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callioope · 5 years ago

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HEY GUYS! I watched the livestream of Rogue One with writers Gary Whitta and Chris Weitz. I took notes. Because that’s what I DO. I jotted down some of my takeaways. Please note I was watching RO, watching the stream, taking notes, and also doing a few other things so these MAY NOT BE PERFECT. Please feel free to correct me if you see something I misrepresented. That said I tried to be accurate.

YES they DO TALK ABOUT the romantic chemistry between Jyn & Cassian but that is literally at the end, but feel free to peruse the rest of the points because there’s some pretty interesting insights (some good and some bad O_O like Cassian’s original storyline, yuck)

ANYWAYS let’s go

Inglourious Bastards inspired the Lah’mu scene (Gary Whitta wrote this scene, although he admitted it changed a lot but a lot of the structure and ideas stayed in)

In the original version of the script, Lyra was a Jedi in hiding, but this was one of the first things that got killed

Mads thinks he plays a bad guy, but Gary thinks he played a good guy

They talked about how Galen originally wanted to use kyber crystals for energy, but it got weaponized (which is talked about Catalyst)

stormtrooper doll is a gareth edwards touch

idea was that there’d be good people on the Imperial side and bad people on the rebel side

Cassian’s first scene on the Rings of Kafrene was written by Tony Gilroy (who wasn’t present in the stream) later. In the earlier versions, the DS is something that Jyn goes and finds. It was much more like Zero Dark Thirty where she was putting together the clues, and it was a battle for Jyn to get the rebels to take it seriously, but that was too much of a slow burn. So the Tivik scene was to replace that and introduce the idea that Cassian can be dark. Everyone admired Diego’s beautiful bit of acting as he's just lost a little bit of his soul in the fight for justice, the morality is the first victim. It’s very subtle but it’s one of Gary’s fave pieces of acting in the movie

Chris said for awhile they had Ord Mandell, then shifted to the notion of something more like in Casablanca, so a bit of a flavor of that, a part of the Empire that has been taken over that is under violent oversight

Gary said in the original, Jyn went to Ord Mantell (mentioned in Empire?) to find an arms dealer to help her find Saw, then went to another planet where Saw was living on a moon called Yarid

Budget realities played a part in the decision making to scale this back; they wanted to put so much more but just couldn’t fit it in

Originally we were supposed to see the rebels evacuate Dantooine and move to Yavin 4, but it didn’t really accomplish anything in the story accept to nod to SW fans. It didn’t move the story forward and would have cost too much

It was Tony Gilroy writing with Jyn getting freed on Wobani. Some original ideas had toyed with possibilities that she was a deserter or Rey-like scavenger, but obviously you can’t do that once you learn what the the Empire does (chris)

Only time they didn’t use a title card was Mustafar bc they wanted fans to go OH SHIT IT'S MUSTAFAR, also worked bc Mustafar would have been one of those off-the-map planets

Gary was responsible for getting Mothma in the movie

How much did the Yavin 4 briefing get worked on? A lot. sort of inspired by a scene from Apocalypse Now.

“I think this movie really beautifully bridges the gap between the original and prequel” and one of the ways it does that is JIMMY SMITS

Lots of gushing over Yavin. “Gareth just shot the shit out of this movie.” so much praise for Gareth’s vision. “Gareth can compose a shot unlike anyone I know.”

The Yavin 4 set was fully contiguous; you could walk from the inside all the way outside in one continuous shot.

K-2SO is a great example of how one character can have many fathers. John Knoll originally came up with him and he was originally a rebel logistics droid envisioned to be a “black C-3PO” (whatever that was supposed to mean - Gary wasn’t sure). Gary proposed that he could be an Imperial droid that was captured by the rebellion and reprogrammed. K-2 was really limited with what he could do working for the Empire, but once he was liberated, he was going to speak his mind. Chris and Tony and Alan all gave him more life, everyone has a little piece of K-2′s parentage.

Only ever one casting choice for Saw, which was Forest Whitaker. Gary also knew Ben Mendelsohn would be cast as krennic, but no one else was cast at that point -- he knew it was down to 3 choices for Jyn, but wouldn’t say who

Chris brought Bodhi into the story (Gary said so but Chris wasn’t sure)

For Tarkin, they took shots from the ANH and unused takes. There was also a mold of Peter Cushing that had been sitting in a prop shop for decades (I didn’t get what movie it was, something where he needed a large prosthetic eye or something), and they scanned that.

Binoculars that Jyn and Cassian look through on Jedha were inspired from the scene in ANH (like when luke looks through them on Tatooine)

Chris was responsible for Jedha, Temple of the Whills, and Chirrut’s connection to the Force. And Bor Gullet, I think. They said Bor Gullet delights in traumatic memories (more delicious to him). There was a cut idea/scene: Bor Gullet made Jyn trade her traumatic memories for information she wanted.

They talked about the two dudes Jyn runs into that are also in ANH and how they survived the destruction of jedha only to get killed by a Jedi the next day - they must have needed to get a drink at a cantina after narrowly leaving Jedha. Puts their presence at the cantina in a new light.

Screenwriters would tell you this [Jyn saving the girl on Jedha] is a classic “save the cat moment” so that we like that character that otherwise we might not -- like jyn [RUDE, but I think they were joking] [also i took beginner screenwriting in college and YES the “save the cat moment” was like lesson 1 lol

They wanted this war to look like a proper war, and [Jedha] really looks like something you might see happen. Wanted people to feel like it wasn’t just about stormtroopers hassling the guy on the street corner but there were real lives at stake

Commentary on Jyn’s Awesome Fight Scene: this is the first moment Cassian really realizes that Jyn is no one to be messed with

They guessed that Tony came up with the K-2 gag after Jyn’s fight sequence

Lots of good commentary here about how action scenes need to serve a purpose, they can’t just be fighting: they gotta reveal character and story -- don’t write the specifics of the fight, but write what the action is supposed to mean, let choreographers make it look good

Chris said Gareth kind of requested a character like Chirrut, and Chris had been messing around with a Force priest and they became the same guy. Baze was originally a murderer and criminal, and Chirrut was his confessor figure, and they had a weird codependent relationship in which Malbus would commit crimes and Chirrut would forgive him for it. But in this they are both Guardians of Whills. Baze saving Chirrut reminds Gary of Indiana Jones shooting the guy with the sword. Good example of action sequence having a purpose: showing Chirrut & Baze’s dynamic

Coming up with names in SW -- no real formula, you just know it when you hear it

Lots of freedom to come up with new stuff as long as it doesn’t grossly violate canon. Two Tubes was Tony Gilroy or maybe someone just before him

Allegedly Bib Fortuna’s cousin is in scene at catacombs

Someone wanted a Tusken Raider to leave Tatooine to be one of the rebels, but that was vetoed bc they don’t leave Tatooine

“you don’t want every star wars movie to feel like a remix of your greatest hits” - gary [me: LMAOOOO not everyone got that memo!!!]

Guardians of the Whills: Chris said when he came on board, he wanted to go into some deep George Lucas stuff so he looked at the OG screenplay of SW which is pretty “cuckoo bananas” but it’s unfilmable because it’s so gigantic. but there were so many cool things in it. Originally the Force was known as “The Force of Others" by Lucas so he had Chirrut often referring to it as such

There had to be physical tapes because that’s what was mentioned in ANH. Similarly, Tarkin said it was the first time they destroyed a planet in ANH, so they had to do a smaller test that didn’t conflict with canon but we still get to see the DS do it’s thing

Gary said he got sick of everyone on the internet saying “If the empire’s so smart how come--” so he wanted to make it happen for a reason

Chris said - John Knoll, who apparently has some kind of engineering background, said a project the size of the DS, there’d be hundreds of flaws that would bring down the station. Gary responded - it makes sense that there would be a flaw, but it’s more interesting if the flaw would be there deliberately

They went back to the idea that SW was a fairytale and “only one key that the lock fits in in a fairy tale”

They talked a bit about the “nerdy stuff” and technical details, like how fast does a Star Destroyer go, how fast is travel through hyperspace,” but they were pretty insistent that Star Destroyers go at the speed of narrative. Hyperspace moves at the speed of plot. They don’t think about the gritty details. Story always wins. You try to hide those bits. If tech stuff comes into conflict with story, the story has to win. If you can make it work great, but story should win otherwise. [MY TAKE: I think it’s lazy and you might as well try to make it work if you can, BUT I agree that it shouldn’t necessarily hang up the process, per se.]

They talked about Jyn & Co witnessing the test on Jedha and how it’s important that Jyn & Co witnessed the terrifying destructive power of this weapon, so they know better than anyone how important it is to stop this thing

They said Saw always died in the weapon test. Originally it was on a different moon, but always planned for him to die like that.

Gary mentioned in ANH, there’s more than one empty chair in the DS conference room, but Gary wished there had been only one chair so it could have been Krennic’s specifically and he wasn’t in it.

The idea was that Mothma and other Generals were desperately trying to avoid a war and trying to find a political solution to this crisis, but Palpatine is stringing them along long enough for the DS to be ready. So the Rebels have been strung along and played for fools by Palpatine, but once we realize the Empire has built a genocide weapon, the Rebels finally wake up to the idea that the only solution now is war. Empire has forced our hand. the movie is about the idea that tyrannical regimes always fall bc they go too far and they do something so terrible that people are forced to stand up and fight back. If the empire had never built the DS, Gary thinks they could have won the war and ground the Rebellion down. but bc they got greedy they forced the entire galaxy to take the war seriously, so the DS was really the Empire’s undoing

The Rebellion was like the equivalent of the Second Continental Congress, with squabbling factions and not able to get anything done, and the Empire was able to win in the beginning bc they are authoritarian, unified top down

Gary came up with Eadu, but it was originally in the first act. The whole movie got restructured. Originally they went to Eadu very early and discovered they were building the giant dish for the DS. That was the first scene that Jyn had the clue that the Empire was building something terrible. Later it became less a place where the dish was built and more just where they were harvesting and refining the kyber crystals.

It was originally Saw’s X-Wings that attacked Eadu

“rain = mood” idk who said it but that line popped

originally there were local people called Eadui who told story how facility had poisoned rivers and valleys and farmland. Gary wanted to put a face on the crimes the Empire had committed

Mads doesn’t believe that what Galen did absolves him

In Gary’s version, Krennic came to inspect final version of the dish

Cassian was always meant to be compromised in both Gary and Chris’s versions. He was a double agent: for a long time, he was working for the Empire. Chris added: he had lost people who had been killed by Saw Gerrera, and all he wanted from the Empire was the go ahead to kill Saw rather than Galen. That transmogrified along the lines post-Chris and post-Gary into a rebel intelligence officer who had done terrible things. In the original idea, he changes heart after seeing the Death Star bc it wasn’t what he signed up for, and he had to win back Jyn’s heart bc that DS reveal happens after his double agent ness is revealed.

In the original, Jyn actually gets Galen back to the rebel base, but he’s beyond saving, but his whole speech he gives Jyn in his last moments happened in a medbay

They talked about the score instead of the awesome fight scene after Eadu so BOOO on that. I mean yes the score is brilliant but still I wanted insight into this scene.

I blanked out a little because I was mad they didn’t talk about the Eadu fight scene argh

They were talking about Krennic standing his ground against Vader. and then someone said it was probably something among the Imperial officers that “you haven’t really made it until you’ve been choked by Vader.” O_o sorry we could be talking about Jyn and Cassian DAMNIT

the debate scene on Yavin 4 was recontextualized. always this idea that the rebellion is not one monolithic entity, it’s a collection of worlds all of whom have own leaders and own opinions. rebellion historically messier because it’s democratic and harder to get things done.

briefly toyed with a Leia appearance (chris) at the big conference scene, but best for Jyn to give the most rousing speech here.

Who wrote the hanger speech? Spirit of it might be Chris’, but Chris thinks it’s Tony Gilroy. Big difference from version Gary wrote: Jyn convinced the rebels. But he thought it was cool now that Jyn goes rogue and it’s only when Mothma finds out she’s committed to that that she makes the decision to back her up. But in the original she convinced Mothma, and everyone got around the table and said here’s the plan. Chris thinks it was in one of his drafts that they went off on their own.

in Gary’s version Jyn was Rogue Leader.

Chris had grunts complaining all the flyboys create dramatic names for their squadrons but that got nixed

Gary had idea that K-2 had scraped off his markings but had to have them painted back on to go to Scarif and K-2 hated it

Mothma talking to Bail is one scene that survived word for word form Gary’s original script

They talked a little bit about the decision to have the characters die, but I was drafting a question and missed it

They talked about how they came up with Scarif and decided to make it tropical -- what sort of place hasn’t been seen before? sort of coming from production and gareth. but also building these places to fulfill the needs of the story -- like building a walkway that only one person can get across

a lot of extras in Scarif were real ex-military, and Gary said a couple of the X-Wing pilots were real-life RAF tornado pilots

didn’t have Blue Squadron in the ANH bc it interfered with the blue screen

Gareth said “give me a mon calamari that looks like churchill’ and that’s Raddus

Chris and Tony killed pretty much everybody. Sounds like Gary just killed K-2? Unclear bc I missed the main part of that when they were talkinga bout it.

They commented on how RO is one of the darkest tonally movies but also so colorful, beautiful blue sky

They wanted to pay tribute to Battle of Endor

they couldn’t remember who was responsible for ‘stardust’ but it wasn’t gary or chris

who’s idea was it to cut off the “I’ve got a bad idea about this”? gary had a different version of it, Jyn said “I've got a good feeling about this” (which ultimately got used in Solo)

Someone asked about the footage in trailer that wasn’t in the movie: Chris heard on good authority that the TIE fighter in front of Jyn was actually never intended to be used, was always a trailer-specific moment. he said he didn’t know how she would have gotten out of that one. k-2 died on the beach. chris wasn’t sure but as the scenes get cut together in production and post, the narrative necessities can change bc of logistical needs. but some shots were so cool they were perfect for trailers. Some talk on how trailers and movies are very different things in general.

Gary said originally there were two separate facilities on Scarif: vault and comm tower were separated by stretch of beach. so needed to liberate plans from vault and get across beach to tower. as they looked at what they had, there were too many moving parts and they wanted to simplify, so they put vault and tower in same complex.

did they ever consider letting Chirrut pull the lever using the force? NOPE.

“I am one with the Force and the Force is with me” was Chris. it goes on, it’s supposed to be like a psalm for Jedi, but eh wanted a sort of lord’s prayer type of thing.

HELL YES someone asked about the romance between Cassian and Jyn! Was there any romantic potential in any script? YES!!! they said!! yes!!! And Chris said he wouldn’t be surprised if a kiss was shot either!

BUT they went on to say they wanted to side-step the trope that every male and female hero have to be involved.

But clear GARY said yes early on, there was definitely romantic chemistry that got scaled back to a mutual respect, but they’ve obviously grown close. Gary doesn’t think there was anything romantic and they said people found that refreshing. ‘what they’ve been through is the meaningful part” and “‘the stuff that is happening around them is too important" and “it speaks to their character that they wouldn’t let that intrude”

someone said it was like they were walking into a sunset but it was a mushroom cloud and THEN someone QUIPPED that it was sorta like the sunset walking into them RUDE

There was more after that but that was pretty exhausting to keep up with!!!! so i’m wiped. anyone else get any fun takeaways that I missed?

#rogue one

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crapitskizaru · 5 years ago

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For Everything. (X Drake x Hawkins)

Summary: Drake cannot bear with the past mistakes catching up to him anymore. He receives a Tarot reading from his one and only friend among the Beast Pirates.

Warning: Wano setting so possible spoilers. And after catching up with most of the anime...I just had to do this.

The small room was shrouded in darkness. Only a single source of light remained - the man observed as the trail of smoke curled upwards from the candle.

He was scared. The cold fear crawled underneath his skin and confused his senses. He tried to reach back into his past, to remember what led him to this miserable point. Not many memories were left to conjure up in order to answer the persisting questions.

A quiet voice in his head kept reminding him that the end draws near, that death lurks even in the shadowed corners of his room, waiting to pounce and take his life.

