#our cunning actress

[arte-mis-t]

THIS.

EVE DIDN'T SAY THIS TO HER CO-ACTORS.

SHE SAID IT TO US.

[nalyra-dreaming]

Hello! I have a book question 😊 Why does Armand decide on Claudia's... well, fate? Is he being malicious? Or what's the reason?

Hey nonny!

Hmmm.

Malicious... I'm not sure I would call it that.

Book spoilers ahead (and therefore likely show spoilers to an extent):

He is/was a vampire coven leader, and has followed certain rules in that capacity, for centuries. He tells of those rules in The Vampire Armand:

One, that we were formed in Covens throughout the world, and each Coven would have its leader, and I was destined to be such a one, like unto the Superior of a convent, and that all matters of authority would be in my hands. I and I alone should determine when a new vampire should be made to join us; I and I alone would see to it that the transformation was made in the proper way. Two, the Dark Gift, for that is what we called it,, must never be given to those who were not beautiful, for the enslaving of the beautiful with the Dark Blood was more pleasing to a Just God. Three, that never should an ancient vampire make the new fledgling, for our powers increase with time and the power of the old ones is too great for the young. Witness the tragedy of myself, made by the last of the known Children of the Millennia, the great and terrible Marius. I had the strength of a demon in the body of a child. Four, that no one among us can destroy another among us, save the coven leader, who must at any time be prepared to destroy the disobedient of his flock. That all vagabond vampires, belonging to no coven, must be destroyed by that leader on sight. Five, no vampire must ever reveal his identity or his magical strengths to a mortal and thereafter be let to live. No vampire must ever write any words that reveal these secrets. Indeed no vampire's name was ever to be known in the mortal world, and any evidence of our existence which ever escaped into that realm must at all costs be eradicated, along with those who allowed such a terrible violation of God's will.

Now, after Lestat comes along and more or less upends that last coven under Les Innocents (or wherever they'll be in the show since Les Innocents is already closed in the adapted timeline) by more or less merely being there Armand becomes... unmoored. Lestat gives the theater to him (and Nicolas, longer story), and Armand becomes the leader there, another coven, another existence.

He never quite loses that coven leader mentality again. He regularly "cleans up" the vagabonds, the young ones he doesn't attribute value to.

That is what Lestat was afraid of, too, why he tried to keep Louis and Claudia in the "New World", and why he went and tried to plead for Louis' and Claudia's life by going to Paris and Armand (and also he was asking for Armand's blood, since Armand had offered (or seem to have offered) to help him should he come back.)

Now Claudia... Claudia was simply a violation of rules, and "nothing" to Armand. She was in the way, too, since Louis wants to go with ther and Madeleine.

And so Armand does not "stand in the way" when the coven goes after her, but of course there is more to it:

Armand tells of how

For the record, she was slain by my Coven of mad demon actors and actresses, for, when she surfaced at the Theatre des Vampires with Louis as her mournful, guilt-ridden protector and lover, it became all too clear to too many that she had tried to murder her principal Maker, The Vampire Lestat. It was a crime punishable by death, the murdering of one's creator or the attempt at it, but she herself stood among the condemned the moment she became known to the Paris Coven, for she was a forbidden thing, a child immortal, too small, too fragile for all her charm and cunning to survive on her own.

... well, after he tried to "grant her fondest wish", namely give her an adult body, by chopping off her head, and sewing it onto another's body. The little experiment fails, and he destroys the evidence:

Let me say here, she was herself again, hideously wounded, a botched reassemblage of the angelic child she'd been before my attempts, when she was locked out in the brutal morning to meet her death with a clear mind. The fire of Heaven destroyed the awful unhealed evidence of my Satanic surgery as it turned her to a monument in ash. No evidence remained of her last hours within the torture chamber of my makeshift laboratory. No one need ever have known what I say now.

And then he goes on:

I never loved her. I didn't know how. I carried out my schemes in chilling detachment and with fiendish pragmatism. Being condemned and therefore being nothing and no one, she was a perfect specimen for my whim. That was the horror of it, the secret horror which eclipsed any faith I might have pleaded later in the high-blown courage of my experiments.

She was a "specimen for his whim".

Lestat is relieved when Armand falls for Louis, because it means that he wouldn't kill Louis. In the same way it is unfortunate that Armand did not find it within himself to love Claudia, because that would have kept her safe...

I did not love those decadent and cynical French mummers. Those I had loved, and those who I could love, were, save for Louis de Pointe duLac, utterly beyond my grasp. I must have Louis, that was my injunction. I knew no other. So I did not interfere when Louis incinerated the Coven and the infamous theatre, striking, at the risk of his own life, with flame and scythe at the very hour of dawn.

I think in the show, Louis will still decide to go with her and Madeleine, so she will still be "in the way". I think Claudia will still be able to see right through Armand, and know she is in danger, like in the book. I think Louis still won't listen.

And so the tragedy will unfold.

Armand did not kill Claudia because he was being malicious. He does not kill the vagabunds because he is malicious.

He kills them because they are against rules he follows, and because he cannot love them. They are "nothing" to him, nothing... but in the way.

And so they have to go.

It's more... pragmatism, than anything.

Does that make it malicious? Maybe, by our standards.

But these are vampires, and vampires rape, maim and kill. Later Lestat sometimes helps Armand "clean up", sometimes he lets the young ones be. Fareed uses other vampires and their bodies for his studies, uses body parts of them for others. And so on.

These vampires are monsters.

And Armand - and all the others - is/are monstrous.

[moiyume]

death is the only end for us — chapter ii. imaginary

pairing: yandere!satoru gojo x fem!reader

sumary: Discussions about the past bring out an important revelation, [Y/N] will not surrender, she is willing to destroy everyone in her path to prove her innocence, even Satoru.

warnings: angst, threats, mentions of death, humiliation, yandere thoughts, spoilers from the main story.

word count: 2265.

more information about the history: here.

⠀⠀⠀⠀───◌┈┈───♡⃝───┈┈◌───

AND BY PLANTING MISTRUST, LOVE WILL COOL DOWN, GIVE WAY TO HATRED AND RESENTMENT. There is no way to mend a broken glass, when you put the pieces together, the cracks and scars of the breakage will be there forever, the glass will break again if you fill it with water. There is no way to mend the heart of someone who has already been betrayed or abandoned.

After ten years forced to live in ostracism you have learned that curses are not as bad as the wizards say they are. Curses are predictable, they obey the primitive instinct to kill humans and devour each other for more power, they have no filters, they are direct in what they set out to do. But people are not, people are cunning, people deceive, people betray, people change, people are not what they appear or say they are, and above all, no person can be trusted. Father, mother, brother, friend or stranger, it is the nature of human beings not to be trusted.

