hoping we’d meet someday, Isak. But I’d never thought it would be on the job.”

[A rival food critics AU. Told in six courses.]

Adult Film

Rated E, one-shot, 281 words*

Even’s always found porn slightly disappointing. The angles are boring, the lighting is terrible, there is no mise-en-scène and he finds himself zoning out on some unseemly aspect―an ugly bedspread, bad music, or an insistent cell phone going off―mid-jerk. Someone overdoes the moaning or says something ridiculous, and it’s just not believable enough. It's not Isak.

1 Thing

Rated M, 6/6 Chapters, 30K, Friends with Benefits AU

Isak's not uptight. He's…chill. He could totally have a friends-with-benefits thing if he wanted to.

His friend Even agrees.

the red squirrel

Rated E, 6/12 chapters (work-in-progress), 47K and counting

A troubled musician hiding out from his label meets a beautiful amnesiac in San Sebastián. Bad decisions, suspiciously kind campground managers, some sneaky squirrels, and a 21-song playlist about a boy.

*on hiatus until September*

Honey

Rated E, 14/14 chapters, 11.7K

Los Losers Even and the very beardy bachelorette party entertainment.

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in addition to the currently posting stories above. I've got ten other works-in-progress in various states of construction. I'm a slow writer, but I hope to complete at least half of these. 🤞

*Yes, 200 words. So if you're freaked out about the word count of my stories, that one is doable at least.