The man didn’t want to die just yet. Not one person would remember him fondly if he did - he needed more time to fix his mistakes. The main issue was, however, that for a single mistake in the past he had to spend years in the present, desperately trying to turn it all around.

His eyes landed on the open journal on his desk. If he died now… There was a chance someone might find his notes and read about the crimes and sins he regretted more than anything in the world. He could try to persuade his own self that he was used, manipulated, forced to kill. But it certainly didn’t persuade his aching heart.

Should he tell him? Tell him everything? But what if he turns on him, and Drake will be left with enemies on both sides of the conflict? That would serve no one.

He swiftly got up and started pacing across the room. The most disturbing thought was the one that kept telling him there was no right thing to do. Both the Marines and the forces of the Emperor were committing to the wrong ideas, their hatred for each other only adding fuel to the fire of the looming war.

How could everyone be so short-sighted? Serving vicious men in power with only their own interests in mind. But then again, Drake shouldn’t be the one to judge. Everyone else must have had their reasons to do it, just like he did.

His cover will be blown, sooner or later. And then he will be left on the utter mercy of the Beast Pirates, no longer of any use to the Marines.

Drake closed the journal. He had to tell him. There was no other choice. Like an enslaved animal in a cage, no matter which side he turned to, there was always the cold steel of bars in front of him. And so his heart led him to the only path left to take - towards one sole friend; a friend he was going to lose at the end of that same night.

Gripping the journal, he left his room. No explanation or reasoning came to his mind, but he kept going. If he stopped now, he knew he wouldn’t find the strength to try it again - and so, he kept going.

Already, the shadows of the night seeped through the windows of the corridor. The Land of Wano had rarely been at peace, but at that moment it seemed like the whole world was calm, preparing for slumber.

Drake stood before the door, wondering where to start the conversation. Should he confess everything right away? Or paint a whole picture first? He figured that a start with a knock on the door should be the best option.

Before he raised his hand, the door opened.

“How long are you going to stand here for?” Hawkins asked. “I almost started placing bets with myself. So far, it’s been at least five minutes.”

“You’ve seen me in your cards?”

“No. Your shadow was visible from under the door.”

“Oh.”

Drake sent him a quick glance. The flowing hair he never got to touch, the piercing eyes, the regal expression on his face - merely looking at him was becoming painful.

He tightened his grip on the journal. With all the sweat he was producing, it was more than possible that all of the ink will get washed away soon.

“Drake? Can I help you?”

“Hm? Oh right. Yes. Yes, you can. Please.”

Hawkins bowed his head. “Very well then. Come in.”

You will hate me before this night ends, Drake thought, entering the cabin.

It was a lot brighter than his own, he had to admit that. At least two dozen candles were lit, placed on every possible surface - the floor, the chest of drawers, the windowsill, and the huge desk in the middle of the room, covered with piles of documents. Drake wondered how it was possible that they still hadn’t caught on fire.

It felt cozy and comfortable, at least in comparison to his own dark, lifeless, austere excuse for a cabin.

“I’m guessing you want to know what the cards say.” Hawkins sat behind the desk and gestured for Drake to take the chair across him. “Took you long enough to finally ask. It’s not like I charge for it, you know that.”

“Actually, I’m here for something else-”

“Sit down.”

Drake sat down. Annoying his friend needlessly before he even starts to confess would only make this harder. With a sigh, Drake slid his journal across the desk, unable to look Hawkins in the eye.

“What’s this?”

“A matter I came to you with. It’s…I figured it’d be easier for me to write it all, rather than say it out loud.”

“First, the cards.”

“But-”

“Draw three. Left hand.”

Drake sighed again and drew three cards from the deck. The very same deck that he’d seen in use so many times - when Hawkins used his power, the cards glowed in creepy blue and usually meant bad news for either the enemy or Hawkins himself. Drake wasn’t very fond of that deck of cards.

“The Hierophant. Reversed. The Hanged Man. And the Knight of Pentacles.”

“You don’t seem happy with that.”

“I’m rarely happy,” Hawkins murmured, frowning. “You carry a lot of guilt and shame. Your actions don’t correspond with your values, which causes you to be at constant war with yourself.”

An awkward silence took over.

“Is that it?” Drake asked after a while.

“No. The Hanged Man means you’re stuck in a situation you desperately want to get out of. Think of it as being locked in a cell. In order to escape this stagnancy, you either have to make a firm decision or try to make peace with yourself. Let the events unfold, and maybe the cell door will open unassisted.”

“So you’re saying… When I’m locked in prison, I should just wait long enough and the lock will unlatch.”

Hawkins sent him a tired stare. “No, that’s not it. I’m saying if you try to calm your inner conflicts or attempt to solve some of them, your path will appear on its own.”

“What if I’m unable to do that?”

“This card right here-,” Hawkins continued without an answer, patting a card with a depiction of a knight on a black horse. “- could mean your difficulty in expressing emotions. One of the reasons for that might be a problematic relationship with your father figure.” A short silence followed that statement. “The card also paints you as a reliable, patient, and loyal man. I don’t know about the loyal part…”

Drake felt the tips of his ears catch on fire - the heatwaves suddenly erupting throughout his whole body made him consider taking off his leather jacket, but he discarded that idea at once.

“…since you’re a former Rear Admiral turned pirate, but I’d say the rest is accurate.” Hawkins looked him in the eye. “You are reliable. You don’t back away when a fight turns out to be inevitable. I know I can count on you.”

It was at that exact moment when Drake started regretting his choice at confessing. How could he admit treason to his one and only friend? Under his heavy stare, Drake felt worse than he had for a long time.

“I think you overestimate me,” he whispered.

“I think you underestimate yourself, Drake. And downgrade your morals.”

Drake shifted uncontrollably in his seat, making it screech. “You don’t know a thing about my morals.”

Hawkins smirked and quickly shuffled the cards. “Draw one. Right hand.”

“Listen, I didn’t come here for a lecture.” Drake stood up with haste, suddenly filled with determination. “I don’t fully…grasp the idea behind those cards, or the power you actually have over them. But I’m almost sure those pieces of paper can’t help me. At this point, I have no idea what can. I will be going now. I don’t know what I was thinking.”

He reached for the journal, but Hawkins grabbed it first. His red eyes were calm but cold; tiny candle flames reflected in them, giving him an unearthly look.

“You seek help. You came to me, and since cards are my biggest asset, I’m doing my best to guide you. But it won’t bear any results without cooperation from your side.”

Drake’s hands gripped the back of the chair, knuckles turning white from strain. The man locked his eyes on one of the candles until his vision blurred, and the breath he hadn’t realized he was holding released slowly.

“I’m not judging you, Drake. I would be a fool and a hypocrite if I did. We all make terrible mistakes. Let me help you fix yours. Now, in the present,” Hawkins paused. “Draw a card.”

He couldn’t back out now. He couldn’t lie to his friend anymore, not after what he’d just heard. This was the only way. Drake drew a card from the very top of the deck. Immediately after his touch, it started glowing in blue.

Claiming back his previous seat, Drake stared at his colleague, trying to imprint his majestic features in his mind. After all, he wasn’t sure whether he’ll see those flowing hair ever again. Or that tattooed cross on his neck. He had always been fond of it.

The blue glimmer accentuated the sharp lines of his face, now furrowed in silent focus.

“I’ll be honest, you’re starting to freak me out a bit,” Drake said.

“You drew The Lovers. Reversed.”

“Doesn’t sound too bad.”

Hawkins lifted his gaze and started absent-mindedly fiddling with one of the flames. His fingers caressed them as if they radiated no heat, and then, with one swift movement, he extinguished the light.

Drake watched a smudge of smoke travel all the way towards the ceiling.

“You need to accept that your present is the result of the choices that you’ve made a long time ago. Embrace your past. Only then you will be able to move forward.” Hawkins paused as if considering whether he should continue or not. “It’s also a rather strong indicator of you harboring feelings for your colleague. What’s most likely to be stopping you from engaging is fear. But don’t worry-”

Drake raised an eyebrow. Who in their right mind wouldn’t worry after all this information?

“- it’s not an unrequited love.”

Silence veiled the room once more, but Drake had no interest in disturbing it. Quite frankly, he wasn’t sure what to say.

Eventually, after most of the flames had died down and the wax stiffened on the candles, he stirred. He almost forgot about the true reason he came there in the first place - it was high time to get it over with.

“You may count on me during our battles, but I know you don’t fully trust me. It could be your cards hinting or solely your intuition…I want you to know you’re right for being wary of me. I came here to confess. And to apologize, if you’ll allow it. Everything is in the journal.”

Hawkins crossed his hands on his chest, leaning back.

“Everything? You wrote down your mistakes, both past and present?”

“Yes. My current…” Drake wavered, then gathered his composure. “- situation as well. It will most likely come to light anyway, but I’d rather confess it myself.”

“Good,” Hawkins replied nonchalantly, lifting up the journal. “I need you to watch closely now.”

So Drake watched. First, the man weighted the notebook in his hand, as if measuring its worth. And then he directed it over one of the flames, causing it to crackle and catch on fire.

“Wait, what are you doing? I want you to read it all. I need you to know.” Drake sat up straight, grasping the edge of the desk. “I can’t lie to you.”

“Then don’t,” Hawkins muttered, fascinated with the bright flame engulfing the papers in his hold. When it almost reached his fingers, he threw it on the desk. “Start again with me.”

The fire slowly turned the white pages dark and withered. As only ashes remained, Drake lifted his gaze.

“The desk could have caught on fire as well, did you take that into consideration?”

“I’m sure you would have come up with something.”

Drake wasn’t sure what to say. A simple ‘thank you’ wouldn’t suffice in this case. So instead, he reached out across the desk and touched Hawkins’ fingers with the tips of his own in silent gratitude. For everything.

#x drake #basil hawkins #xoxobb #one piece #the wano arc #one piece spoilers #op spoilers #one piece scenario #tarot reading #diez drake #x drake x hawkins #dino content

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ahouseoflies · 4 years ago

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The Best Films of 2020

I can’t tell you anything novel or insightful about this year that has been stolen from our lives. I watched zero of these films in a theater, and I watched most of them half-asleep in moments that I stole from my children. Don’t worry, there are some jokes below.

GARBAGE

93. Capone (Josh Trank)- What is the point of this dinner theater trash? It takes place in the last year of Capone's life, when he was released from prison due to failing health and suffered a stroke in his Florida home. So it covers...none of the things that make Al Capone interesting? It's not historically accurate, which I have no problem with, but if you steer away from accuracy, then do something daring and exciting. Don't give me endless scenes of "Phonse"--as if the movie is running from the very person it's about--drawing bags of money that promise intrigue, then deliver nothing in return.

That being said, best "titular character shits himself" scene since The Judge.

92. Ammonite (Francis Lee)- I would say that this is the Antz to Portrait of a Lady on Fire's A Bug's Life, but it's actually more like the Cars 3 to Portrait of a Lady on Fire's Toy Story 1.

91. Ava (Tate Taylor)- Despite the mystery and inscrutability that usually surround assassins, what if we made a hitman movie but cared a lot about her personal life? Except neither the assassin stuff nor the family stuff is interesting?

90. Wonder Woman 1984 (Patty Jenkins)- What a miscalculation of what audiences loved about the first and wanted from the sequel. WW84 is silly and weightless in all of the ways that the first was elegant and confident. If the return of Pine is just a sort of phantom representation of Diana's desires, then why can he fly a real plane? If he is taking over another man's soul, then, uh, what ends up happening to that guy? For that matter, why is it not 1984 enough for Ronald Reagan to be president, but it is 1984 enough for the president to have so many Ronald Reagan signifiers that it's confusing? Why not just make a decision?

On paper, the me-first values of the '80s lend themselves to the monkey's paw wish logic of this plot. You could actually do something with the Star Wars program or the oil crisis. But not if the setting is played for only laughs and the screenplay explains only what it feels like.

89. Babyteeth (Shannon Murphy)- In this type of movie, there has to be a period of the Ben Mendelsohn character looking around befuddled about the new arrangement and going, "What's this now--he's going to be...living with us? The guy who tried to steal our medication? This is crazy!" But that's usually ten minutes, and in this movie it's an hour. I was so worn out by the end.

88. You Should Have Left (David Koepp)- David Koepp wrote Jurassic Park, so he's never going to hell, but how dare he start caring about his own mystery at the hour mark. There's a forty-five minute version of this movie that could get an extra star from me, and there's a three-hour version of Amanda Seyfried walking around in athleisure that would get four stars from me. What we actually get? No thanks.

87. Black Is King (Beyonce, et al.)- End your association with The Lion King, Bey. It has resulted in zero bops.

ADMIRABLE FAILURES

86. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (Cathy Yan)- There's nothing too dysfunctional in the storytelling or performances, but Birds of Prey also doesn't do a single thing well. I would prefer something alive and wild, even if it were flawed, to whatever tame belt-level formula this is.

85. The Turning (Floria Sigismondi)- This update of The Turn of the Screw pumps the age of Miles up to high school, which creates some horny creepiness that I liked. But the age of the character also prevents the ending of the novel from happening in favor of a truly terrible shrug. I began to think that all of the patience that the film showed earlier was just hesitance for its own awful ending.

I watched The Turning as a Mackenzie Davis Movie Star heat check, and while I'm not sure she has the magnetism I was looking for, she does have a great teacher voice, chastening but maternal.

84. Bloodshot (David Wilson)- A whole lot of Vin Diesel saying he's going to get revenge and kill a bunch of dudes; not a whole lot of Vin Diesel actually getting revenge and killing a bunch of dudes.

83. Downhill (Nat Faxon and Jim Rash)- I was an English major in college, which means I ended up locking myself into literary theories that, halfway through the writing of an essay, I realized were flawed. But rather than throw out the work that I had already proposed, I would just keep going and see if I could will the idea to success.

So let's say you have a theory that you can take Force Majeure by Ruben Ostlund, one of the best films of its year, and remake it so that its statement about familial anxiety could apply to Americans of the same age and class too...if it hadn't already. And maybe in the first paragraph you mess up by casting Will Ferrell and Julia Louis-Dreyfus, people we are conditioned to laugh at, when maybe this isn't that kind of comedy at all. Well, don't throw it away. You can quote more--fill up the pages that way--take an exact shot or scene from the original. Does that help? Maybe you can make the writing more vigorous and distinctive by adding a character. Is that going to make this baby stand out? Maybe you could make it more personal by adding a conclusion that is slightly more clever than the rest of the paper?

Or perhaps this is one you're just not going to get an A on.

82. Hillbilly Elegy (Ron Howard)- I watched this melodrama at my mother's encouragement, and, though I have been trying to pin down her taste for decades, I think her idea of a successful film just boils down to "a lot of stuff happens." So in that way, Ron Howard's loss is my gain, I guess.

There is no such thing as a "neutral Terminator."

81. Relic (Natalie Erika James)- The star of the film is Vanessa Cerne's set decoration, but the inert music and slow pace cancel out a house that seems neglected slowly over decades.

80. Buffaloed (Tanya Wexler)- Despite a breathless pace, Buffaloed can't quite congeal. In trying to split the difference between local color hijinks and Moneyballed treatise on debt collection, it doesn't commit enough to either one.

Especially since Zoey Deutch produced this one in addition to starring, I'm getting kind of worried about boo's taste. Lot of Two If by Seas; not enough While You Were Sleepings.

79. Like a Boss (Miguel Arteta)- I chuckled a few times at a game supporting cast that is doing heavy lifting. But Like a Boss is contrived from the premise itself--Yeah, what if people in their thirties fell out of friendship? Do y'all need a creative consultant?--to the escalation of most scenes--Why did they have to hide on the roof? Why do they have to jump into the pool?

The movie is lean, but that brevity hurts just as much as it helps. The screenplay knows which scenes are crucial to the development of the friendship, but all of those feel perfunctory, in a different gear from the setpieces.

To pile on a bit: Studio comedies are so bare bones now that they look like Lifetime movies. Arteta brought Chuck & Buck to Sundance twenty years ago, and, shot on Mini-DV for $250,000, it was seen as a DIY call-to-bootstraps. I guarantee that has more setups and locations and shooting days than this.