You have learned the hard way that you cannot trust anyone. No matter how well you think you know someone, you really don't know how much someone can change in a day, maybe even in ten years. It was a long ten years living a miserable life, hunted like an animal for slaughter across three continents, you saw and experienced many things, but nothing surprised you more than the falseness of the human being.

However, there is a proverb that says that the prey will kill the predator. In the game Gō the winner is the one who has the most pieces on the board, however it is not as simple as it seems, you need to knock down the opponent's houses if you want to ensure victory, because as in the animal kingdom there is no draw, only the strongest will prevail, the one who is able to continue living. It is a game of survival, but it is also a mental game, you beat the enemy destroying what he worked hard to build, you take his place and eliminate him. Satoru and you are adversaries in this battle. He vehemently believes that victory is his, but the foundation of the houses he plays with are as fragile as a house made on the sand of the beach, and like Gō's board, you will knock down all the pieces that hold him up.

He approaches you with a smug smile, there is no escape, it is only you on this empty hill, there are no trees you can use to hide, yet there is no way and no reason to hide when the Six Eyes search for you. You stop walking away and accept that there is no other option but to stand still, he seems pleased with your decision, the smile on his face widens. However, you will never surrender.

"I don't..." Disappointment tries to swallow your words, but you swallow your tears and face Satoru with clenched fists. "I'm not willing to give up my freedom just yet."

He takes a wrong turn with your words, to his ears they are just childish statements, but you are a human being and it is your nature to insist even when things seem impossible. The man in front of you falls into laughter and wipes away a tear that has run down the corner of his eye, it is annoying to see him mocking you, but to Satoru Gojo all people were such idiots that they were worthy of pity, and you were no exception.

"You act like you're a heroine from a light novel, that's hilarious." Satoru teases you with a smug smile on his face, you struggle to keep your cool, but a vein pops out on your forehead. "Seriously! Look at that pose! A great actress." He measures you from top to bottom. "Of our old group, you're the only one who keeps acting like a pre-teen, always wanting to prove to others that you're a martyr, it's ridiculous, don't you see?" He shoves one of his hands into his pocket and takes out a black blindfold and puts it over his eyes. "You have become such a pathetic person that it is hard to believe that you were considered a threat. Man, you killed civilians for nothing, I never understood the motives behind it, but honestly? I don't understand how we came to have anything, for a moment I even thought of you as an equal, but even Suguru did better in the villain role than you."

You are startled by those hostile words, he had never been so mean to you before, you even thought he would have some mercy for your bestie dying, but as usual you are expecting too much from Satoru Gojo. You never wanted to be a martyr, but there is some truth behind such hostility, the way you have behaved all this time as if you were being wrongly accused. Your hands have been dripping blood since the moment you were accused and the lives you took will haunt you until the day you die, but the people who died that night were not innocent and they were not civilians either, and the person who killed them was not you. You have put up with it all quietly, but this time you are determined to make a mess of it, as in gō, you will surround your enemies and let them fall alone.

"You're not entirely wrong." You admit waving your index finger towards him, mimicking his smug smile, I straighten my posture and take a step forward. "But I'm not the same girl you knew."

"Really? You still look like an idiot to me."

"Eh." You mutter amidst his debauched laughter. "The difference between the 18-year-old [Y/N] and the 28-year-old [Y/N] is: she doesn't mind crushing every ant that crosses her path."

You raise your hand towards his face and abruptly close it, making him take a step back, you laugh dryly and dullly, it's comforting to know that you're still able to mess with his head.

"Get out of my way, Gojo, before I crush you too." You threaten him, your will like a sharp sword about to slash his throat, he frowns and you step forward. "Don't tell me you don't know why no one had the courage to come to me." You watch his hesitation to give you an answer, but before he can say anything, you hold up your index finger to get him to shut up and listen, "Looks like you're the idiot here."

You place your hands together behind your body and lean forward, he is very close at this point, so you stand face to face, you feel the hesitation in his posture, his right foot goes back a step and a half before he steadies himself. You make no point of hiding your evil intentions beneath an innocent smile, the intent to kill is obvious, but it only comes from one side. Satoru may be many things, but you doubt he would kill you before he could experience the torture of the court again, he likes to play with his fangs and that would be his downfall. The moment he realises something is wrong, his hand comes towards your neck like lightning, however she is unable to touch you. The sky blue eyes shine in fury and you can't contain your laughter, it's not a genuine laughter, you just couldn't miss the moment to debauch his innocence.

"What have you done?!"

The scenery around you begins to change. The once bright and colourful landscape of the hill turns into a hostile, cold and gloomy environment, the welcoming atmosphere has become inhospitable, the peace you provided was false, as you had said earlier it is just an imaginary space. Satoru knows it is too late, however you give him the chance to move, and he approaches to attack me, but to his despair the distance between you is still the same, as if he cannot reach you, he is stuck in your trap, and you are waiting for him to place the piece on the board that will make him fall into ruins.

"What kind of cheap trick is that?!" He shouts in exaltation, unable to touch you, his steady footsteps crunch the frozen grass making an annoying creaking noise, he seems in a hurry. "What have you done to me?"

"That's not the right question, darling, try again." You reply in a playful voice and make the distance between you disappear, you grab his cheeks and lower his head so you can pull the blindfold off. "That looks really ugly on you, it makes you look like you have no forehead." You throw the piece of cloth on the ground, it's hard to believe that someone as vain as him chose to wear an accessory that would devalue his beauty so much, is that kind of thing fashionable in Japan? You would like to know.

"DAMN. [Y/N]!"

"Hm?!"

"What the hell is that?" He insists.

"You must be wondering why the Six Eyes don't recognise what's happening now, right?" He nods for you to continue explaining. "It's because you're not seeing anything, really. You taught me that for the Six Eyes to work, you need to see things around you, and okay, I know you can perceive the world on an atomic level, but I'm inside your head and not in front of you, got it? Or do you want me to draw?"

You tap your index finger on his temple and watch his eyes grow larger, it is satisfying to see him like this, for years you have kept a vow to Master Tengen not to use his true cursed technique for your own benefit, but you no longer have any connection to him, let alone the school. You cannot allow yourself to be the person who is passed over. You feel sweat drip down your hand, but it's not yours, rambling made you forget that you were still holding Satoru pinned in your hands.

"My cursed technique is called ████, by the way." You whisper, it's the first time you hesitate to tell Satoru something, you slowly back away until your hands can no longer touch him. "You must know what it means."

Satoru's skin turns as pale as paper, nostrils dilated and hairs standing on end, like an animal on alert, you would like to laugh and mock him as unassumingly as he did you, but you would not be satisfied with scaring him even more, you are not like that. You gather up a snowflake and the landscape has started to change again, this time it has started to crack, as if you were inside an old television full of static, living through a film locked in a stormy day.