78. Eurovision Song Contest: The Story of Fire Saga (David Dobkin)- Add Dan Stevens to the list of supporting players who have bodied Will Ferrell in his own movie--one that he cared enough to write himself.

Like Downhill, Ferrell's other 2020 release, this isn't exactly bad. It's just workmanlike and, aside from the joke about Demi Lovato's "uninformed" ghost, frustratingly conventional.

77. The Traitor (Marco Bellochio)- Played with weary commitment by Pierfrancesco Favino, Tomasso Buscetta is "credited" as the first informant of La Cosa Nostra. And that sounds like an interesting subject for a "based on a true story" crime epic, right? Especially when you find out that Buscetta became a rat out of principle: He believed that the mafia to which he had pledged his life had lost its code to the point that it was a different organization altogether.

At no point does Buscetta waver or even seem to struggle with his decision though, so what we get is less conflicted than that description might suggest. None of these Italian mob movies glorify the lifestyle, so I wasn't expecting that. But if the crime doesn't seem enticing, and snitching on the crime seems like forlorn duty, and everything is pitched with such underhanded matter-of-factness that you can't even be sure when Buscetta has flipped, then what are we left with? It was interesting seeing how Italian courts work, I guess?

76. Kajillionaire (Miranda July)- This is another movie so intent on building atmosphere and lore that it takes too long to declare what it is. When the protagonist hits a breaking point and has to act, she has only a third of a film to grow. So whispery too.

Gina Rodriguez is the one to inject life into it. As soon as her motormouth winds up, the film slips into a different gear. The atmosphere and lore that I mentioned reeks of artifice, but her character is believably specific. Beneath a basic exterior is someone who is authentically caring but still morally compromised, beholden to the world that the other characters are suspicious of.

75. Scoob! (Tony Cervone)- The first half is sometimes clever, but it hammers home the importance of friendship while separating the friends.

The second half has some positive messaging, but your kids' movie might have a problem with scale if it involves Alexander the Great unlocking the gates of the Underworld.

My daughter loved it.

74. The Lovebirds (Michael Showalter)- If I start talking too much about this perfectly fine movie, I end up in that unfair stance of reviewing the movie I wanted, not what is actually there.* As a fan of hang-out comedies, I kind of resent that any comedy being made now has to be rolled into something more "exciting," whether it's a wrongfully accused or mistaken identity thriller or some other genre. Such is the post-Game Night world. There's a purposefully anti-climactic note that I wish The Lovebirds had ended on, but of course we have another stretch of hiding behind boats and shooting guns. Nanjiani and Rae are really charming leads though.

*- As a New Orleanian, I was totally distracted by the fake aspects of the setting too. "Oh, they walked to Jefferson from downtown? Really?" You probably won't be bothered by the locations.

73. Sonic the Hedgehog (Jeff Fowler)- In some ways the storytelling is ambitious. (I'm speaking for only myself, but I'm fine with "He's a hedgehog, and he's really fast" instead of the owl mother, teleportation backstory. Not everything has to be Tolkien.) But that ambition doesn't match the lack of ambition in the comedy, which depends upon really hackneyed setups and structures. Guiding Jim Carrey to full alrighty-then mode was the best choice anyone made.

72. Malcolm & Marie (Sam Levinson)- The stars move through these long scenes with agility and charisma, but the degree of difficulty is just too high for this movie to reach what it's going for.

Levinson is trying to capture an epic fight between a couple, and he can harness the theatrical intensity of such a thing, but he sacrifices almost all of the nuance. In real life, these knock-down-drag-outs can be circular and indirect and sad in a way that this couple's manipulation rarely is. If that emotional truth is all this movie is trying to achieve, I feel okay about being harsh in my judgment of how well it does that.

71. Beanpole (Kantemir Balagov)- Elusive in how it refuses to declare itself, forthright in how punishing it is. The whole thing might be worth it for a late dinner scene, but I'm getting a bit old to put myself through this kind of misery.

70. The Burnt Orange Heresy (Giuseppe Capotondi)- Silly in good ways until it's silly in bad ways. Elizabeth Debicki remains 6'3".

69. Everybody’s Everything (Sebastian Jones and Ramez Silyan)- As a person who listened to Lil Peep's music, I can confidently say that this documentary is overstating his greatness. His death was a significant loss, as the interview subjects will all acknowledge, but the documentary is more useful as a portrait of a certain unfocused, rapacious segment of a generation that is high and online at all times.

68. The Witches (Robert Zemeckis)- Robert Zemeckis, Kenya Barris, and Guillermo Del Toro are the credited screenwriters, and in a fascinating way, you can see the imprint of each figure on the final product. Adapting a very European story to the old wives' tales of the American South is an interesting choice. Like the Nicolas Roeg try at this material, Zemeckis is not afraid to veer into the terrifying, and Octavia Spencer's pseudo witch doctor character only sells the supernatural. From a storytelling standpoint though, it seems as if the obstacles are overcome too easily, as if there's a whole leg of the film that has been excised. The framing device and the careful myth-making of the flashback make promises that the hotel half of the film, including the abrupt ending, can't live up to.

If nothing else, Anne Hathaway is a real contender for Most On-One Performance of the year.

67. Irresistible (Jon Stewart)- Despite a sort of imaginative ending, Jon Stewart's screenplay feels more like the declarative screenplay that would get you hired for a good movie, not a good screenplay itself. It's provocative enough, but it's clumsy in some basic ways and never evades the easy joke.

For example, the Topher Grace character is introduced as a sort of assistant, then is re-introduced an hour later as a polling expert, then is shown coaching the candidate on presentation a few scenes later. At some point, Stewart combined characters into one role, but nothing got smoothed out.

ENDEARING CURIOSITIES WITH BIG FLAWS

66. Yes, God, Yes (Karen Maine)- Most people who are Catholic, including me, are conflicted about it. Most people who make movies about being Catholic hate it and have an axe to grind. This film is capable of such knowing wit and nuance when it comes to the lived-in details of attending a high school retreat, but it's more concerned with taking aim at hypocrisy in the broad way that we've seen a million times. By the end, the film is surprisingly all-or-nothing when Christian teenagers actually contain multitudes.

Part of the problem is that Karen Maine's screenplay doesn't know how naive to make the Alice character. Sometimes she's reasonably naive for a high school senior in 2001; sometimes she's comically naive so that the plot can work; and sometimes she's stupid, which isn't the same as naive.

65. Bad Boys for Life (Adil El Arbi and Bilall Fallah)- This might be the first buddy cop movie in which the vets make peace with the tech-comm youngs who use new techniques. If that's the only novelty on display here--and it is--then maybe that's enough. I laughed maybe once. Not that the mistaken identity subplot of Bad Boys 1 is genius or anything, but this entry felt like it needed just one more layer to keep it from feeling as basic as it does. Speaking of layers though, it's almost impossible to watch any Will Smith movie now without viewing it through the meta-narrative of "What is Will Smith actually saying about his own status at this point in his career?" He's serving it up to us.

I derived an inordinate amount of pleasure from seeing the old school Simpson/Bruckheimer logo.

64. The Gentlemen (Guy Ritchie)- Look, I'm not going to be too negative on a movie whose crime slang is so byzantine that it has to be explained with subtitles. That's just me. I'm a simple man. But I can tell you that I tuned out pretty hard after seven or eight double-crosses.

The bloom is off the rose a bit for Ritchie, but he can still nail a music cue. I've been waiting for someone to hit "That's Entertainment" the way he does on the end credits.

63. Bad Hair (Justin Simien)- In Bad Hair, an African-American woman is told by her boss at a music video channel in 1989 that straightening her hair is the way to get ahead; however, her weave ends up having a murderous mind of its own. Compared to that charged, witty logline, the execution of the plot itself feels like a laborious, foregone conclusion. I'm glad that Simien, a genuinely talented writer, is making movies again though. Drop the skin-care routine, Van Der Beek!

62. Greyhound (Aaron Schneider)- "If this is the type of role that Tom Hanks writes for himself, then he understands his status as America's dad--'wise as the serpent, harmless as the dove'--even better than I thought." "America's Dad! Aye aye, sir!" "At least half of the dialogue is there for texture and authenticity, not there to be understood by the audience." "Fifty percent, Captain!" "The environment looks as fake as possible, but I eventually came around to the idea that the movie is completely devoid of subtext." "No subtext to be found, sir!"

61. Mank (David Fincher)- About ten years ago, the Creative Screenwriting podcast spent an hour or so with James Vanderbilt, the writer of Zodiac and nothing else that comes close, as he relayed the creative paces that David Fincher pushed him through. Hundreds of drafts and years of collaborative work eventuated in the blueprint for Fincher's most exacting, personal film, which he didn't get a writing credit on only because he didn't seek one.

Something tells me that Fincher didn't ask for rewrites from his dead father. No matter what visuals and performances the director can coax from the script--and, to be clear, these are the worst visuals and performances of his career--they are limited by the muddy lightweight pages. There are plenty of pleasures, like the slippery election night montage or the shakily platonic relationship between Mank and Marion. But Fincher hadn't made a film in six years, and he came back serving someone else's master.

60. Tesla (Michael Almereyda)- "You live inside your head." "Doesn't everybody?"

As usual, Almereyda's deconstructions are invigorating. (No other moment can match the first time Eve Hewson's Anne fact-checks something with her anachronistic laptop.) But they don't add up to anything satisfying because Tesla himself is such an opaque figure. Driven by the whims of his curiosity without a clear finish line, the character gives Hawke something enigmatic to play as he reaches deep into a baritone. But he's too inward to lend himself to drama. Tesla feels of a piece with Almereyda's The Experimenter, and that's the one I would recommend.

59. Vitalina Varela (Pedro Costa)- I can't oversell how delicately beautiful this film is visually. There's a scene in which Vitalina lugs a lantern into a church, but we get several seconds of total darkness before that one light source carves through it and takes over part of the frame. Each composition is as intricate as it is overpowering, achieving a balance between stark and mannered.

That being said, most of the film is people entering or exiting doors. I felt very little of the haunting loss that I think I was supposed to.

58. The Rhythm Section (Reed Morano)- Call it the Timothy Hutton in The General's Daughter Corollary: If a name-actor isn't in the movie much but gets third billing, then, despite whom he sends the protagonist to kill, he is the Actual Bad Guy.

Even if the movie serves up a lot of cliche, the action and sound design are visceral. I would like to see more from Morano.

57. Red, White and Blue (Steve McQueen)- Well-made and heartfelt even if it goes step-for-step where you think it will.

Here's what I want to know though: In the academy training sequence, the police cadets have to subdue a "berserker"; that is, a wildman who swings at their riot gear with a sledgehammer. Then they get him under control, and he shakes their hands, like, "Good angle you took on me there, mate." Who is that guy and where is his movie? Is this full-time work? Is he a police officer or an independent contractor? What would happen if this exercise didn't go exactly as planned?

56. Wolfwalkers (Tomm Moore and Ross Stewart)- The visuals have an unfinished quality that reminded me of The Tale of Princess Kaguya--the center of a flame is undrawn white, and fog is just negative space. There's an underlying symmetry to the film, and its color palette changes with mood.

Narratively, it's pro forma and drawn-out. Was Riley in Inside Out the last animated protagonist to get two parents? My daughter stuck with it, but she needed a lot of context for the religious atmosphere of 17th century Ireland.

55. What She Said: The Art of Pauline Kael (Rob Garver)- The film does little more than one might expect; it's limited in the way that any visual medium is when trying to sum up a woman of letters. But as far as education for Kael's partnership with Warren Beatty or the idea of The New Yorker paying her for only six months out of the year, it was useful for me.

Although Garver isn't afraid to point to the work that made Kael divisive, it would have been nice to have one or two interview subjects who questioned her greatness, rather than the crew of Paulettes who, even when they do say something like, "Sometimes I radically disagreed with her," do it without being able to point to any specifics.

54. Beastie Boys Story (Spike Jonze)- As far as this Spike Jonze completist is concerned, this is more of a Powerpoint presentation than a movie, Beastie Boys Story still warmed my heart, making me want to fire up Paul's Boutique again and take more pictures of my buddies.

53. Tenet (Christopher Nolan)- Cool and cold, tantalizing and frustrating, loud and indistinct, Tenet comes close to Nolan self-parody, right down to the brutalist architecture and multiple characters styled like him. The setpieces grabbed me, I'll admit.

Nolan's previous film, which is maybe his best, was "about" a lot and just happened to play with time; Tenet is only about playing with time.

PRETTY GOOD MOVIES

52. Shithouse (Cooper Raiff)- "Death is ass."

There's such a thing as too naturalistic. If I wanted to hear how college freshmen really talked, I would hang out with college freshmen. But you have to take the good verisimilitude with the bad, and good verisimilitude is the mother's Pod Save America t-shirt.

There are some poignant moments (and a gonzo performance from Logan Miller) in this auspicious debut from Cooper Raiff, the writer/director/editor/star. But the second party sequence kills some of the momentum, and at a crucial point, the characters spell out some motivation that should have stayed implied.

51. Totally Under Control (Alex Gibney, Ophelia Harutyunyan, Suzanne Hillinger)- As dense and informative as any other Gibney documentary with the added flex of making it during the pandemic it is investigating.

But yeah, why am I watching this right now? I don't need more reasons to be angry with Trump, whom this film calmly eviscerates. The directors analyze Trump's narcissism first through his contradictions of medical expertise in order to protect the economy that could win him re-election. Then it takes aim at his hiring based on loyalty instead of experience. But you already knew that, which is the problem with the film, at least for now.

50. Happiest Season (Clea Duvall)- I was in the perfect mood to watch something this frothy and bouncy. Every secondary character receives a moment in the sun, and Daniel Levy gets a speech that kind of saves the film at a tipping point.

I must say though: I wanted to punch Harper in her stupid face. She is a terrible romantic partner, abandoning or betraying Abby throughout the film and dissembling her entire identity to everyone else in a way that seems absurd for a grown woman in 2020. Run away, Kristen. Perhaps with Aubrey Plaza, whom you have more chemistry with. But there I go shipping and aligning myself with characters, which only proves that this is an effective romantic comedy.

49. The Way Back (Gavin O’Connor)- Patient but misshapen, The Way Back does just enough to overcome the cliches that are sort of unavoidable considering the genre. (I can't get enough of the parent character who, for no good reason, doesn't take his son's success seriously. "Scholarship? What he's gotta do is put his nose in them books! That's why I don't go to his games. [continues moving boxes while not looking at the other character] Now if you'll excuse me while I wait four scenes before showing up at a game to prove that I'm proud of him after all...")

What the movie gets really right or really wrong in the details about coaching and addiction is a total crap-shoot. But maybe I've said too much already.

48. The Whistlers (Corneliu Porumboiu)- Porumboiu is a real artist who seems to be interpreting how much surveillance we're willing to acknowledge and accept, but I won't pretend to have understood much of the plot, the chapters or which are told out of order. Sometimes the structure works--the beguiling, contextless "high-class hooker" sequence--but I often wondered if the film was impenetrable in the way that Porumboiu wanted it to be or impenetrable in the way he didn't.

To tell you the truth, the experience kind of depressed me because I know that, in my younger days, this film is the type of thing that I would re-watch, possibly with the chronology righted, knowing that it is worth understanding fully. But I have two small children, and I'm exhausted all the time, and I kind of thought I should get some credit for still trying to catch up with Romanian crime movies in the first place.

47. Borat Subsequent Moviefilm (Jason Woliner)- I laughed too much to get overly critical, but the film is so episodic and contrived that it's kind of exhausting by the end--even though it's achieving most of its goals. Maybe Borat hasn't changed, but the way our citizens own their ugliness has.

46. First Cow (Kelly Reichardt)- Despite how little happens in the first forty minutes, First Cow is a thoughtful capitalism parable. Even though it takes about forty minutes to get going, the friendship between Cookie and King-Lu is natural and incisive. Like Reichardt's other work, the film's modest premise unfolds quite gracefully, except for in the first forty minutes, which are uneventful.

45. Les Miserables (Ladj Ly)- I loved parts of the film--the disorienting, claustrophobic opening or the quick look at the police officers' home lives, for example. But I'm not sure that it does anything very well. The needle the film tries to thread between realism and theater didn't gel for me. The ending, which is ambiguous in all of the wrong ways, chooses the theatrical. (If I'm being honest, my expectations were built up by Les Miserables' Jury Prize at Cannes, and it's a bit superficial to be in that company.)

If nothing else, it's always helpful to see how another country's worst case scenario in law enforcement would look pretty good over here.

44. Bad Education (Cory Finley)- The film feels too locked-down and small at the beginning, so intent on developing the protagonist neutrally that even the audience isn't aware of his secrets. So when he faces consequences for those secrets, there's a disconnect. Part of tragedy is seeing the doom coming, right?

When it opens up, however, it's empathetic and subtle, full of a dry irony that Finley is already specializing in after only one other feature. Geraldine Viswanathan and Allison Janney get across a lot of interiority that is not on the page.

43. The Trip to Greece (Michael Winterbottom)- By the fourth installment, you know whether you're on board with the franchise. If you're asking "Is this all there is?" to Coogan and Brydon's bickering and impressions as they're served exotic food in picturesque settings, then this one won't sway you. If you're asking "Is this all there is?" about life, like they are, then I don't need to convince you.

I will say that The Trip to Spain seemed like an enervated inflection point, at which the squad could have packed it in. The Trip to Greece proves that they probably need to keep doing this until one of them dies, which has been the subtext all along.

42. Feels Good Man (Arthur Jones)- This documentary centers on innocent artist Matt Furie's helplessness as his Pepe the Frog character gets hijacked by the alt-right. It gets the hard things right. It's able to, quite comprehensively, trace a connection from 4Chan's use of Pepe the Frog to Donald Trump's near-assuming of Pepe's ironic deniability. Director Arthur Jones seems to understand the machinations of the alt-right, and he articulates them chillingly.

The easy thing, making us connect to Furie, is less successful. The film spends way too much time setting up his story, and it makes him look naive as it pits him against Alex Jones in the final third. Still, the film is a quick ninety-two minutes, and the highs are pretty high.

41. The Old Guard (Gina Prince-Bythewood)- Some of the world-building and backstory are handled quite elegantly. The relationships actually do feel centuries old through specific details, and the immortal conceit comes together for an innovative final action sequence.

Visually and musically though, the film feels flat in a way that Prince-Bythewood's other films do not. I blame Netflix specs. KiKi Layne, who tanked If Beale Street Could Talk for me, nearly ruins this too with the child-actory way that she stresses one word per line. Especially in relief with one of our more effortless actresses, Layne is distracting.

40. The Trial of the Chicago 7 (Aaron Sorkin)- Whenever Sacha Baron Cohen's Abbie Hoffman opens his mouth, the other defendants brace themselves for his dismissive vulgarity. Even when it's going to hurt him, he can't help but shoot off at the mouth. Of course, he reveals his passionate and intelligent depths as the trial goes on. The character is the one that Sorkin's screenplay seems the most endeared to: In the same way that Hoffman can't help but be Hoffman, Sorkin can't help but be Sorkin. Maybe we don't need a speech there; maybe we don't have to stretch past two hours; maybe a bon mot diffuses the tension. But we know exactly what to expect by now. The film is relevant, astute, witty, benevolent, and, of course, in love with itself. There are a handful of scenes here that are perfect, so I feel bad for qualifying so much.

A smaller point: Daniel Pemberton has done great work in the past (Motherless Brooklyn, King Arthur, The Man from U.N.C.L.E.), but the first sequence is especially marred by his sterile soft-rock approach.

GOOD MOVIES

39. Time (Garrett Bradley)- The key to Time is that it provides very little context. Why the patriarch of this family is serving sixty years in prison is sort of besides the point philosophically. His wife and sons have to move on without him, and the tragedy baked into that fact eclipses any notion of what he "deserved." Feeling the weight of time as we switch back and forth between a kid talking about his first day of kindergarten and that same kid graduating from dentistry school is all the context we need. Time's presentation can be quite sumptuous: The drone shot of Angola makes its buildings look like crosses. Or is it X's?

At the same time, I need some context. When director Garrett Bradley withholds the reason Robert's in prison, and when she really withholds that Fox took a plea and served twelve years, you start to see the strings a bit. You could argue that knowing so little about why, all of a sudden, Robert can be on parole puts you into the same confused shoes as the family, but it feels manipulative to me. The film is preaching to the choir as far as criminal justice goes, which is fine, but I want it to have the confidence to tell its story above board.

38. Bloody Nose, Empty Pockets (Turner Ross and Bill Ross IV)- I have a barfly friend whom I see maybe once a year. When we first set up a time to meet, I kind of dread it and wonder what we'll have to talk about. Once we do get together, we trip on each other's words a bit, fumbling around with the rhythm of conversation that we mastered decades ago. He makes some kind of joke that could have been appropriate then but isn't now.

By the end of the day, hours later, we're hugging and maybe crying as we promise each other that we won't wait as long next time.

That's the exact same journey that I went on with this film.

37. Underwater (William Eubank)- Underwater is a story that you've seen before, but it's told with great confidence and economy. I looked up at twelve minutes and couldn't believe the whole table had been set. Kristen plays Ripley and projects a smart, benevolent poise.

36. The Lodge (Veronika Franz and Severin Fiala)- I prefer the grounded, manicured first half to the more fantastic second half. The craziness of the latter is only possible through the hard work of the former though. As with Fiala and Franz's previous feature, the visual rhymes and motifs get incorporated into the soup so carefully that you don't realize it until they overwhelm you in their bleak glory.

Small note: Alicia Silverstone, the male lead's first wife, and Riley Keough, his new partner, look sort of similar. I always think that's a nice note: "I could see how he would go for her."

35. Miss Americana (Lana Wilson)- I liked it when I saw it as a portrait of a person whose life is largely decided for her but is trying to carve out personal spaces within that hamster wheel. I loved it when I realized that describes most successful people in their twenties.

34. Sound of Metal (Darius Marder)- Riz Ahmed is showing up on all of the best performances of the year lists, but Sound of Metal isn't in anyone's top ten films of the year. That's about right. Ahmed's is a quiet, stubborn performance that I wish was in service of more than the straight line that we've seen before.

In two big scenes, there's this trick that Ahmed does, a piecing together of consequences with his eyes, as if he's moving through a flow chart in real time. In both cases, the character seems locked out and a little slower than he should be, which is, of course, why he's facing the consequences in the first place. To be charitable to a film that was a bit of a grind, it did make me notice a thing a guy did with his eyes.

33. Pieces of a Woman (Kornel Mundruczo)- Usually when I leave acting showcases like this, I imagine the film without the Oscar-baiting speeches, but this is a movie that specializes in speeches. Pieces of a Woman is being judged, deservedly so, by the harrowing twenty-minute take that opens the film, which is as indulgent as it is necessary. But if the unbroken take provides the "what," then the speeches provide the "why."

This is a film about reclaiming one's body when it rebels against you and when other people seek ownership of it. Without the Ellen Burstyn "lift your head" speech or the Vanessa Kirby show-stopper in the courtroom, I'm not sure any of that comes across.

I do think the film lets us off the hook a bit with the LaBoeuf character, in the sense that it gives us reasons to dislike him when it would be more compelling if he had done nothing wrong. Does his half-remembering of the White Stripes count as a speech?

32. Ma Rainey’s Black Bottom (George C. Wolfe)- This is such a play, not only in the locked-down location but also through nearly every storytelling convention: "Where are the two most interesting characters? Oh, running late? They'll enter separately in animated fashion?" But, to use the type of phrase that the characters might, "Don't hate the player; hate the game."

Perhaps the most theatrical note in this treatise on the commodification of expression is the way that, two or three times, the proceedings stop in their tracks for the piece to declare loudly what it's about. In one of those clear-outs, Boseman, who looks distractingly sick, delivers an unforgettable monologue that transports the audience into his character's fragile, haunted mind. He and Viola Davis are so good that the film sort of buckles under their weight, unsure of how to transition out of those spotlight moments and pretend that the story can start back up. Whatever they're doing is more interesting than what's being achieved overall.

31. Another Round (Thomas Vinterberg)- It's definitely the film that Vinterberg wanted to make, but despite what I think is a quietly shattering performance from Mikkelsen, Another Round moves in a bit too much of a straight line to grab me fully. The joyous final minutes hint at where it could have gone, as do pockets of Vinterberg's filmography, which seems newly tethered to realism in a way that I don't like. The best sequences are the wildest ones, like the uproarious trip to the grocery store for fresh cod, so I don't know why so much of it takes place in tiny hallways at magic hour. I give the inevitable American remake* permission to use these notes.

*- Just spitballing here. Martin: Will Ferrell, Nikolaj (Nick): Ben Stiller, Tommy: Owen Wilson, Peter: Craig Robinson

30. The Invisible Man (Leigh Whannell)- Exactly what I wanted. Exactly what I needed.

I think a less conclusive finale would have been better, but what a model of high-concept escalation. This is the movie people convinced me Whannell's Upgrade was.

29. On the Rocks (Sofia Coppola)- Slight until the Mexican sojourn, which expands the scope and makes the film even more psychosexual than before. At times it feels as if Coppola is actively simplifying, rather than diving into the race and privilege questions that the Murray character all but demands.

As for Murray, is the film 50% worse without him? 70%? I don't know if you can run in supporting categories if you're the whole reason the film exists.

28. Mangrove (Steve McQueen)- The first part of the film seemed repetitive and broad to me. But once it settled in as a courtroom drama, the characterization became more shaded, and the filmmaking itself seemed more fluid. I ended up being quite outraged and inspired.

27. Shirley (Josephine Decker)- Josephine Decker emerges as a real stylist here, changing her foggy, impressionistic approach not one bit with a little more budget. Period piece and established actors be damned--this is still as much of a reeling fever dream as Madeline's Madeline. Both pieces are a bit too repetitive and nasty for my taste, but I respect the technique.

Here's my mandatory "Elisabeth Moss is the best" paragraph. While watching her performance as Shirley Jackson, I thought about her most famous role as Peggy on Mad Men, whose inertia and need to prove herself tied her into confidence knots. Shirley is almost the opposite: paralyzed by her worldview, certain of her talent, rejecting any empathy. If Moss can inhabit both characters so convincingly, she can do anything.

26. An American Pickle (Brandon Trost)- An American Pickle is the rare comedy that could actually use five or ten extra minutes, but it's a surprisingly heartfelt and wholesome stretch for Rogen, who is earnest in the lead roles.

25. The King of Staten Island (Judd Apatow)- At two hours and fifteen minutes, The King of Staten Island is probably the first Judd Apatow film that feels like the exact right length. For example, the baggy date scene between a gracious Bill Burr and a faux-dowdy Marisa Tomei is essential, the sort of widening of perspective that something like Trainwreck was missing.

It's Pete Davidson's movie, however, and though he has never been my cup of tea, I think he's actually quite powerful in his quiet moments. The movie probes some rare territory--a mentally ill man's suspicion that he is unlovable, a family's strategic myth-making out of respect for the dead. And when Davidson shows up at the firehouse an hour and fifteen minutes in, it feels as if we've built to a last resort.

24. Swallow (Carlo Mirabella-Davis)- The tricky part of this film is communicating Hunter's despair, letting her isolation mount, but still keeping her opaque. It takes a lot of visual discipline to do that, and Claudio Mirabella-Davis is up to the task. This ends up being a much more sympathetic, expressive movie than the plot description might suggest.

(In the tie dispute, Hunter and Richie are both wrong. That type of silk--I couldn't tell how pebbled it was, but it's probably a barathea weave-- shouldn't be ironed directly, but it doesn't have to be steamed. On a low setting, you could iron the back of the tie and be fine.)

23. The Vast of Night (Andrew Patterson)- I wanted a bit more "there" there; The film goes exactly where I thought it would, and there isn't enough humor for my taste. (The predictability might be a feature, not a bug, since the film is positioned as an episode of a well-worn Twilight Zone-esque show.)

But from a directorial standpoint, this is quite a promising debut. Patterson knows when to lock down or use silence--he even cuts to black to force us to listen more closely to a monologue. But he also knows when to fill the silence. There's a minute or so when Everett is spooling tape, and he and Fay make small talk about their hopes for the future, developing the characters' personalities in what could have been just mechanics. It's also a refreshingly earnest film. No one is winking at the '50s setting.

I'm tempted to write, "If Andrew Patterson can make this with $1 million, just imagine what he can do with $30 million." But maybe people like Shane Carruth have taught us that Patterson is better off pinching pennies in Texas and following his own muse.

22. Martin Eden (Pietro Marcello)- At first this film, adapted from a picaresque novel by Jack London, seemed as if it was hitting the marks of the genre. "He's going from job to job and meeting dudes who are shaping his worldview now." But the film, shot in lustrous Super 16, won me over as it owned the trappings of this type of story, forming a character who is a product of his environment even as he transcends it. By the end, I really felt the weight of time.

You want to talk about something that works better in novels than films though? When a passionate, independent protagonist insists that a woman is the love of his life, despite the fact that she's whatever Italians call a wet blanket. She's rich, but Martin doesn't care about her money. He hates her family and friends, and she refuses to accept him or his life pursuits. She's pretty but not even as pretty as the waitress they discuss. Tell me what I'm missing here. There's archetype, and there's incoherence.

21. Bacurau (Kleber Mendonca Filho and Juliano Dornelles)- Certain images from this adventurous film will stick with me, but I got worn out after the hard reset halfway through. As entranced as I was by the mystery of the first half, I think this blood-soaked ensemble is better at asking questions than it is at answering them.

20. Let Them All Talk (Steven Soderbergh)- The initial appeal of this movie might be "Look at these wonderful actresses in their seventies getting a movie all to themselves." And the film is an interesting portrait of ladies taking stock of relationships that have spanned decades. But Soderbergh and Eisenberg handle the twentysomething Lucas Hedges character with the same openness and empathy. His early reasoning for going on the trip is that he wants to learn from older women, and Hedges nails the puppy-dog quality of a young man who would believe that. Especially in the scenes of aspirational romance, he's sweet and earnest as he brushes his hair out of his face.

Streep plays Alice Hughes, a serious author of literary fiction, and she crosses paths with Kelvin Kranz, a grinder of airport thrillers. In all of the right ways, Let Them All Talk toes the line between those two stances as an entertaining, jaunty experiment that also shoulders subtextual weight. If nothing else, it's easy to see why a cruise ship's counterfeit opulence, its straight lines at a lean, would be visually engaging to Soderbergh. You can't have a return to form if your form is constantly evolving.

19. Dick Johnson Is Dead (Kirsten Johnson)- Understandably, I don't find the subject as interesting as his own daughter does, and large swaths of this film are unsure of what they're trying to say. But that's sort of the point, and the active wrestling that the film engages in with death ultimately pays off in a transcendent moment. The jaw-dropping ending is something that only non-fiction film can achieve, and Johnson's whole career is about the search for that sort of serendipity.

18. Da 5 Bloods (Spike Lee)- Delroy Lindo is a live-wire, but his character is the only one of the principals who is examined with the psychological depth I was hoping for. The first half, with all of its present-tense flourishes, promises more than the gunfights of the second half can deliver. When the film is cooking though, it's chock full of surprises, provocations, and pride.

17. Never Rarely Sometimes Always (Eliza Hittmann)- Very quickly, Eliza Hittmann has established herself as an astute, empathetic director with an eye for discovering new talent. I hope that she gets to make fifty more movies in which she objectively follows laconic young people. But I wanted to like this one more than I did. The approach is so neutral that it's almost flat to me, lacking the arc and catharsis of her previous film, Beach Rats. I still appreciate her restraint though.

GREAT MOVIES

16. Young Ahmed (Jean-Pierre Dardenne and Luc Dardenne)- I don't think the Dardennes have made a bad movie yet, and I'm glad they turned away from the slight genre dipping of The Unknown Girl, the closest to bad that they got. Young Ahmed is a lean, daring return to form.