Melancholy suddenly takes over you, you let out the air trapped in your lungs and watch the smoke of hot air, he's right when he says you're still a dumb teenager with childish aspirations. You turn your back and walk towards the "exit door" of the illusion you created to trap him, but before you go, you look at him over your shoulder, Satoru is staring at you with a weird look, clenched fists are at the side of his body, one leg is in front of the other as if he wants to come to you, but there is something holding him, only this time it's not you who holds him.

"When I disappear you will regain consciousness, I recommend you look around and be careful." You give him a weak smile and nod. "We will see each other again."

Satoru watches you enter a doorway of light that disappeared as soon as you stepped through it. His hands are sweaty and burning, nails are digging into his palm, blood drips down the spans of his fingers, it wasn't the first time an opponent had played a trick on him, but it's been so many since it happened he's forgotten how bad it feels to be tricked. A vein popped on his forehead and he began to laugh nervously as the word 'tricked' came to his mind, not much can be expected of you, you are clever and slippery as jelly, if he is not careful you will slip like sand or blood between his fingers.

"Bitch!" He roars exhausted and slaps his own forehead.

The space in which Satoru was trapped crumbled in a magical pass as he surged, soon the sound of horns and car tyres singing on the tarmac pierced his ears, regaining consciousness he hurriedly climbed onto the pavement. You dumped him in the middle of a busy avenue, it's your nature to play tricks on people, no matter how serious, you're the kind of childish person who would put a bucket full of water on the door to wet the first inattentive person who walked by. Drivers drove past him cursing and grumbling, but he didn't give a shit, his thoughts focused elsewhere, someone else.

- "We will see each other again" Satoru repeated and looked up at the sky, it was daylight a few minutes ago, no? He wondered if you could mess with time too and laughed bitterly, then brought his hand up to his face and covered his eyes, maybe nothing was impossible for you and Satoru resented that. "I hope so, but..." He paused before admitting to himself. "You have to pay for leaving me."

⠀⠀⠀⠀───◌┈┈───♡⃝───┈┈◌───

━ to be continued; ﹢ ⌑ ﹒

[highfantasy-soul]

NATLA - Episode 3: Omashu (1/3)

[Masterlist of my NATLA thoughts]

An explanation of what I'm doing here and my history with ATLA.

Of course, full spoilers ahead.

<previous/next>

Here is where we start to see the trajectory the writers decided to go in for this series. In the animated, the Gaang pretty much always stays together - they all face the same plot in each episode. This gives them a lot of space to create their bond and each get to interact in depth with the same problems - and we see how each character handles it differently though there is usually one primary character the focus is on. When compressing the story into 8 episodes, doing that would mean about 2 and a half episodes need to be crammed into a single episode and happen back-to-back. That would make the structure feel very stilted and uneven as we hop from issue to issue (and setting to setting) without any real connective tissue - it would feel a bit more like a travel show than a cohesive narrative. By finding several plotlines that share common themes but focus on individual characters that came to the forefront of each plotline, the story can be condensed and cohesive for the hour long episodes. Here is also where we start our two-episode arc structure which gives more space to breathe and include smaller plotlines into the story to enhance the themes being focused on.

These two episodes are focused on how people who have suffered in this war handle their trauma - and how they fight back against oppression. I love love love how they include a new plotline that enhances the themes they're going for in this episode, too, with the small rebellion in the Fire Nation. In the animated series, by virtue of it being a kid's show, they make it pretty cut and dry the first two seasons: anyone wearing red is an enemy and bad. Here, we see a more realistic view of how the people of the Fire Nation actually view the war and their role in it - well, how some view it. In every authoritarian, imperialistic empire, there are citizens who disagree with their government - ESPECIALLY if their people have been at war for 100 years! America is an imperialist empire and there are plenty of citizens who vehemently disagree with the government. There were Germans who disagreed and fought back against the Third Reich. There have been people throughout history standing up against their own oppressive governments. It's great to see that echoed here, too - and then we see Ozai's view of his rule.

First, Azula's cunning and cold-heartedness is shown as she's the infiltrator spinning a sob story about lost family that's designed to lure the revolutionaries to their deaths. While it's sinister and shows just how cut-throat she's willing to be, there's also the obvious evidence that she's A CHILD. In the animated version, Azula is drawn like a 30 year old woman with a full chest, hips, and slender face with sharp cheekbones - in short, she's massively villain coded, not child coded (not to mention she's voiced by an adult). Casting an actual young actress shows the viewer that this really is a child. Her round face implies purity and innocence - a sharp contrast to her father's striking cheekbones and jawline. While the revolutionaries had their spirit, they were misguided in their methods - there was no way they'd have succeeded in killing Ozai, there's just no way.

When Osric Chau (who I could swear they put in that scene to distract the audience from noticing that the 'spy' was the actress cast for Azula - keep your eyes on this guy as you say 'wait, is that Osric Chau? No way, can't be - no, that's totally him! I know him! Where all do I know him from?' while Azula's actress just quietly sneaks around in the side-frame) gives his whole speech about ending Ozai's tyranny, we see the justifications authoritarian rulers so often make - while in the animated show, Ozai's justification is 'we're the best and everyone should bow to us - it's natural', here he's a bit more nuanced - at least he claims he is. "Tyranny? Don't you mean 'unity'? Prosperity?" Atrocities can be justified when you claim 'law and order'. He keeps his cool, his commanding presence until Osric mentions how much people have lost - we see his lip twitch and he insinuates he, too, has experienced loss, then his cool composure returns. Finally, Osric speaks on the massive pressure point of the Fire Nation - the one person that's bringing hope to people and sparking up that flame of resistance - that flame even Ozai won't be able to control - the Avatar. That's when Ozai loses his cool and burns them all alive. Even in the Fire Nation, news of the Avatar inspires people to stand up and fight back.

I think it's a great move to show more of Azula and Ozai in this season - we get to see Azula's actual character when she's figuring things out rather than just her on a mission. She's dismissive of the Avatar - she thinks there's no way they're right, no way the Avatar has returned. That's when Ozai informs her that yes, it is verified that he's back and that it was Zuko who'd found him - he'd done the impossible, just like Ozai asked. Starting from the jump showing how he pits his children against each other to see which will rise to the top.

The animated episodes that they combine here are really interesting in that they actually show up much later in the animated show, however, when you look at the character development aspects of those plot lines, it makes sense to put it here at the beginning. The Waterbending Scroll, Jet, The Northern Air Temple, and The Great Divide (yes, even that one) all create a nice foundation for core character elements - especially for Katara and Sokka - while the Omashu episode is big for Aang's foundational development. I like how the characters in the live-action grow more organically from a weaker starting position than they do in the animated version.