Instead of following an average person, as they normally do, the Dardenne Brothers follow an extremist, and the objectivity that usually generates pathos now serves to present ambiguity. Ahmed says that he is changing, that he regrets his actions, but we never know how much of his stance is a put-on. I found myself wanting him to reform, more involved than I usually am in these slices of life. Part of it is that Idir Ben Addi looks like such a normal, young kid, and the Ahmed character has most of the qualities that we say we want in young people: principles, commitment, self-worth, reflection. So it's that much more destructive when those qualities are used against him and against his fellow man.

15. World of Tomorrow Episode Three: The Absent Destinations of David Prime (Don Hertzfeldt)- My dad, a man whom I love but will never understand, has dismissed modern music before by claiming that there are only so many combinations of chords. To him, it's almost impossible to do something new. Of course, this is the type of thing that an uncreative person would say--a person not only incapable of hearing the chords that combine notes but also unwilling to hear the space between the notes. (And obviously, that's the take of a person who doesn't understand that, originality be damned, some people just have to create.)

Anyway, that attitude creeps into my own thinking more than I would like, but then I watch something as wholly original as World of Tomorrow Episode Three. The series has always been a way to pile sci-fi ideas on top of each other to prove the essential truths of being and loving. And this one, even though it achieves less of a sense of yearning than its predecessor, offers even more devices to chew on. Take, for example, the idea that Emily sends her message from the future, so David's primitive technology can barely handle it. In order to move forward with its sophistication, he has to delete any extraneous skills for the sake of computer memory. So out of trust for this person who loves him, he has to weigh whether his own breathing or walking can be uninstalled as a sacrifice for her. I thought that we might have been done describing love, but there it is, a new metaphor. Mixing futurism with stick figures to get at the most pure drive possible gave us something new. It's called art, Dad.

14. On the Record (Kirby Dick and Amy Ziering)- We don't call subjects of documentaries "stars" for obvious reasons, but Drew Dixon kind of is one. Her honesty and wisdom tell a complete story of the #MeToo movement. Kirby Dick and Amy Ziering take their time developing her background at first, not because we need to "gain sympathy" or "establish credibility" for a victim of sexual abuse, but because showing her talent and enthusiasm for hip-hop A&R makes it that much more tragic when her passion is extinguished. Hell, I just like the woman, so spending a half-hour on her rise was pleasurable in and of itself.

This is a gut-wrenching, fearless entry in what is becoming Dick and Ziering's raison d'etre, but its greatest quality is Dixon's composed reflection. She helped to establish a pattern of Russell Simmons's behavior, but she explains what happened to her in ways I had never heard before.

13. David Byrne’s American Utopia (Spike Lee)- I'm often impressed by the achievements that puzzle me: How did they pull that off? But I know exactly how David Byrne pulled off the impish but direct precision of American Utopia: a lot of hard work.

I can't blame Spike Lee for stealing a page from Demme's Stop Making Sense: He denies us a close-up of any audience members until two-thirds of the way through, when we get someone in absolute rapture.

12. One Night in Miami... (Regina King)- We've all cringed when a person of color is put into the position of speaking on behalf of his or her entire race. But the characters in One Night in Miami... live in that condition all the time and are constantly negotiating it. As Black public figures in 1964, they know that the consequences of their actions are different, bigger, than everyone else's. The charged conversations between Malcolm X and Sam Cooke are not about whether they can live normal lives. They're way past that. The stakes are closer to Sam Cooke arguing that his life's purpose aligns with the protection and elevation of African-Americans while Malcolm X argues that those pursuits should be the same thing. Late in the movie, Cassius Clay leaves the other men, a private conversation, to talk to reporters, a public conversation. But the film argues that everything these men do is always already public. They're the most powerful African-Americans in the country, but their lives are not their own. Or not only their own.

It's true that the first act has the clunkiness and artifice of a TV movie, but once the film settles into the motel room location and lets the characters feed off one another, it's gripping. It's kind of unfair for a movie to get this many scenes of Leslie Odom Jr. singing, but I'll take it.

11. Saint Frances (Alex Thompson)- Rilke wrote, "Perhaps everything terrible is in its deepest being something helpless that wants help from us." The characters' behavior in Saint Frances--all of these fully formed characters' behavior--made me think of that quotation. When they lash out at one another, even at their nastiest, the viewer has a window into how they're expressing pain they can't verbalize. The film is uneven in its subtlety, but it's a real showcase for screenwriter and star Kelly O'Sullivan, who is unflinching and dynamic in one of the best performances of the year. Somebody give her some of the attention we gave to Zach Braff for God's sake.

10. Boys State (Jesse Moss and Amanda McBaine)- This documentary is kind of a miracle from a logistical standpoint. From casting interviews beforehand, lots of editing afterwards, or sly note-taking once the conference began, McBaine and Moss happened to select the four principals who mattered the most at the convention, then found them in rooms full of dudes wearing the same tucked-in t-shirt. By the way, all of the action took place over the course of one week, and by definition, the important events are carved in half.

To call Boys State a microcosm of American politics is incorrect. These guys are forming platforms and voting in elections. What they're doing is American politics, so when they make the same compromises and mistakes that active politicians do, it produces dread and disappointment. So many of the boys are mimicking the political theater that they see on TV, and that sweaty sort of performance is going to make a Billy Mitchell out of this kid Ben Feinstein, and we'll be forced to reckon with how much we allow him to evolve as a person. This film is so precise, but what it proves is undeniably messy. Luckily, some of these seventeen-year-olds usher in hope for us all.

If nothing else, the film reveals the level to which we're all speaking in code.

9. The Nest (Sean Durkin)- In the first ten minutes or so of The Nest, the only real happy minutes, father and son are playing soccer in their quaint backyard, and the father cheats to score on a children's net before sliding on the grass to rub in his victory. An hour later, the son kicks the ball around by himself near a regulation goal on the family's massive property. The contrast is stark and obvious, as is the symbolism of the dead horse, but that doesn't mean it's not visually powerful or resonant.

Like Sean Durkin's earlier film, Martha Marcy May Marlene, the whole of The Nest is told with detail of novelistic scope and an elevation of the moment. A snippet of radio that mentions Ronald Reagan sets the time period, rather than a dateline. One kid saying "Thanks, Dad" and another kid saying, "Thanks, Rory" establishes a stepchild more elegantly than any other exposition might.

But this is also a movie that does not hide what it means. Characters usually say exactly what is on their minds, and motivations are always clear. For example, Allison smokes like a chimney, so her daughter's way of acting out is leaving butts on the window sill for her mother to find. (And mother and daughter both definitely "act out" their feelings.) On the other hand, Ben, Rory's biological son, is the character least like him, so these relationships aren't too directly parallel. Regardless, Durkin uses these trajectories to cast a pall of familial doom.

8. Sorry We Missed You (Sean Durkin)- Another precisely calibrated empathy machine from Ken Loach. The overwhelmed matriarch, Abby, is a caretaker, and she has to break up a Saturday dinner to rescue one of her clients, who wet herself because no one came to help her to the bathroom. The lady is embarrassed, and Abby calms her down by saying, "You mean more to me than you know." We know enough about Abby's circumstances to realize that it's sort of a lie, but it's a beautiful lie, told by a person who cares deeply but is not cared for.

Loach's central point is that the health of a family, something we think of as immutable and timeless, is directly dependent upon the modern industry that we use to destroy ourselves. He doesn't have to be "proven" relevant, and he didn't plan for Covid-19 to point to the fragility of the gig economy, but when you're right, you're right.

7. Lovers Rock (Steve McQueen)- swear to you I thought: "This is an impeccable depiction of a great house party. The only thing it's missing is the volatile dude who scares away all the girls." And then the volatile dude who scares away all the girls shows up.

In a year short on magic, there are two or three transcendent moments, but none of them can equal the whole crowd singing along to "Silly Games" way after the song has ended. Nothing else crystallizes the film's note of celebration: of music, of community, of safe spaces, of Black skin. I remember moments like that at house parties, and like all celebrations, they eventually make me sad.

6. Crip Camp: A Disability Revolution (Nicole Newnham and James Lebrecht)- I held off on this movie because I thought that I knew what it was. The setup was what I expected: A summer camp for the disabled in the late '60s takes on the spirit of the time and becomes a haven for people who have not felt agency, self-worth, or community anywhere else. But that's the right-place-right-time start of a story that takes these figures into the '80s as they fight for their rights.

If you're anything like my dumb ass, you know about 504 accommodations from the line on a college syllabus that promises equal treatment. If 2020 has taught us anything though, it's that rights are seized, not given, and this is the inspiring story of people who unified to demand what they deserved. Judy Heumann is a civil rights giant, but I'm ashamed to say I didn't know who she was before this film. If it were just a history lesson that wasn't taught in school, Crip Camp would still be valuable, but it's way more than that.

5. Palm Springs (Max Barbakow)- When explaining what is happening to them, Andy Samberg's Nyles twirls his hand at Cristin Milioti's Sara and says, "It's one of those infinite time-loop scenarios." Yeah, one of those. Armed with only a handful of fictional examples, she and the audience know exactly what he means, and the continually inventive screenplay by Andy Siara doesn't have to do any more explaining. In record time, the film accelerates into its premise, involves her, and sets up the conflict while avoiding the claustrophobia of even Groundhog Day. That economy is the strength that allows it to be as funny as it is. By being thrifty with the setup, the savings can go to, say, the couple crashing a plane into a fiery heap with no consequences.

In some accidental ways, this is, of course, a quarantine romance as well. Nyles and Sara frustratingly navigate the tedious wedding as if they are play-acting--which they sort of are--then they push through that sameness to grow for each other, realizing that dependency is not weakness. The best relationships are doing the same thing right now.

Although pointedly superficial--part of the point of why the couple is such a match--and secular--I think the notion of an afterlife would come up at least once--Palm Springs earns the sincerity that it gets around to. And for a movie ironic enough to have a character beg to be impaled so that he doesn't have to sit in traffic, that's no small feat.

4. The Assistant (Kitty Green)- A wonder of Bressonian objectivity and rich observation, The Assistant is the rare film that deals exclusively with emotional depth while not once explaining any emotions. One at a time, the scrape of the Kleenex box might not be so grating, the long hallway trek to the delivery guy might not be so tiring, but this movie gets at the details of how a job can destroy you in ways that add up until you can't even explain them.

3. Promising Young Woman (Emerald Fennell)- In her most incendiary and modern role, Carey Mulligan plays Cassie, which is short for Cassandra, that figure doomed to tell truths that no one else believes. The web-belted boogeyman who ruined her life is Al, short for Alexander, another Greek who is known for his conquests. The revenge story being told here--funny in its darkest moments, dark in its funniest moments--is tight on its surface levels, but it feels as if it's telling a story more archetypal and expansive than that too.

An exciting feature debut for its writer-director Emerald Fennell, the film goes wherever it dares. Its hero has a clear purpose, and it's not surprising that the script is willing to extinguish her anger halfway through. What is surprising is the way it renews and muddies her purpose as she comes into contact with half-a-dozen brilliant one- or two-scene performances. (Do you think Alfred Molina can pull off a lawyer who hates himself so much that he can't sleep? You would be right.)

Promising Young Woman delivers as an interrogation of double standards and rape culture, but in quiet ways it's also about our outsized trust in professionals and the notion that some trauma cannot be overcome.

INSTANT CLASSICS

2. Soul (Pete Docter)- When Pete Docter's Up came out, it represented a sort of coronation for Pixar: This was the one that adults could like unabashedly. The one with wordless sequences and dead children and Ed Asner in the lead. But watching it again this week with my daughter, I was surprised by how high-concept and cloying it could be. We choose not to remember the middle part with the goofy dog stuff.

Soul is what Up was supposed to be: honest, mature, stirring. And I don't mean to imply that a family film shouldn't make any concessions to children. But Soul, down to the title, never compromises its own ambition. Besides Coco, it's probably the most credible character study that Pixar has ever made, with all of Joe's growth earned the hard way. Besides Inside Out, it's probably the wittiest comedy that Pixar has ever made, bursting with unforced energy.

There's a twitter fascination going around about Dez, the pigeon-figured barber character whose scene has people gushing, "Crush my windpipe, king" or whatever. Maybe that's what twitter does now, but no one fantasized about any characters in Up. And I count that as progress.

1. I’m Thinking of Ending Things (Charlie Kaufman)- After hearing that our name-shifting protagonist moonlights as an artist, a no-nonsense David Thewlis offers, "I hope you're not an abstract artist." He prefers "paintings that look like photographs" over non-representational mumbo-jumbo. And as Jessie Buckley squirms to try to think of a polite way to talk back, you can tell that Charlie Kaufman has been in the crosshairs of this same conversation. This morose, scary, inscrutable, expressionist rumination is not what the Netflix description says it is at all, and it's going to bother nice people looking for a fun night in. Thank God.

The story goes that Steven Spielberg and George Lucas, when constructing Raiders of the Lost Ark, sought to craft a movie that was "only the good parts" with little of the clunky setup that distracted from action. What we have here is a Charlie Kaufman movie with only the Charlie Kaufman moments, less interested than ever before at holding one's hand. The biting humor is here, sometimes aimed at philistines like the David Thewlis character above, sometimes at the niceties that we insist upon. The lonely horror of everyday life is here, in the form of missed calls from oneself or the interruption of an inner monologue. Of course, communicating the overwhelming crush of time, both unknowable and familiar, is the raison d'etre.

A new pet motif seems to be the way that we don't even own our own knowledge. The Young Woman recites "Bonedog" by Eva H.D., which she claims/thinks she wrote, only to find Jake's book open to that page, next to a Pauline Kael book that contains a Woman Under the Influence review that she seems to have internalized later. When Jake muses about Wordsworth's "Lucy Poems," it starts as a way to pass the time, then it becomes a way to lord his education over her, then it becomes a compliment because the subject resembles her, then it becomes a way to let her know that, in the grand scheme of things, she isn't that special at all. This film jerks the viewer through a similar wintry cycle and leaves him with his own thoughts. It's not a pretty picture, but it doesn't look like anything else.

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inessencedevided · 4 years ago

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Oh yeah, titles are totes valid. I like yiling patriarch cos when you think about it it doesn't make sense. He didn't create the town of yiling, and he technically doesn't even live there. He sould be called burial mounds patriarch or smth.

Anyway, enough about titles (also if I have made a mistake due to translation error or misunderstanding, whoops). Which OG sect leader do you think was the worst, and which one was the best? And which next gen sect leader is best and worst?

I dislike jgs most, cos yikes. Wrh might have been a tirant and war criminal, but at least he wasn't as big of a dick as jgs. Can't really decide who the best is, cos they all had issues, you know?

Worst next gen would have to be jgy, not cos I dislike him as a person but because he definitely commited war crime and genocide. Idk best here either cos once again, *slaps top of cgl* these cultivators can fit so much trauma and issues. I do like imagining how the now sect is run. One twink mastermind and his hunk retinue? Love that for them

-the axe cultivator

Argh, 🪓-cultivator (there's an emoji! :D). I'm so sorry! I'm terribly behind again in answering you. I promise, I like your asks but I want to give them proper attention and the holidays were surprisingly busy this year.

That question is very creative! And hard ^^ I had to think about all my answers, even the seemingly easy "worst sect leader of the OG". Because while jin Guangshan is definitely a pompous ass and overall shitty person who is more concerned with sleeping with every woman in Lanling than his duties and who didn't step up during the sunshot campaign and then decided to use the power vacuum afterwards to his advantage, he at least, you know, did some sect leading. Which is not something that can be said about one Qingheng-Jun. That guy just left his brother and eventually and increasingly his teenage son in charge. Now what is worse? Bad sect leading or no sect leading at all? I don't know if I can decide ^^

Ah yeah and Wen Ruohan ... 🤷‍♀️ obviously he wasn't great, but he's also the least three-dimensional "villain" so I never really bother with him ^^

The best og sect leader? Does lan qiren as an acting sect leader count? ^^ obviously he too has issues, as you said. I believe lan qiren, as a leader, as an uncle and as an educator was deeply influenced by the things that happened with his brother. I can only imagine how deeply it must have hurt him to see his brother abandon both his people, him, his brother and his own children for the sake of one woman. Whatever your opinion on qingheng-jun, I believe we can all agree that his actions must have deeply hurt and disappointed lan qiren. We don't know what he was like before those events, so we don't know just how mich of his extreme rigidity is due to those events, but I do believe that they hardened him and made him more inflexible. Maybe he was much more of a free spirit before. Maybe he was a lot like Lan Wangji, but instead of loosening and expanding his understanding of the relationship between morality and rules, the events that shaped him let him to harden them. We don't know. But we do know that he picked up the pieces his brother left him. My point is, you can think about his style of leadership and teaching what you want but you cannot deny that he is devoted to the people in his care and that's not something you can say about a lot of the leaders of his generation.

Now, to the next gen leaders:

This is, in a way, even harder to decide ...

I wouldn't call jiggy the worst sect leader so easily. His record, imo, is very much mixed. The watchtowers, if I recall the novel correctly (it's been 6 months since I last read it ^^), were a pretty good way to get help to people who usually fall under the radar of the cultivation sects. So while he definitely sacrificed a lot in his rise to the top, he seems to have tried to help the common people (something that cannot be said about his two predecessors).

But ... who then? I thought a lot about it and I think I'm inclined to say Nie Huaisang. Don't get me wrong, I love him as much as anyone, but I also remember the part in the novel where, when wangxian investigate the "man eating bunker" (i wonder how accurate that translation is) a town's person sais that they don't expect help from the nie sect because ever since Nie Huaisang took over nothing gets done and they neglect to help the people within their territory. Now, we know that Nie huaisang cultivated a reputation of general incompetence so people wouldn't suspect him to scheme against jin guangyao, but in doing so, he obviously neglected his duty to the people under his care. Which is, imo, pretty consistent with his character. Nie Huaisang us ruthless when sufficiently angered and has no qualms to cause casual damage to achieve his goal (see Mo Xuanyu's suicide to bring wei wuxian back). His revenge was his first priority and so he placed being a good brother over being a good sect leader.

Best? Is also dificult. I honestly can't decide between Lan Xichen and Jiang Cheng? There are so many factors to consider here! (There were already woth the ones above, really): what actions count towards the assessment of their leadership? What makes good leadership at all? (Which is funny because I'm doing my masters in political science rn and that's one of the biggest questions in political theory. But I only really know "Western" political theory. Chinese philosophy i have only ever graced the surface of) which is to say ... I can't really decide.

Jiang cheng put his sect above all else. While there's a lot of debate about whether that was morally right, it's certainly what helped him rebuild his sect as quickly as he did. He is brash and sometimes cruel, but his deciples clearly trust him and admire him.

Lan Xichen is an incredible diplomat. He is calm, fair (i.e. when he decides to listen to wangxians accusations against the sworn brother he loved and investigated them himself) and proactive when he needs to be. (I know, he is often accused of being too passive within the fandom, but I don't think that is necessarily the case. In a world where most leaders seem to base their judgement on rumor and hearsay more often than not, he withholds judgement until he listened to all sides. That is not a flaw in leadership) Now, in the end, he seemingly follows his father's footsteps by going into seclusion. I would argue, that still doesn't place them on the same step leadership wise. A. The situation with Jin Guangyao and madam lan, imo, aren't equivalent. It's hard to judge madam lan because we don't know what let her to kill the lan teacher, but I think it's unlikely she deceived qingheng-jun in the process. Jin Guangyao actively deceived kan xichen for years. When lan xichen learned this, he decided to investigate and was badly hurt in the process. The outcome, seclusion, may be the same, but the reasons are different. Also, the novel heavily implies that lan xichen will eventually emerge and take up his duties again.

All of this is to say... I can't decide ^^

I'll answer the other putstabding ask tomorrow. It's past midnight now and I should really sleep. Thank you for being so patient 💙

Btw, happy holidays, if you celebrate 🥰

#the untamed #mdzs #ask #mdzsnetcc #jin guangshan #jin guangyao #lan xichen #jiang cheng #nie huaisang #please don't mind all the typos #i didn't read over what i wrote again #all my past german teachers would be so disappointed

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completely-zucked · 4 years ago

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Kazakhstan: The Greatest Country in the World

I'll readily admit that my knowledge of American history (particularly when it comes to the oppression of BiPOC) is a little sketchy in places. So I conflated Juneteenth (the fact that certain places didn't emancipate slaves for 2.5 years after they should have) with the Tulsa massacre. However, I hope it counts for something (however small) that I at least knew it was something horrific to do with racist and oppressive BS, that noone in their right mind would be so callous or insensitive to wish anyone hapiness/celebration while remembering that. I wonder how many white Americans can honestly say the same. It seems that I am at least one step ahead of them. Most just take what they learned in K-12 and accept it as the whole truth. K-12, though? That strikes me as a class for advanced students. It seems to me that the average American isn't much more intelligent/educated than the average K-9. (It's one of the reasons why I'm proud to not be an American.)

Too Little, Too Late

Honestly, more white Americans know the history today than did a month ago, and more knew last summer than did the year before, which is definitely … something in the right direction?

Yeah, it's fucking sad, and infuriating, though. Your schools don't teach you this shit, or about Tulsa, or about Rosewood, or Rosa Parks, or about the legacy of lynching, or anything much beyond "slavery was really bad and then we fought a war to get rid of it and then it was mostly better and then Martin Luther King Jr. gave a speech and made it all the way better". (Sometimes it's even worse. I know someone who had a friend who grew up in the South and though he admittedly didn't pay a ton of attention in history — with no serious repercussions because he's white — it was at least into his twenties before he realized that the Confederacy lost. He thought that they must have been fighting to end slavery instead of keep it! I mean, how problematic and appalling is that?!)

You don't teach kids about indigenous genocide, either. They don't learn about how their government has (sometimes quite literally) stabbed them (and the first nation's people) in the back over and over again. Growing up, I didn't learn about how Lincoln ordered the largest mass hanging in US history, executing 38 people who had fought because they were starving as a result of their lands being stolen (not just their original lands but part of what they had been forced onto, too) — and that a bunch of the names we saw everywhere like Ramsey and Sibley were dudes who were heavily involved in that "conflict", but I was taught the gist of the attrocities committed by men like Custer when the West was lost.

Your shit's fucked up from top to bottom and side to side.

Your whole education system is garbage, not just your History. Your countrymen (collectively) can't spell, have poor reading comprehension, struggle to identify their own country on a map (never mind anyone else's), are still stuck in the 1960 as far as race relations go, have no grasp of basic Physics or Biology, lobby against teaching evolution in schools (as opposed to Creationism), ad infinitum, ad tedium … Yet I, an individual from a Third World country, have a better education (Cambridge syllabus) than the average individual from what is allegedly The Greatest Country in The World™ Hmm … Something doesn't add up here (but then again, my country's Maths literacy is a known weakness). #JustSaying

Honestly, if my country of origin was one that once housed the thousands of minds that successfully worked out and executed the challenge of going from near-Earth orbit to manually landing a craft on the moon and getting it back to Earth without incident in less than a decade (using technology less powerful/accurate than the average pocket calculator, nog al); a feat so statistically improbable as to be practically impossible … to this sordid state of affairs, I would either retreat to the backwoods and whittle while seriously contemplating my ancestors' poor life choices or I would dilligently apply myself to getting a proper education through online courses. I certainly wouldn't run my mouth about how great my nation is when it's clearly appallingly and embarrassingly backward. Only an idiotic, ignorant, arrogant motherfucker does that. This is far beyond something rotten in the state of Denmark. So yeah, I'm very much anti-American and I'm definitely not ashamed of it.

Now, I realise, of course, that generalisations are generally wrong and not every American is an illiterate and poorly-educated backwoods hillbilly, but fuck me, the smart ones are needles in the haystack (and it's a very big haystack).

Perhaps if your government spent as much on mitigating its education, housing, medical aid (health insurance), unemployment and potable water shortage crises as it does on exploring the Universe and persecuting/murdering BIPOC (particularly non-Christian ones) around the world while claiming to be "liberating" them of anything other than natural resources (particularly gold, diamonds, oil and tungsten) and their lives while foisting cheap crap on them, I might not be such a harsh critic. But don't mind me; I'm just an anti-consumerism anarchist with no idea of how the world really works.

Having worked for some morally bankrupt organisations myself, I'm certainly in no position to criticise, but I do think it's at least a little hypocrytical for someone who worked for Baby Killers International to wish BIPOC a restive and peaceful Juneteenth.

The idea that it's made a holiday is all well and good, but the government still allows cops to murder minorities. It's a consolation prize and a hollow one at that. Not teaching why it's even a holiday in the first place is all sorts of problematic, but only in America. The government has been scared to death of its people (all of them) since the 60s (which is a good thing). Now, they're seeing a lot more whites side with BIPOC than did back then. The only thing keeping them safe is their brainwashed right-wing. This is beyond disturbing.

The Greatest Country in the World

"We're The Greatest Country in the World™", you cry? Maybe sixty years ago you could broadly claim it was heading there and maintain a straight face (if you ignore a lot of problematic shit like abusing Oppenheimer's genius in order to commit war crimes). It certainly isn't any more. Why; what the fuck happened to a nation that used to be an inspiration? Well, you didn't just rest on your laurels; you destroyed them. Meanwhile, the rest of the world struggled and persevered to become what you once were. Unfortunately, we bought into the nightmare of consumerism and greed you packaged and sold to us as The American Dream™.

So, in short: Fuck you very much! Enjoy your fucked-up holiday. Coke (which used to containe cocaine), nutrient-devoid cardboard "food" and heart-attack-inducing "energy" drinks white America!

https://vimeo.com/134492436

#juneteenth #USA #us army #your fave is problematic #amerika

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sir-phineas-lost · 5 years ago

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Yes, Ezran is a hypocrite

You ever browse through the TDP-tag and come across something that you take issue with, only to find out it is from someone who already blocked you and you think: “Great, this guy is back on his BS”. Well, situations like that are what the screendump is for.

So yeah, this post is going to be about Ezran and his decisions, and how some segments of the fandom defends said decisions.

Yeah, this much is accurate. Ezran does indeed remain consistent in his desire for peace with Xadia, but as we will see his idea of peace and what is required for it remains decidedly biased in Xadia’s favor.

So here we have the first spectacular example of hypocrisy. Acts of violence in self-defense should indeed be considered acceptable, but what this person neglects to bring up here is that this is something the show, and Ezran in particular, has outright condemned in the past.

Remember Pyrrha? That red dragon from season 2? What was she doing in Katollis in the first place? That's right, terrorizing a town and scouting for Xadia. Soren fires a bolt at her, but it misses and until this point, no actual violence has occurred. Then Pyrrha decides that she has all the excuse she needs to not only attack the watchtower but the entire town full of civilians. Claudia uses dark magic to shoot her down and if we go by this person’s logic, this must surely be an acceptable act of self-defense.

The show really doesn't see it that way though. Ezran doesn’t see it that way. At no point while watching this play out does he ever voice any concern for the people who were attacked or any condemnation of Pyrrha’s actions. And when it is over he does not run into town to make sure everyone there is all right, he runs to Pyrrha to make sure she is ok.

I will probably hear someone argue that at that point Pyrrha was the one who was down and needed the most immediate help in order to stop more death on both sides, but that just highlights my point. His desire to stop the violence on “both” sides conveniently only appears when one side needs it the most. It’s like watching a bully beat up a weaker kid for 5 minutes and then when the victim gets 1 good hit in you suddenly decide that it is time to call for a time-out. The show also goes the extra mile to lay all the blame for this horrible war-crime at Soren’s feet because he “made” Pyrrha attack.

The show clearly didn’t think acts of self-defense were all that different from other acts of violence before so why are we supposed to think it is different when Ezran immolates his own people for the sake of saving Xadia?

No, you don’t have to oppose violence in every circumstance to love peace, but that doesn’t mean there isn’t a clear pattern in which situations Ezran decides it is finally time to “stand his ground”.

You can indeed make a great point about the need to fight a battle now and show your resolve in order to avoid greater suffering later, but this is once again a philosophy that both the show and this person has decided to twist in Xadia’s favor. See, this very same idea is at the core of Viren’s plan as well. That humanity must fight and take back their rights now in order to not fall back into a status-quo that leaves them suffering and dying in the long-term.

You cannot argue for this position and need to “fight for peace” without also examining the current relationship between the nations and what that “peace” will actually look like.

Yes, Ezran is very noble for accepting this deal for the sake of the soldiers, but it is once again something that only lasts until it affects someone he actually cares about, namely Zym and Rayla. And all that humanizing of the otherwise nameless and faceless soldiers will go straight out the window.

And here is where this person tries to make all of these contradictions into some kind of cohesive arc for Ezran. That his willingness to kill humans is somethng he has learned as part of his “positive” character growth, but it doesn’t work for one very simple reason. It is completely made up of wishful thinking. I see how someone could hear Soren say this and come to the conclusion that they have acted poorly in the past, but Ezran never has that moment of realization. There is never a scene where he admits fault or that he was naive to think he could stop the slaughter by burying his head in the sand. His decision to abdicate is never treated as anything other than a noble sacrifice and it ultimately turns out to save the day as the soldiers he negotiated to be let go come back as reinforcements along with Duren to kill off the soldiers who followed Viren.

More importantly, if the point was actually that Ezran has learned a valuable lesson about maybe having to do a horribly tragic thing now (like fighting a bloody battle) to prevent a larger tragedy later as this person suggests, then the narrative should still treat this choice to slaughter humans as a tragedy, and it just doesn’t. Instead of treating it as a somber affair they treat it as a clear battle of good vs evil and they make sure to literally dehumanize the soldiers as much as possible to make sure that we don’t feel bad for them. All that “empathy” Ezran felt for these same men and women before can conveniently be ignored in this case. They have once again been reduced to faceless puppets on a board.

But that’s just it, he doesn’t break the cycle, he perpetuates it. This is no longer a conflict that only his ancestors have killed in. There are people who would be alive today if not for decisions he made. Aanya killed Kasef, a boy of 19 with an injured dad and (supposedly) a younger sibling left at home. Should they take the murder of their family without complaint? Does anyone think they will not have a genuine grievance with the child queen who took his life? The same queen who swore to King Ahling that she would not send her troops to die in someone else’s war? Sounds to me like Ezran’s way of breaking the cycle is to kill when it is convenient for his friends and then expect the people he hurt to just let it go. No doubt the show will make Ahling out to be the bad guy for not being the bigger man and forcing Ezran to kill him too. It will always be “necessary” to break with pacifism when Ezran needs it to protect his magical friends.

Ezran will fight for his peace alright, but it is an uneven peace if ever there was one. He will not “stand up” to bullies, he will coddle them and shelter them from the consequences of their actions in the name of this “peace”. The next time Rayla says something bigoted about humans he will let it slide, or laugh at how funny it is. When Zubeia decides to get rid of some humans who practice dark magic in the name of “peace” he will certainly not fight for them half as hard as he fought for the dragon who committed a war-crime right in front of him. Not once has Ezran ever confronted the imbalance of power that started this war in the first place and he has given me no reason to think he will do so now that his “peace” is finally within reach. His new status quo will kill just as many humans as the previous one did, but things will be better for Xadia so why should he care?

That’s funny because it also mirrors every pretentious asshat who thinks they are deep because they can quote something in Latin.

Edit: I bolded the text because it was botheing me how it sometimes blended into the text from the other post.

#the dragon prince #tdp #tdp meta #tdp critical #meta

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mymarvelbunch · 5 years ago

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Different Roads... Same Destination: Part One

Pairing: Steve Rogers x Reader (established)

Summary: When the Avengers went back in time to get the Infinity Stones, new timelines were created. By not delivering them back to their exact same spots, you and Steve created major changes in those timelines. What happened? (Non-American!Reader)

This is a sequel to “Be Your Own Hero”. I highly recommend you read it first, since it features many major changes in canon that are addressed here.