Katara doesn't start out as a naturally inspiring leader like she shows in episode 6 of the animated show in the Imprisoned storyline - she needs to see different kinds of leadership in order to formulate her own. Yes, she stands her ground and thinks her way is right, but to translate that to inspiring a whole group of people? That takes experience and practice - experience she gets to see first-hand with Jet and Bumi (sometimes learning what NOT to do is just as important as learning what TO do).

Sokka is insecure with his role as a leader as he's so convinced that the only thing he has to offer is being a martial warrior - he needs to learn from experience that his ingenuity can be just as useful to the team as his muscle. While in the animated show, Sokka starts out knowing this - always coming up with clever plans to get the job done, in the live-action, he needs to grow into it and learn that that side of him is good too, and can help his friends. This episode, like The Northern Air Temple from the animated series, gives Sokka that foundation to build off of.

All these animated episodes also help the characters learn how to work together and resolve issues with how to go about saving the world - and show just how dangerous trusting the wrong person can be. All the animated episodes this live action episode (plus the next one) combines circle back to Katara and Sokka's bickering and lessons on how to resolve their differing view points. Getting this lesson in early is a great way to solidify the foundation for the team and make them - well, a team. All this is just taken for granted in the animated show - they're traveling together, therefore they're a team and because of its episodic nature, the same issues can crop up again and again and not feel like they're being rehashed as most probably didn't watch all the episodes back to back and in order the first time they saw it.

So there are tons and tons of reasons I think it was a really smart move to combine the storylines they did in this episode and put them all in the beginning of the season and setting them in Omashu.

[darkstar225]

Twice's 10th member acting as the villain in a drama

A/N: Heyyy, I'm alive! Sry for taking so long to post but finally the semester ended :D I hope the anon that gave me this idea on Tumblr likes it! :)

The request: Hello! Can I ask if you can make Twice reacting to 10th member acting as villain in drama/movie? Sorry my English not good😅

PS: Tysm for everyone that reads what I write, I hope I can bring a smile to your faces every time I post! I'd like to thank whoever sent me this idea 'cause I loved to write it <3

__________________________________________________________

In the bustling city of Seoul, TWICE, the world-renowned K-pop girl group was taking a well-deserved break from their busy schedules (please give our girls a break). The members had gathered in their cosy dorm to catch up on their favourite dramas and movies. Among them was their youngest member, Y/N, who had recently taken on a challenging acting role as a villain in a popular drama series. As the group settled on the couch, with bowls of popcorn in hand, the drama started playing on the large TV screen. The screen lit up, revealing TWICE's honey captivating presence. She portrayed a complex character with depth and intensity, leaving everyone in awe. Nayeon couldn't contain her excitement as the oldest and one of the moms from 3mix, she maintained her eyes glued to the screen. 

Nayeon - Our cutie pie is so talented! Look at her! She's nailing every scene.

Jeongyeon nodded in agreement while speaking. 

Jeongyeon - She's killing it! I can't believe our baby is playing such a convincing villain. She's a natural.

As the drama unfolded, Y/N's character revealed her cunning and manipulative nature, captivating the viewers. Momo, who loved dance and performances, was the first to speak up about how this one was incredible. 

Momo - The kiddo is so grown-up and mature in her acting. She's only going to get better with time. I can't wait to see what she does next!

Sana squealed in delight as she took note of how time was passing faster than they could see.

Sana - Our sugar is growing up right before our eyes! I'm so proud of her. She's like a little sister to all of us, and she'll always be our child, even when she's 40.

As the drama reached its climax, the maknae's character delivered a monologue that sent chills down the viewers' spines. Dahyun was moved to tears seeing her little sister being so mature and talented. 

Dahyun - Our lovebug is such a versatile actress. She's not just our maknae, she's a force to be reckoned with in the entertainment industry! Slay, sis <3

Jihyo couldn't agree more, with a motherly smile on her face she spoke about the youngest as her own child. 

Jihyo - Y/N's acting is so captivating. She's proven that she has the talent and charisma to take on any role. I'm excited to see her grow as an actress alongside her music career.

Y/N - Thank you, mama :D

Jihyo - Stop, you're gonna make me cry, bae!

Y/N - Fine... I'll shut up (for now)

The drama concluded, and the screen faded to black. The room erupted in applause and cheers as the members expressed their admiration for their sister's performance. Y/N, who had been watching their reactions with a mix of excitement and nervousness, blushed at the overwhelming praise making Chaeyoung grin mischievously. 

Chaeyoung - Darling, you were amazing! Can you teach me how to be such a convincing villain? Maybe we can even do a skit together.

Y/N chuckled, grateful for the support and love from her fellow TWICE members. 

Y/N - Of course, Chaeyoung unnie! We can practice whenever you want. But remember, I'm still your baby *pouts*

Mina spoke next, her voice as soft as a feather filled with sincerity. 

Mina - Love, you have truly grown into a phenomenal young woman. We're proud to have you as our maknae and even prouder to call you our sister.

The room fell into a comfortable silence as the members reflected on their kid's journey and their bond as a group. Tzuyu broke the silence with her signature smile. 

Tzuyu - No matter how successful you become, kiddo, we'll always be here to support you. We'll be your family, your unconditional support system, even when you're 40 and beyond!!

Y/N's heart swelled with gratitude and love for her TWICE family. She couldn't have asked for a better group of people to share her dreams and aspirations with. Their unwavering support made her feel invincible. Determined to express her gratitude, the youngest stood up and walked over to each member, hugging them tightly one by one. As she embraced each member, she whispered words of appreciation and love into their ears:

Y/N - Dahyun unnie, thank you for always making me laugh and bringing light into our lives.

Y/N - Nayeon unnie, thank you for being our fearless oldest and believing in me from the beginning while treating me as your child.

Y/N - Sana unnie, thank you for your infectious energy and for reminding me to always stay positive!

Y/N - Momo unnie, thank you for being my inspiration in dance and pushing me to explore my potential.

Y/N - Jeongyeon unnie, thank you for your honesty and straightforwardness. Your words always help me when I need to make a decision.

Y/N - Chaeyoung unnie, thank you for your creativity and for challenging me to step out of my comfort zone.

Y/N - Jihyo unnie or mama (:P), thank you for your guidance and for showing me what it means to be a strong and passionate leader.

Y/N - Mina unnie, thank you for your calm presence and for always being there as a shoulder I can lean on.

Y/N - Tzuyu unnie, thank you for your unwavering support and for being my first best friend in this family.

The room filled with warmth and affection as TWICE's petal heartfelt words resonated with each member. Tears of joy and love were shed, solidifying the unbreakable bond between them. As the night drew to a close, the members of TWICE gathered in a circle (not in a ritual way, just cute lol), their hands intertwined. They made a promise to continue supporting and encouraging each other, no matter what challenges lay ahead.

The maknae looked around at her family, feeling overwhelmed with gratitude as she gave her thanks again. The room erupted in cheers and laughter, their spirits lifted by the unbreakable bond they shared. They knew that with each other by their side, they could conquer any obstacle that came their way. And so, as Y/N's acting career soared to new heights, she carried the love and support of her TWICE sisters with her. With each success and achievement, they celebrated together, always reminding her that no matter how much she grew and matured, she would forever be their baby, cherished and loved. As the years passed, TWICE continued to dominate the K-pop industry, achieving new milestones and touching the hearts of millions. And through it all, Y/N remained their youngest member, a shining star who had proven her talent, versatility, and maturity time and time again. Together, they faced the world, armed with love, friendship, and unwavering support, forever embracing the bond that made them TWICE, the group that always makes their maknae think:

I love my dear unnies.

A/N: I apologise for any errors, English is not my first language. Pls, let me know if there's something wrong, ty for reading <3

[mirandahamilton]

what were your thoughts on seven kings must die?

LOADED ass question lol

controversial mayhaps but i liked it well enough! in the sense that i was entertained, and i did get some satisfaction from my viewing experience.

positives:

i really loved the updated intro/credits!

finan's narration was a cool change

the acting! it was all hitting for me :) i think harry especially did a great job, imo he had the most character work to do and i really felt his conflict (maybe this is gay bias but idc). the new actress for eadgifu did a really good job as well, her character was consistent and i enjoyed her interactions with uhtred

the action sequences were very well done and i loved the battle

sets, costumes, hair/makeup...all looked great!!

the ending! loved the callback, and although i wish we'd seen more charcaters in valhalla ik most of the actors weren't available so it's cool. really enjoyed the ambiguity. althoooooough unlike most ppl i don't think uhtred went to valhalla at the end (would love to chat/debate on this one)

uhtred getting stabbed at the final battle....lowkey i was emotional esp when sihtric and finan found him and he was serving cunt dead

aethelflaed shoutout :( miss my wife and i think they did the female characters so dirty but i would have turned it off if they went to aegelesburg without even namedropping the queen

i really enjoyed osbert & edmund being besties (BUT their stories should have been more developed)

i go into my critique below lol but i won't apologize for unironically vibing with the catholic guilt evil homosexual drama. in many ways it hit for me and i shan't be issuing an apology

i loooooooved the new locations, especially the shetland islands

problematizing the christians 🙏

negatives:

WHERE the abject fuck were any of the women characters???????? STIORRA? hild? aelfwynn? aelswith?? eadith???????? like??? not even a shoutout????? make it make sense. this was the most offensive thing for me and i won't be getting over it anytime soon thanks

i wish we'd heard something about cynlaef and aelfwynn!!! wasn't he like besties with aethelstan?? would have been so easy to make it work smh

pacing :/ it was impossible to tell how the story was meant to be moving through a concrete sense of time. a quick look at the wikipedia for king aethelstan shows that there were years between his coronation and the battle of brunanburh, yet the movie makes it seem like from beginning to end the story takes less than a year? and it's also unclear how much time has supposedly past since the end of s5. it started off pretty slow, but regardless i was admittedly engrossed by the halfway mark

sloppy evil gay drama :/// like in some ways. listen. i am not complaining lol. but i think it would have worked much better with more breathing room. ingilmundr was just so clearly intro'd as a villain, and i would have preferred seeing some more subtlety and cunning over a period of time, plus some actual internal conflict for him. by his last line ("i grew fond of you, but my love for my people prevailed") it seems as though he did have some genuine affection for aethelstan, and even though he completed his mission in the end i wish there'd been more depth there.

also, fwiw and as other people have said, unhinged to go 5 seasons with no queer characters only to haphazardly throw a couple in the follow up film...and have them be villains!!! gay people CAN be villainous lmao but idk how intentional they were being about any of this

overall just felt rushed. there were a lot of parts that would have benefited from some breathing room and dramatic build up. plus we didn't get to connect with a lot of the characters, and the writers were relying on viewers to care based on the tv series -- mostly fine for our mains like uhtred & co, but a real disservice to the newer characters. even finan and sihtric didn't do much besides follow uhtred around, which is par for the course but i wish they'd had individual arcs. ingrith's death didn't hit that hard bc she barely had lines. aelfweard's too, and he needed to be built up as more of a threat (even tho his death is mainly supposed to serve as a character moment for aethelstan).

hollow villains! i wrote abt ingilmundr above, but anlaf and astrid were so 1 dimensional. and the writers could have tried a little harder lbr. and let astrid SPEAK

ALDHELM. ok. his death was such a waste. james did an incredible job, but it felt so meaningless. oooh ah uhtred was upset. but he was upset already? and it didn't make him turn his back on aethelstan????? so tell me quickly what did we accomplish

aethelstan's redemption....i feel like he went from being a villain to back to besties with the squad in 2 seconds and i think it should have been fleshed out more. like i'm fine with them reuniting and i was rooting for it but i think we could have gotten more of aethelstan realizing his mistakes and showing remorse, and demonstrating that he has changed -- uhtred will probably always have his back, but besides Realizing Things he didn't really do anything to show that he has grown and prove that he's different and better than edward -- this was an issue throughout the movie, but it stands out the most with him since his actions drive most of the plot

no offense but where tf did uhtred get his little army from

[ultimateanna]

In the spring of this year, I learned that many people's favorite spy in a red robe, Ada Wong, is voiced by Lily Gao in the remake of Resident Evil 4. I think a lot of people watched Resident Evil: Welcome to Raccoon City and saw her as Ada at the end of the movie. To be honest, I was a little surprised that the actress also decided to voice the heroine in the game.

I think many people know that after the release of the remake, fans reacted negatively to her voice after the release of the remake. After that, the actress was subjected to mass harassment by users on the social network Instagram, as a result, she left social networks for a while.

But in early April, the actress returned to social networks. For me, this meant that she was inspired by the role of Ada and decided to endure all the difficulties like her heroine and show her acting skills in all its glory. But alas, she warmed up the ardor of fans more with her speech:

"It is a great honor to be the first Asian actress to play Ada in the Resident Evil series of games, and I will be eternally grateful to our producer and director for deciding on an authentic performance. Unfortunately, with the release of the game came the all-too-familiar feeling of "I don't belong here."

While criticism was to be expected, this is not the first time that actors of color have faced racist and sexist harassment just for their presence in the game. Inauthentic casting perpetuates a destructive image that further dehumanizes the community it is trying to reflect.

It's time to stop using only the sexy, eroticized and mysterious Asian woman and create a space to honor all types of Asian women. My Ada is a survivalist. She is kind, fair, smart and funny. She is unpredictable, cheerful and absolutely not stereotypical.

But in general, again, the meme that all are racists and again the "promotion of tolerance". Although she has her own truth in the words "Being the first Asian actress to play Ada in the Resident Evil series of games", "It's time to stop using only a sexy, eroticized and mysterious Asian woman" and "My Ada is a survivalist. She is kind, fair, smart and funny. She is unpredictable, cheerful and absolutely not stereotypical."