Notes: Y/N = your (first) name; Y/Co = your home country; Y/Ci = your home city; Y/N/L = your native language (to be ignored in case you speak English).

Masterlist

Part One

New York, 2012

The Avengers were still trying to understand what happened when a loud ‘thud’ was heard. Tony turned to see the Scepter lying on the ground.

“Well, here is the thing Loki used to brainwash people”, he said. “But where is the Tesseract?”

“This isn’t the Mind Stone”, Loki said. “They placed the Tesseract in the Scepter.”

Everyone turned to him. He had already been right minutes prior, when he pointed out there were four Avengers from the future. Now the team was more inclined to believe him again, especially Thor.

“How do you know this, brother?”, he asked, frowning.

“The glow is different, for starters. And... I don’t know how to say this accurately, but I feel different when the Mind Stone is near me. Ever since those warriors came from the future and took it, I felt... lightweight, even if for brief moments. As if...”

Thor’s eyes widened. “As if the Mind Stone has some sort of power over you.” Loki nodded weakly. “Well, this is important information. Mother will certainly know to fix this. Stark, hand me the Scepter. It will be safer in Asgard.”

A SHIELD agent opened his mouth to protest, but there was little they could do as Tony gave Thor the Scepter. The Asgardian walked to the open balcony, his brother in his arm, and left, though not without asking his ‘brothers-in-arms’ to find the Mind Stone first.

“We’ll do surveillance around the Tower”, Runlow said, “with your permission, Mr. Stark.”

“Yeah, yeah, sure. I don’t want that thing near any of us.”

“Wait”, Tony said. “Loki was under mind control back then?”

You turned behind to face him, but a quick glance told you almost everyone was surprised. “You didn’t know? He told me back in 2014.”

Loki wasn’t there to defend himself, busy as he was being king, but Thor was. “Honestly, I didn’t know either, not until Asgard was destroyed. Loki told me on our way here that Mother chose to perform her purification spells out of everyone’s eye because... It would be better (or less worse) to have people believe Loki had turned evil than to have them know about Thanos. But yes, he was under Thanos’ influence through the Mind Stone. It wasn’t exactly like what he did to Barton and others, but close enough.”

That made an awful lot of sense. No one had a good answer for that, and they turned back to the ‘screen’.

It took five years for the Mind Stone to be found. In the meantime, SHIELD was dismantled, the Winter Soldier was revealed to be a brainwashed Bucky Barnes and HYDRA was taken down piece by piece.

There was no Scarlet Witch, no Quicksilver, no Ultron, no Sokkovia Accords, no Zemo. Steve found Bucky in Bucarest in 2016 and, after weeks of talking and with Sam’s help, took him to New York. There, they faced another battle, as many people wanted him in jail for the crimes he committed as the Winter Soldier.

Surprisingly, their help came from Tony. “I know what he did to my parents, yeah. I read all those files Romanov leaked. But we all saw what brainwashing does to a person, huh?”

No, Tony and Bucky didn’t become friends. Despite his forgiveness, Tony was still wary of him; poor man had his own mental health issues to face already. But he was willing to pay the best lawyers to convince the public that Barnes had no control over himself for the past seven decades, and that the Winter Soldier was nothing but a weapon in HYDRA’s hands. It took time and money, but it was worth it, for Bucky was absolved and reclaimed his status as war hero.

Even so, he didn’t want to stay in US. “Too many memories”, he explained, and Steve understood. It all got worse when one of Tony’s employees found a glowing Stone in the elevator shaft. Thor wasn’t on Earth when it happened, so the Mind Stone stayed at the Tower for a while. Needless to say, Steve was worried, and Bucky was terrified.

“I found a place that might be good for you”, Maria Hill told him one day. “Y/Ci, in Y/Co. It’s a place untouched by HYDRA and with no evidence that the Winter Soldier ever stepped foot in there. No memories, no triggers.”

Bucky accepted the offer almost immediately, and Steve was happy to follow him. “I’ve had enough fights for a lifetime”, he said. “We should have retired from soldier duty decades ago, Bucky. We both deserve a normal life.”

It was early 2018 when they finally settled, and, upon Steve’s insistence, Bucky started looking for mental health care facilities.

Your grip on Steve’s hand tightened when you recognized the mental health facility Bucky got inside. “I was an intern there at college”, you said. Steve’s eyes widened, and he grinned.

“Maybe Bucky will be the one to get you instead of me”, he teased.

Behind you, whispers could be heard.

“It’s weird to not see myself with you guys”, Wanda said. “I wish I could know if Pietro is alive.” Vision rested his hand on her shoulder, likely reflecting on how would his life be if he had stayed as a disembodied voice.

“Wakanda wasn’t even mentioned”, Shuri said. “I guess with father still alive, the borders remained closed.”

“Probably the reason why Bucky moved to Y/Co instead of Wakanda”, Sam added. “If people still think Wakanda is a poor country, no one would think of it as a mental health care reference.”

“I’m not mentioned either”, Scott said, “which is kind of weird, because I don’t see why I wouldn’t meet at least Sam.”

“Yeah, but there was no fight in Germany for you to take part of”, Hope replied. “They probably never contacted you again. Parker isn’t mentioned either.”

Someone shushed them.

Even though he had scheduled it all by himself, Bucky didn’t want to go his first appointment alone. So, when Y/N called for Sebastian Stan (his new alias), he and Steve (who called himself Chris Evans) stood up together from their seats.

Inside, Bucky soon confessed his true identity. Your surprise was visible for five seconds, and then you smiled. “I’m glad you trusted me with such a delicate information, Mr. Barnes. But I wish you’d tell me your story with your own words, not just what was said about you on newspapers.”

Steve stayed inside the whole time, having also revealed who he was. Bucky didn’t tell his whole story at once, give there was a time limit for his appointment, but you asked him to come back in a week. “We can’t give you any concrete diagnosis for now, Mr. Barnes, though we have a few suspicions. But I assure you we’ll help you in every step of your recovery. You won’t be alone.”

After three more sessions, he was diagnosed primarily with PTSD, along with general anxiety disorder and memory problems (he had yet to remember key details of his past).

You were supposed to leave the facility at the end of the month, but your mentor offered you a prolonged stay. “You mentioned your next internship would be in surgery, and you don’t like it, right? I can pull some strings to keep you here. It’s not like you’ll need those skills to become a psychiatrist.”

You happily accepted his help. You’ve always been sure of what you wanted to do after finishing college; skipping surgery internship was honestly a dream come true, and you were eager to follow Barnes’ case. Your classmates didn’t know his true identity, but the case discussions made it clear you got one of the most complex cases at the facility, and some classmates envied you.

Your teacher was successful, and for the following three months you stayed, taking care not only of Barnes, but of other patients as well. It was a wonderful experience, and you were sure you had fallen into the staff’s good graces, which increased your chances at getting into residency program there after graduation.

As the weeks went by, though, you noticed something rather odd. Barnes had been getting inside the room alone since his fifth appointment, but Rogers still accompanied him, waiting for him outside. Eventually, you asked your patient why that was, assuming he’d say he still didn’t feel safe coming alone. Instead, he grinned.

“Oh, he pretends he comes for my sake, but he actually just wants to get a glimpse of you.”

You nearly choked on your own saliva.

At your side, Steve laughed and hugged you tight.

“Guess I didn’t steal Y/N from you after all, punk”, Bucky said, grinning just like his alternate counterpart.

“Thank God”, you replied. “No offence, Bucky, but seeing us dating would have been way too awkward.”

“Couldn’t agree more.”

---x---

It wasn’t easy for Steve to convince you to go on a date with him. You were hesitant, given he was her patient’s best friend and roommate, but eventually you conceded.

“We won’t talk about Barnes at all”, you said firmly. “And if I sense this will affect my relationship with my patient, it’ll be over.”

“Yes, ma’am”, he replied instantly, willing to do anything to see you more.

You had charmed him from day one, and his interest on you only grew as weeks went by. When the day of your date arrived, he was a nervous wreck.

“Haven’t seen you like this since Peggy”, Bucky mentioned.

“Shut up, jerk”, he retorted. “And go hide, I don’t want Y/N to see you and cancel our date.”

“She’s got you wrapped around her finger and you haven’t even kissed yet”, he teased, but left to his room anyway.

A date led to another, and another, and another... Steve waited for you to leave the facility and stop seeing Bucky to ask you to be his girlfriend, and she promptly agreed.

A year later, when you met the Avengers for the first time, Thor told the story of how he, Loki and others fought Thanos when he invaded Asgard to take the Space and Mind Stones. Your eyes widened as he gleefully detailed the purple alien’s demise.

“Glad you defeated him still in Asgard”, Tony said. “We just found out about another of these Stones here on Earth. A wizard here in New York is its guardian.”

“Really? Give me his address, I figure we have much to discuss.”

You didn’t really understand all those talks, but Steve’s visible relief was enough information for you.

On the current timeline, that same relief was visible among everyone. “A peaceful timeline”, you commented. “I hope there are more of these.”

After Strange showed what happened to the Avengers who were not featured, Wong took his place to show another timeline. You straightened your back as the ‘screen’ showed you briefly kissing Steve in Morag.

Did you like it? I was looking forward to write about the consequences of those changes. Butterfly effect is strong here.

For those who don’t remember, in ‘Be Your Own Hero’ Loki tells the Reader he was under the influence of the Mind Stone in the events of the first Avengers movie. This is a popular theory that explains some differences between his behavior in that movie and his behavior on... well, any other movie he’s in.

In this, I try to touch on how things would be different if this information was made known right away, instead of being kept a secret. Being seen as a victim instead of a villain changes a lot for Loki’s story, and therefore Thor’s arc as well (The Dark World and Ragnarok’s. It also helps Tony understand Bucky’s story and actions better, since he saw the effects of mind control on Clint and Loki.

Scarlet Witch, Quicksilver, Ultron and Vision are all products of the Mind Stone, meaning that, in its absence, they don’t exist. The events of Age of Ultron are what make Civil War happen, meaning one doesn’t exist without the other. With no Civil War, nobody reaches out to Scott, T’Challa doesn’t become king to open the borders, and Peter Parker’s role in Tony’s life is probably less significant (though I do believe he mentors the teenager anyway).

If you want to follow my crazy ideas on time travel and its consequences, taglist is open!

#steve rogers x reader #Steve Rogers #steve rogers fanfiction #steve rogers imagine #steve rogers x you #steve rogers x y/n #marvel imagine #The Avengers

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dachi-chan25 · 5 years ago

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How do months in 2020 manage to last years and yet end in the blink of an eye???

Anyway I did finish my TBR so...

1 -The Vampire Armand (The Vampire Chronicles 5) by Anne Rice

🌟🌟🌟

Sooo, this one was my least favorite the 1st time I read this series and I hoped to like it more since I wasn't finding Armand as annoying in the first 4 books but gosh I really feel Anne Rice doesn't have much love for characters that are not Lestat, cuz I feel Armand could have been intresting but the book lacks the passion and wit Anne adds everytime she writes Lestat so yeah it was pretty meh. I love the cover tho.

2.-Dead and Alive (Prodigal Son #3) - Dean R. Koontz

🌟🌟🌟🌟

I was plesantly surprised. I hadn't very high expectatives for this one cuz even though I enjoyed book 2 I thought the pacing was waaaaay too slow, the plot wasn't advancing much. But this one was super cool, it picked up inconcluse storylines from the 1st book and that CLIFFHANGER!!!! The romance between the detectives was meh, like I wish I had liked them both more but the Erikas have my heart and I want to see more of Deucalion.

3.- Wild Cards I - George R. R Martin

🌟🌟

I was so disappointed. Ok so the concept is pretty cool. Like an alien virus is set loose and it causes some people to have amazing superpowers and other people gets terrible mutations, What's not to like??? But oh my fucking god. The mysogyny of this book. I can usually read books with mysogyny like I enjoy classics like 1984 despite the rampant way in which the protagonist hates woman. I couldn't handle it here. The female characters have less dimension than a sheet of paper and they depend entirely on the male characters it ruined the whole thing for me, and the writing was mediocre at times (I mean I know this was written by multiple authors but at points the quality of the writing droped like super hard) I am not picking the next one.

4.-My Sister the Serial Killer - Oyinkan Braithwaite

🌟🌟🌟🌟

I just love horror stories where a pretty girl is the killer. Like they are so enjoyable. And this particular story is so good because we have this 2 sisters, they are very different, one is like the epítome of beauty and the other is an average woman. The pretty one literally can do no wrong in everyones eyes and that’s just fine cuz she just so happens to kill her boyfriends. Her sister who is a nurse helps her clean up and get rid of the bodies because at first she believes they were abusive towards her sister but then she starts to get suspicious and things are super cool and intresting. I feel it could have gone deeper with some stuff but it was a great and quick read.

5.- Moloka'i - Alan Brenett

🌟🌟🌟🌟🌟

I cried so much. This book is about Rachel, a girl diagnosed with leprosy at 7 years old during the 1890's and is sent away to live at the leprosarium in Moloka'i, Hawaii. We follow Rachel as she makes friends and family and loses them all over again to the sickness as she grows older. This book was so beautiful and pretty diverse (I loved Leilani I had never seen trans representation in a 19th century book) full of history and humanity. An amazing read I fully recommend it.

6.- New Suns: Original speculative fiction by people of color - Nisi Shawl.

🌟🌟🌟🌟

I Loved it. One of my main problems with anthologies is that inevitably I find some stories better than other but that was not the case here, every story had an intresting premise and amazing writing (my fave was maybe the one with the lesbian mermaid or the one were a woman raised the death to get rid of colonizers) like I need to read more from all these authors ASAP.

7.- Crime and Punishment - Fyodor Dostoyevski

🌟🌟🌟🌟🌟

I love me some good classic. This one is really amazing , I love how much we get into Raskolinov's psyche and the things that lead him to comit the crime and the effect it has on him once he does. And all this conversation about morality and if it's ever valid to commit a crime even if it's for the "greater good" and all that good stuff about how people trapped in poverty are more likely to fall down the rabbit whole of prostitution and crime and yassssss it was good,

8.- A Clockwork Orange - Anthony Burgess

🌟🌟🌟🌟🌟

I struggled like I should have known they would use the slang like in the movie (but I watched the movie in Spanish) so I was just vibing in the first few pages of the book barely understanding shit, except those words in other lenguages and then I started to pick it up and the book is so good??? Like Alex is awfull but the book actually makes a compeling argument about free will and the concept of choosing between good or evil. In general terms the movie is super accurate tho and yeah I really enjoyed this read.

9.- The Winter of the Witch (Winternight #3) - Katherine Arden

🌟🌟🌟🌟🌟

I LOVED it. This book absolutely messed me up. Like I suffered a lot for my girl Vasya. And then all the stuff with the Bear and Morozco and the war, ahhhhh it was a LOT, but the ending was pretty satisfying, I cried tons and I am hoping we get another saga maybe following Marya this time????? I will just read anything Katherine Arden writes tbh.

10.-Lifestyles of Gods and Monsters - Emily Roberson

🌟🌟🌟

It was ok??? I wished it had been more about the sisters together as opposed to make Ariadne "not like the other girls" I am sick of that trope, and the "beautiful but doesn't know it" and less about the romance. Like the premise of retelling this greek myth as a reality show actually picked my interest but the execution wasn't that great it had lots of clichés I hate and mentioned before, what I kinda liked was that even though Ariadne had a romance she decides to start over by herself when things kinda fall apart and she is maybe open to dating another dude at the end, which honestly was a relief for me cuz I feel a lot of time YA pushes this idea that your first love is the only love you'll ever feel and that’s dumb .

11.-The Glass Menagerie - Tennessee Williams

🌟🌟🌟🌟🌟

I really love this play, well Tennessee Williams plays in general, and aire felt like re reading this one. I love Laura so much and it was a pleasure to read this again.

12.-In the Miso soup - Ryu Murakami

🌟🌟🌟

This is a very gorey book. Lots of graphic murders and violence, mentions of the sex trade in Japan. This was a very intresting read, lots of insight into the japanese society and how this very cliché image people have of it is completely wrong. Again sex trade is heavily discused as our protagonist makes a living out of taking foreigners to experience the sex clubs in Tokyo he meets this sketchy american guy who hires him, our protagonist has a feeling he might be a murderer and it goes from there. I really enjoyed it a lot and might consider reading another book by Ryu Murakami.

13.- The Downstairs Girl - Stacey Lee

🌟🌟🌟

It was amazing to read about an asian girl in the post-civil war era, and how this minority kind of lived in a limbo cuz white people didn't think much about them when making up all this crap ass rules about where PoC where supposed to live in or sit. And our protagonist Jo, is really a charming girl with a lot of opinions and so passionate I loved her so much. It was a bit cheesy at times, and I saw the book's big reveal coming but still it was a pretty good read.

14.-En el bosque bajo los cerezos en flor - Ango Sakaguchi

🌟🌟🌟🌟

Me gustaron mucho las historias, todas realmente te meten a una atmósfera japonesa: las imágenes como las flores de cerezo, los kimonos, templos, budas. Y las mezclan con un terror por lo desconocido y lo no visto que encaja tan bien en cada una de las historias. Realmente lo disfrute muchísimo y me gustaría leer más trabajos de este autor.

15.- Agamemnon - Aeschylus

🌟🌟🌟🌟🌟

I am weak for the greek plays. And this rocks so much. Chlymenestra is a queen, I stan her so hard. This play always makes me feel so bad for Cassandra, like how shitty is it to have the power to make super accurate predictions but no one ever believes you???

#july 2020 wrap up #booklr #dachi reads stuff

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h3l10tr0p3 · 6 years ago

Text

Headcanon: Deku, the Serial Shipper

Contains- Mentions of sexual activities, established relationship - Bakudeku; Crack pairings- TodoIna, JiroMomo, UraTsuyu, UraTenya, DenkiSero, Kirimina, platonic Kiribaku etc.

(Beware- Long post)

Jesus Christ, I just had this HC and now I gotta spill, otherwise I won't be able to sleep tonight. Here's another annoying Long Post for y'all)

Deku, as a Pro Hero and Katsuki's Duo Partner, has a pretty hectic life since the media are crazy bloodhounds, the villains are a pain in the ass, interacting with fans becomes exhausting at times, and the critics are demons wailing for his blood.

Yeah, very hectic. And on top of that, there's very little time to relax. Most of the days he sneaks some solace in the gym, if he can buy more time he likes to read and immerse himself in his notebooks and research. Fighting Katsuki to blow some steam is a last resort to shed off weeks of frustration and only reserved for off-days or desperate times - because something like that inevitably devolves into gratuitous rough sex or worse, day-long fuck-a-thon. Not that Deku doesn't enjoy it, he simply doesn't have the time to indulge and he knows Kacchan doesn't either, so they try to keep their hands off each other unless the occassion begs for much-needed violent release.

But sometimes, you just want instant relief. Sometimes Deku just wants to kick back and relax like a normal person, go on the internet, without everyone hounding him for a piece of his mind.

So he does.

Under Anonymity.

Et viola @allmight9000 comes alive on several media platforms including Tumblr and Twitter. At first, Deku masquerades around as a hardcore All Might fan fighting anyone who dares to diss the retired Symbol of Peace . But since his retirement, his popularity has gone cold, not many heated debates take place around him anymore and as sad as this makes Deku, he decides to discover new venues.

Now, Deku knows there's this dark void of fanfiction lurking on the net and there's no escape from it should he ever set foot into it. He is also aware of the dark things that beckon him from the sewers like Pennywise the Dancing Clown (eg. All Might/Endeavour, Hawks/Endeavour, All Might Bowl, All Might/ Hero Harem, All Might/Midnight, All Might/Aizawa/Present Mic and so on), things he should rightfully keep a safe distance from. But this is fucking Deku we are talking about- ofcourse he dares to dip his foot into the murk of fanfiction.

For science, he thinks, and takes the plunge.

It all goes downhill from there.

One day, Katsuki comes back from his shift to find Deku face-planted into the sofa, he hasn't eaten lunch, hasn't bathed and is claiming trauma, repeatedly insisting that he has sinned and he is going to hell for it, then he shakily holds up a 367k word fic of Villain Might/Endeavour. Katsuki has to slap him back to his senses. Later that night, Deku calls up Toshinori and asks him for forgiveness, when Toshinori asks him worriedly, 'For what?', Deku assures him he DOES NOT wanna know.

After obsessively going through various tropes and completing every Enemies to Lovers / Mutual Pining / Unrequited Love fic there is (and there is a lot, Deku hates himself every day for it), waiting torturous weeks for dead authors to rise from the ashes for a teeny tiny update, Deku finally gives up his small lake of unfulfilling All Might ships (because frankly it's hard to find a fic that suits his tastes and convincingly fleshes out a love story around a man who has pointedly avoided romance for the better part of his LIFE or a find a fic which is COMPLETE) and sets out into the sea of Ships.

Bad Idea.

Very VERY Bad Idea.

(We know it, he knows it. Katsuki is the only one who is blessedly oblivious because he chooses not to wade into Deku's mental shit and compromise his own sanity.)

Strangely, Deku has come to take an odd satisfaction of returning to fan mentality of shipping two people without restraints (rarely more than two)-it's simple, senseless, easy. It gives his head a break from all the overanalyzing it does and gives him a small dose of endorphins when he cant work out, eat out or fuck out the frustration. He was adverse to it first, since these are strangers trying to ship two random people (people he is friends with), and it was unsettling to find so many people shipping them when they've BARELY had any interaction in canon real life! What's the premise of shipping them at all? He just didn't find any allure to it back then. So he kept his reads under fluff and under mature ratings because he feels uncomfortable reading smut about his friends.

But Deku had a 'Oh my God they were ROOMMATES' moment when Jirou and Momo announce that they are dating to the U.A. Alumni, that too after reading a really fluffy Creati/Earphone Jack fic which accurately referenced their public sightings together and spun it into plot-points quite masterfully. ( the author did a real good job on it) And the most horrifying thing about the fic, Deku finds, is the fact that NO ONE, not even the AUTHOR knows how correct they were in their estimates! No one except Deku.

That realization shakes the foundations of Deku's beliefs and morality as he wonders how many fics out there , sfw or smut, requited or unrequited love, enemies to lovers or lovers to strangers, fluff or smut have come so so close to the truth, been so damn close - like an alternate course of their love-story? and WHY IS NO ONE GIVING IT MORE KUDOS?

This is how Deku ends up being the most irredeemable Shipper of the universe- with a mission in hand:

To curate proof of all valid ships and to supply aforesaid proof of it to the world (as subtly as he can of course, so as to not compromise his own identity or the privacy of the Shipped.)

He begins to scour through the net for paparazzi photos, indulges in gossip, pries out information of who is dating whom from his Hero contacts, authenticates it, creates folders and subfolders of photographic 'proof' (they are just teasers really) and whenever anyone writes a fic that comes anywhere close to the real thing he makes sure to tag them in his tumblr/twitter post with photos which basically pour gasoline over their fiery passion to continue dreaming and writing fics around those Ships. Like:

You wrote a fic of Fluffy Iron Fist x Real Steel? Here you go- an obscure pic of them leaving her apartment together

Uravity x Ingenium and Uravity x Froppy? A love triangle that could possibly end in heartbreak?!! Damn, sistah, who knows? (She's confused too, imho) So here you go- Uravity getting tipsy with Froppy and Uravity snuggling to Ingenium under the rain.

One-shot of Chargebolt x Cellophane getting frisky in an alley? Honey, I gotchu. Here's a pic of them arriving at a villain scene together with dishevelled clothes.

All Might x Endeavour Slow Burn? My dear friend- here's a picture of the Symbol of peace roasting marshmallows with Shouto on flaming Endeavour merch. Please don't make me block you.

All Might x Midnight? Here's a pic of my mom, me and my Dad AllMight. Midnight, Who binch?

Celsius (Shouto) x Gale Force Stripper AU? Oh, hey, look I'm totally that one lucky guy who was in the right place at the right time, okay? I dont know these guys personally, OKAY? Not. At. All. But I have some Opinions™ about your fic? and pics to support it. Just wanna show you that maybe...i mean...MAAYYYYYYBEEEE...the stripper is Galeforce, not Celsius? Yeah? Don't worry though, You're doing good. Love the slow build, keep up the good work!

Deku becomes a sensational fic-writer-enabler and often gives inspiration to writers who are looking to write for a new fandom. Deku's got their backs.

He sinks so deep into this Shipping business that one day Katsuki catches wind of it. It was becoming painful to keep ignoring Deku's descent into madness. Katsuki was okay with it as long as the nerd did his job well and fucked him even better (which Katsuki will never admit to enjoying, even at gun point. Pull the trigger, you coward). So, yeah, Katsuki could have accepted all of Deku's weird stalkerish behaviours (even if they weren't fixated on him all the time anymore and the 'Kacchan, sugoi!' comments had plummeted drastically....who needs the shitnerd to validate his worth, right?! Right...it didn't make him pissed AT ALL. because admitting that would mean he enjoyed it, WHICH HE DID NOT, MIND YOU)

What Katsuki couldn't accept was Deku accidentally using his official Hero twitter handle to post a very platonic (but in the eyes of rabid fans- borderline homoerotic) pictures of him and Eijirou and posted it as #Ground_Riot. The fucking flood of Zeku-haters and pro-GroundRioters had the comments section on FIRE. The post goes VIRAL.

Deku, fucking DEKU, the man who is secretly ENGAGED to him, is promoting GroundRiot like NO ONE's business and HE DOESN'T EVEN KNOW WHAT HE DID WRONG.

Katsuki finds Deku happily puttering around their shared apartment completely oblivious to the PR hell that has been licking at his heels. He immediately attacks Deku's account and is completely gobsmacked. Lo and fucking behold- every fifth picture in his blog is fucking GROUND RIOT.

Not just that, apparently, THIS MAN, his fucking FIANCE, is not only a renowned peacemaker in inane Ship wars, but is hailed as a Soothsayer of Ships for always correctly prophecizing "Ships that will Sail into the fucking Sunset', he is basically some minor god in the Hero fandom who is extorting excitement out of fic writers and fans alike so that 'the crime of incomplete fics' can be eradicated once and for all. And Deku's fucking commited to it.

(perhaps more commited to Ground Riot than his own betrothal because there isn't A SINGLE POST of ZEKU on his blog)

There's even a post where he answers an ask from anonymous. The question: "Are you also anti-Zeku? I have never seen you post anything related to that ship. Is it because you think it won't Sail?" And Deku answers shortly how he isn't explicitly Anti-Zeku, but doesn't like the idea of reading fanfics of that ship. He clearly witholds his opinion if the ship will sail or not. Katsuki also finds the chat which started all this shit.

Chat-

Hey! @allmight9000. I wanted to write a GroundRiot fic? Could you give me some inspiration?

Aww, sure! It's my favourite Ship tbh. I love GroundRiot. I have a whole gigabyte of inspirations in my laptop. I'll send you some when I get back home, okay?

Yup!!! I am actually a hardcore Zeku fan. But recently my friends got me into Ground Riot and I am addicted!! But Zeku will always have a special place in my heart <3

I see. :)

Do you wanna try it out? I know you mentioned you don't like it. But I know some REALLY good fics.

No thank you ^_^ I make it a point to not read those fics. I just can't visualize it working, you know?

Oh...np. Each to their own. But I really hope one day you try reading some if you can?

I don't think so ...😅...uh...but..Any preferences for your inspiration though? or genre youre interested in?

Fluffff!!

Haha, okay! Look out for the new post on my twitter!

YASSS!! Love ya!

You too!

Katsuki sees red, he's about to flip his shit when he decides to give Deku one LAST fucking chance to explain WHY THE FUCK is he promoting Ground Riot when he should be shipping Zeku and demands of him if he really wants their Fucking Ship To Sail Or Not.

Deku gets defensive and says of course he does. Katsuki asks why he has been trying to push him onto Eijirou all this time if he wasnt serious about it. Deku doesnt want to answer. Then Katsuki gets fruatrated and asks WHY the fuck didnt he post Zeku.

"Because I don't want to support it"

"We are literally fucking engaged, you moron. What the FUCK do you mean you don't support it?!"

"I support Us, Kacchan! I just don't wanna support Zeku-shippers! Those two things are different!"

"WHy dont you wanna support them?! tHere is No Difference!"

"There is! I am not obligated to do anything for you. But if I admit to shipping Zeku out loud to the shippers, then I'm obligated to post pictures of us and I know that if I start posting that then my blog will literally be a flood of just Us all over!!"

"What is WRONG with that?!!"

"WE ARE SUPPOSED TO BE ENGAGED IN SECRET! NO ONE IS SUPPOSED TO KNOW! you said it yourself! That you don't like the useless yapping of reporters about your love-life where it isn't their business!"

"YEAH? WELL FUCK THAT!"

And Katsuki whips out his phone, takes a selfie of french kissing the hell out of Deku and immediately posts in on his twitter. Deku has hardly reeled back from that intense kiss when he realizes what Katsuki has done and he practically explodes in shame.

"Kacchan!! Our secret!"

"Your fucking fault, Deku. If I have to deal with the shitty extras at all, it better be for the right Ship, you dumbass. I'll punt you straight to China if I hear Ground Riot from your mouth ever again...capiche?"

"But I like Ground Riot...It's a valid ship, Kacchan. You cant diss on it just like that. It has wonderful scope, and the fluff in this ship is AMAZING. I think I have a soft spot for Uke!GZ and Soft!GZ now... and it is a really mutually productive ship unlike- hrmff!", Katsuki shuts him up with a smack to his mouth and sheds his shirt.

"Shut your mouth and strip, shitnerd. I'll fuck the Ground Riot out of you. Also, let's make this fucking clear that if you mention ANYTHING that goes anywhere near Eijirou's dick,ass, balls or mouth", Katsuki shivers, "then I'll wreck your dick, ass, balls and mouth. Remember that. Now STRIP"

"But what about platonically? That's a solid ship, right? Right, Kacchan? Also It doesn't mention Eijirou's- fuck!!!"

Deku gets wrecked thoroughly.

(Let's observe one moment of silence for his Shipping ass 🙏)

(r.i.p. Deku)

Katsuki later asks him why Deku doesn't read Zeku fics either, cause pretending to not like it to weasel out of obligation is fine, but it doesn't explain why he refuses fo read any either.

"A fic, especially the ones that I like, always are these perfect little stories which always have a happy ending. Can't help it, I'm weak to it, Kacchan- it's why I read fics at all, you know? For the rush of happiness and feels! It's always written with the intention that it will be perfect! And it is. But it doesn't come close to the real thing. There can be fics out there that come really close to what we really have though - but I refuse to accept that any fic could be better than the imperfectly perfect things I have with you, Kacchan. No matter what anyone insists, what I have with you is perfect to me. You are perfect to me. And that's all that matters."

Katsuki calls him an incorrigible sap and turns away to hide a violent flush that turns him red like a stop sign.

Omake:

Katsuki's #Zeku goes Viral too. But at this point no one understands what is going on or WHY. Because GZ appears to be a Zeku shipper when Deku is a GroundRiot shipper. Confusion abounds. Zac Efron memes agonize over Both ships, Captain America Japan Civil War Memes make a comeback. And for some reason, Deku keeps posting Ground Riot afterwards too and everytime he does, the next day he is seen limping.

"Did you have a hardtime with Zero-san at training yesterday?"

Before Deku can answer the one who asks him that, Eijirou comes up, winks and answers in his stead, "Very hard", and runs away to Mina's side before Deku has a shame-filled meltdown.

(The Ground Riot thing stops only when Mina and Eijirou get finally married.)

#bakudeku #katsudeku #katsuki x izuku #ktdk #bkdk #deku the shipper #humour #social media shenanigans #headcanon #fic idea #fanfic idea #too many headcanons #holy crap this was such a shit hc #deku ships kiribaku

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