Well, if she likes such an image of the heroine, then let her perform better in films, since games for fans are canon. Of course, the characters must change in development, but they cannot be castrated and stylized.

Honestly, her voice in the game didn't hurt me in any way, it even fit well under the melancholic remake, which only the graphics and charismatic Luis Serra positively surprised me. I liked her image even in the movie in a good way and I calmly watched cut scenes with Ada in the remake with her voice acting, which pleased me against the background of tedious and castrated Leon. Many people will tell me "that you are a woman yourself." But as I wrote above, they cannot be neutered and stylized.

For me, like many, Ada is an unpredictable, cunning, smart, strong and charming sex symbol of the Resident Evil game, who has no position, she has a goal and she will fulfill it no matter what. Leon embodies her humane character under her cold and charming appearance.

I hope in the future Lily Gao will realize that you need to rely on your skills and steadfastly reveal it in all its glory and not hide behind the current trends of the "promotion of tolerance" which does not bring any benefit to society. Only talent and intelligence can bear fruit both on screens and in life.

I will say thank you to Lily Gao for taking part in Resident Evil, and I hope that her skills will be revealed to the fans in all their glory. 💖

[highwaytothedangerzone502]

Ghost Story - Chapter 4

Pairing: Rooster x Female OC

Word Count: 2242

Warnings: Mention of death

Summary: No one will miss a ghost. It'd been a running joke for as long as anyone could remember, something Ghost herself started, and she always said it with a smile on her face or with mirth in her voice. The untouchable stealth pilot in every sense of the word, no one could've predicted the depth of her turmoil over recent events, nor the extremes she would go to in order to protect the man she loved, not even those closest to her. Now, all that was left of the young aviator for Maverick, Hangman, and Rooster were the memories of the past, which would slowly fade with time. She'd come into their lives and made an unforgettable impression, and then, like a ghost, she was gone... Then again, ghosts can't die a second time.

Notes: The chapters/parts in italics are flashbacks. Also, I know I used Melissa Benoist as Juliette in India Lima Yankee but I really love her as an actress okay...

Chapter Songs: Compass Bubbly

***

Maverick

Penny moved around the kitchen, preparing the food for tonight's dinner. She always made extra in the event Rooster one day brought home a girl with him, and tonight seemed to be the night, even if it wasn't the girl he was going on a date with tomorrow, whose identity still remained a secret to everyone.

"What are you reading?" Penny asked, peering at the file Maverick currently had open while she prepped the chicken.

"A file on an aviator," he replied, hesitant to tell her who. Penny knew the pilot and knew her well. He wasn't sure how she'd react to him digging into the girl's file.

"Annalise?" Penny guessed, raising an eyebrow at him. When he opened his mouth to start defending himself, she added, "What are you looking for in her file that I couldn't tell you?"

"I don't know. Rooster claims Ghost is this great pilot, but I'm wondering why she wasn't in the group chosen for our recent mission."

Penny raised a quizzical brow. "How'd you get her file in the first place?"

"Warlock pulled some strings for me."

"So? What's her file say?"

"That's the weird thing. She's got all the qualifications. Youngest first-place graduate at Top Gun, distinction after distinction, commendations, top grades in school in every subject with an affinity for stealth missions. Got put in hack for high-speed passes over two air control towers-"

Penny snorted. "Sounds like you."

Maverick grinned. "For her sake, I hope she's not. Training reports show she's a wildcard. Hangman is too, but he was still chosen for the mission as a nominee, so why wasn't Annalise? It's like the Navy completely overlooked her, like she's invisible to them."

"Like a ghost," Penny said with a sad smile. "Annalise didn't live up to her callsign just based on the fact she's like a ghost when she flies. She's also said it's because people forget about her or don't see her. Judging by what you're reading and seeing, it sounds like the same thing happened with the mission. They didn't see her for it, even though she would've been a great candidate."

Maverick stared at the black and white headshot of the blonde aviator. Even in the photo, he recognized the look of determination and cunning in her eyes. This girl had a need to prove herself, but why? Her record spoke for itself. She belonged in the top one percent of aviators without a doubt, so what was he not seeing about her that the Navy did? Why were they holding her back from using her full potential? And why did she look so familiar to him?

The sound of Rooster's Bronco pulling up snapped Maverick out of his thoughts. He hurriedly hid Ghost's file, narrowly avoiding being caught by the pilot as she strode into the kitchen on Rooster's tail. Penny greeted them with a smile and a hug, as did Maverick. However, he noticed something peculiar about his godson, and when the girls were out of earshot on the other side of the room, Maverick whispered teasingly, "Since when do you wear cologne?"

"Shut up," Rooster muttered, pushing up his sleeves.

"Captain Mitchell, what do you want to drink?" Ghost asked, poking her head out from behind the fridge.

"A beer, and please, call me Maverick."

Ghost smiled, handing him his drink. "Yes, sir. Rooster?"

"I'll have a beer, too," he replied, walking up behind her and reaching into the fridge to grab it himself. Rooster didn't notice the slight smile on Ghost's face when he brushed up against her back, but Maverick did. Whatever Bradley felt for Annalise, she undoubtedly returned the sentiments. Whether either of them realized it remained debatable.

"So, Ghost, how long are you planning on being at North Point?" Penny asked, smacking Rooster's hand away from the dessert tray when he tried to sneak some.

"Until the Navy tells me to move again. It was unexpected, but I'm not complaining. It's nice to have my feet on solid ground, and it's good to see old friends." Her gaze flicked over at Rooster, a small smile gracing her face, but he didn't notice. He was too busy helping Amelia with her physics homework. "How long ago did you buy the bar?"

"About three years ago. It was all good and fine until this guy walked in," Penny replied, playfully side-eyeing Maverick. He grinned back at her but said nothing. Instead, he watched his new family and their guest chat and laugh. Ghost and Rooster regaled them with adventures from their time at the Academy and their deployment together, Penny provided entertaining bar stories, and Amelia offered up embarrassing stories about each member of the Dagger squadron, mainly Hangman and Rooster, the latter of whom flushed a deep red when she brought up the time he nearly burned down the bar trying to make a drink.

They played Uno, in which Ghost and Amelia took turns demolishing everyone. The latter took the record of the shortest game won, getting rid of all her cards in three plays. That was the last round before they moved to watching TV. Penny, Maverick, and Amelia took the large couch while Ghost and Rooster resided on the loveseat. The captain noticed that although they sat with distance between them, the two young aviators kept finding ways to touch each other, be it a shoulder or elbow bump, a playful shove, or affectionately patting the other's leg. 

Around eleven, everyone save for Maverick had fallen asleep. After carefully placing blankets over all of them, he slipped outside to the shed to work on a motorcycle for his neighbor. Music played softly from his docking station, and he couldn't help but smile when 'Great Balls of Fire' started. "Talk to me, Goose. Where do I know Ghost from? Why does she look so familiar?"

The song kept playing, and as expected, Maverick received no answer to his question. He kept working on the motorcycle, allowing his thoughts to wander about Ghost. So far, he learned she originated from Texas and had grown up alongside Hangman; her dad was the late Admiral Winchester, one of the few admirals who actually liked Maverick, and she was a wildcard with an impressive flight history. But otherwise, her file gave nothing else away.

"Captain Mitchell?" Ghost's voice floated from the shed's entryway, and her unexpected presence made Maverick flinch in surprise. Understanding flickered in her blue eyes, and she said sheepishly, "Sorry. Didn't mean to scare you."

"No, no, you're fine. I can see why you have the callsign Ghost," Maverick joked. "What are you doing up?"

"Needed the bathroom and then tried to find a bandaid because I gave myself a nasty hangnail." She stared distastefully at her bandaged thumb. "Realized the shed was open and decided to make sure no one was breaking into it. What are you doing?"

"I'm fixing this bike up for a neighbor."

"I'll leave you be, then. I don't want to distract you from anything."

"No, no, you're welcome to stay and chat. You can help me with this if you want," Maverick offered, not wanting to miss the opportunity to learn more about the mysterious aviator. To his delight, Ghost agreed and sidled up beside him. She watched as he tinkered with some wiring.

"So," Ghost began casually, handing Maverick a wrench before he could even open his mouth to ask her for it, "what do you want to know about me that my file didn't tell you?"

Maverick felt the color drain out of his face. How had she found it? Why was she in the cabinet in the first place that the folder resided in? What was he going to say to get out of this?

"I came across it searching for a bandaid, but don't worry, I'm not upset," Ghost promised with a smile, sitting on the stool. "I figured you were curious to know who Rooster was bringing home."

"The way Rooster spoke up about you, it sounds like you're an extraordinary pilot. I was surprised you weren't chosen for the recent mission we went on and wanted to see if the Navy saw something that I don't," Maverick admitted hesitantly.

"And?"

"And I found nothing. I'm just as confused as I was earlier, if not more so than before." Maverick straightened and dug through his tools, searching for another one. "Do you know why you weren't chosen?"

Ghost nodded, smiling bitterly. "Two words: my mom."

"Your mom?"

"She's high up in the Pentagon and has a lot of pull with the Navy. My dad protected me from her trying to hold me back, but once he passed, no one was stopping her, and she didn't hesitate."

"How come?"

"It first started after my sister nearly died in a training accident before I even got into the Academy. She tried to have my papers pulled, I found out, told my dad, and they got into a nasty argument. My dad won, and I went to the Academy the following year. Then my sister passed away during an operation, which made my mom panic over my well-being. Dad kept her from doing anything to harm my career, but then he passed during one of my deployments, and that's when my missions started becoming scarce. Of course, my skill made the Navy still want to use me, and luckily, I have a few higher-ups in my corner, and they send me on the missions my mom doesn't have clearance to know about."

"Judging by what you've told me about your mom, those missions must be close to black ops level," Maverick remarked, studying Ghost's face to gauge her reaction, to see how correct his guess had been. Still, the aviator before him seemed so young... too young to be trusted on those kinds of missions.

"Not close to. They are black ops. I'm the person the Navy sends when they need culpable deniability."

"Why you? Why not other aviators?"

"Because no one will miss a ghost," she said with a smirk. "Joking aside, I've outperformed more senior stealth pilots, and I live up to my callsign. Of course, only a handful of people know of my successes. They don't want people knowing your strike count when the battle happened over lines they weren't supposed to."

Maverick let her words sink in. "You have air-to-air kills?"

"Yes, sir. A helicopter and a stealth bomber. No one knows, not even my mom."

"So why tell me?"

Ghost shrugged. "You were black ops too. You understand the secrecy we're sworn to. I'm sure you've done things most people close to you don't know about."

"You wouldn't be wrong," Maverick agreed quietly, thinking back to all the missions he participated in, the ones only a handful of Admirals knew about, the assignments that could've started wars had they not succeeded. "You have a lot on your shoulders for such a young pilot."

"I do, but it's worth it. Makes up for all the missions my mom held me back from." Ghost said the words so nonchalantly that it made Maverick wonder what all she had seen and been through and what she would be willing to endure to make herself stand out in retaliation against her mom's attempted protection. 

"This is where you two are hiding out," Rooster remarked sleepily, shuffling into the shed and standing behind Ghost, too close for both of their declarations of being 'just friends' to be true. However, Maverick chose not to give them hell for it, mainly because Rooster's following words caught his attention. "Should've known Ghost would be with her idol."

The female aviator flushed a deep red, evident even underneath her makeup. Maverick grinned and said, "I'm not sure I'm the best idol."

"Oh, yeah, my mom was not thrilled when she found out you were who I tried to model myself after," Ghost admitted, although Maverick could not detect a single drop of regret or remorse. 

Rooster bumped his chest lightly into her back. "It's obviously paid off."

Ghost tilted her head back up to look at him. "I wouldn't be so sure, although I will say she always acted better when you flew with me."

"Probably because I was your voice of reason."

"Just like Goose was Mav's?" Ghost lowered her head again, eyeing the seasoned captain with curiosity.

"Without a doubt," Maverick confirmed, wiping some grease off his hands. "Now, did I listen to him all the time? No. Still, he saved my ass more times than I can count."

"You saved his too," Rooster said. The compliment caused Maverick's heart to soar, although he didn't wholly believe the words. He hadn't saved Goose when it mattered most... 

"Saved Admiral Kazansky's, too," Ghost added. "My mom told me all about the time you helped him in the fight against those six MiGs."

How did her mom know about that? Who exactly was Ghost's mom? A brief idea popped into Maverick's head, but he swiftly pushed it down. He would've heard through the grapevine. Surely... "Hey, Ghost, who is your mom? I'm wondering if I know her since she seems to know so much about me."

"Charlie," she answered casually.

"Charlie?"

"Yeah. It's her callsign. Her real name is Charlotte."

It couldn't- there was no way... "What's her maiden name?"

Ghost, although slightly confused judging by the tilt of her head, responded with the revelation, "Blackwood."

***

Tags: @supernaturaldawning @shanimallina87 @polikszena @lgg5989 @callsign-milano @bradshawsandbridgetons @harper1666 @shadeops21 @double-j @rotating-obsessions @amantedelnorte @abigailannz @copaceticwriter @sharkprestige @thedarkinmansfield @lapilark @mickeyluvs @mini-bee-bee @starshipfantasy @itzyogurl92 @bennypears00 @mandowife221b @the-navistar-carol @lj13oct @getmyprettynameoutofyourmouth @carmellasworld

Chapters: Chp 1 Chp 2 Chp 3 Chp 4

[francispeaks]

The Femme Fatale Aesthetic & Lifestyle

The Femme Fatale style, known for its seductive allure and dangerous charm, has captivated audiences for decades. Originating in the early 20th century, this enigmatic archetype emerged as a powerful symbol of female empowerment and rebellion against societal norms.

Drawing inspiration from film noir and pulp fiction novels, the Femme Fatale embodied a complex blend of sensuality and cunning intelligence. With her alluring beauty, she navigated a world dominated by men, using her charm as a weapon to manipulate and control those around her.

The origins of the Femme Fatale can be traced back to ancient mythology, where femme fatales such as Cleopatra and Delilah wielded their attractiveness to entice and deceive powerful men. These mythical figures laid the foundation for the archetype's evolution throughout history.

In the early 20th century, the rise of silent films provided a platform for actresses to embody these captivating characters. Icons like Theda Bara and Greta Garbo showcased their magnetic presence on screen, captivating audiences with their smoky eyes, crimson lips, and mysterious personas.

The Femme Fatale fashion emphasizes form-fitting garments that accentuate the female silhouette. Dresses in rich fabrics like satin or velvet, with plunging necklines or high slits, reveal just enough skin to tantalize. The color palette includes deep hues like black and burgundy, evoking mystery and sensuality. Accessories such as bold jewelry pieces and sheer stockings paired with heels enhance the look. Makeup focuses on captivating eyes with smoky eyeshadow and dark red lipstick for sensuality.

As time progressed, the Femme Fatale style evolved alongside cultural shifts in society. It became a symbol of women reclaiming their power and challenging traditional gender roles. From Marlene Dietrich's provocative performances to modern interpretations by artists like Lana Del Rey, the allure of the Femme Fatale continues to captivate our imagination.

Today, the Femme Fatale remains an enduring figure in popular culture—a reminder that strength and vulnerability can coexist within one captivating persona. Whether seen as a cautionary tale or an embodiment of feminine power, the legacy of the Femme Fatale style endures as a testament to the timeless appeal of mystery and allure.

[justzawe]

Mr. Malcolm's List Actor Zawe Ashton Taps Into The Feminine Mystique [Interview]

After watching her turn as the cunning Julia Thistlewaite in "Mr. Malcolm's List," one might expect Zawe Ashton to be similarly intimidating. She's the kind of scene-stealing performer whose reputation definitely precedes her: Ashton's career spans decades, following the actor-writer-filmmaker from the stage to the screen and back again. It's easy to feel intimidated by the thought of speaking to Ashton (I definitely was), but all that melted away when I sat down to chat with the "Mr. Malcolm's List" star. 

Speaking with Ashton is like making fast friends with a stranger in the place you least expected to. Her thoughts on Regency life and antiheroism are candid, hilarious, and considerably devoid of ego. Ironically enough, it is ego (and a thirst for revenge) that catalyzes the plot of "Mr. Malcolm's List." After Ms. Thistlewaite is humiliated by the titular Mr. Malcolm (Ṣọpẹ́ Dìrísù) — and immortalized in a Regency-era meme — she sets off to knock the bachelor down a peg. She asks her childhood friend, Selina Dalton (Freida Pinto), to pose as Malcolm's perfect woman, only to leave him high and dry once he starts to fall for her. It's the kind of story you'd expect from a '90s-era rom-com, where the stories usually begin with a harmless bet and feature at least one makeover montage. In that kind of story, Julia would be the villain, a cut-and-dry mean girl who gets what she "deserves" before the credits roll. But for director Emma Holly Jones and writer Suzanne Allain, "Mr. Malcolm's List" was not that kind of story.

Not only is Julia a character worthy of redemption (despite her questionable choices), but she's also worthy of a happily ever after. Her subversive arc appealed tremendously to Ashton, who'd never had the chance to star in a period romance before "Malcolm's List." The process was undeniably euphoric for the actor, especially when it came to the film's gorgeous costumes, but not without a few corset-related challenges. "Getting used to seeing your own bosom whilst acting is definitely a journey," Ashton mused. "But also what I love is, again: The sensuality, the feminine mystique that I'm not drawn to necessarily in my own life. I don't think about enhancing my bosom, necessarily. And I definitely will now from now on — for myself, not for anyone else."

I chatted with Ashton about walking the line between hero and villain, and tapping into the iconography of the Regency period.

You've spoken before about your attraction to more extreme characters. Is that what attracted you to Julia?

Well, do you know, I loved ... when I read [the script], I had 24 hours to read and decide and meet with Emma, our director, because two fantastic actresses had not been able to do the role. And Lyvie, I have no ego about that kind of thing because filmmaking is an intricate process that has lots of just twists and turns. But as an actor, the way that you come onto a project is often so influential. So having that very, very short decision time kind of made the decision easier in a way, because you go straight to the heart of things, I think. So I instantly read the intersection of genres present in this film. I'm a rom-com fan, I'm a fan of the new Regency-core journey that we're on as an industry, so that was an intersection that was a tick.

I also was like, "There's something so contemporary about this woman, Julia." We meet her at a point in her life where she's four seasons without a match. Her mother's starting to give her the side eye at every opportunity, reading out the latest matrimonial news at every opportunity. And that's something I think women can really understand, when society starts to kind of close in on you with that messaging of where you're supposed to be at in your life versus where you might be.

And I think I said to Emma in one of our initial interviews — or our only interview — I was like, "She feels like the Regency Bridget Jones." And that's a wonderful place to start. And then she becomes this protagonist. And then she becomes this humbled figure who lets her guard down and finds love and gets that intention that she sets off in the beginning of her life with, which is to marry for love. And I just really embraced the arc of that. I embraced the lightness and the kindness of the movie. We were in the second wave of lockdown and I knew that it was going to be a really wonderful spiritual reset to do something this fun.

And I have a very, very strong intentionality when it comes to supporting first-time filmmakers from underrepresented intersections. So it was just like "tick, tick, tick, tick, tick" in the space of 24 hours. And then I found out who the cast was and then I said, "Definitely. Please yes, I'll do this."

I love that you touched on kindness, because I feel like Julia sort of walks the scorned woman archetype throughout the film and she does make questionable choices, but she's never demonized. At the very end, she's able to find that she is worthy of love and forgiveness — which from a modern perspective, especially for women of color, that was so, so refreshing to see.

I think it's deeply refreshing to see. And you asked about a penchant for extreme characters. I wasn't drawn to Julia's extremes necessarily, but I'm always drawn to walking that line, I think. People in life are complex and I think I have a superpower as an actor for just really not minding if I'm disliked. I think lots of actors really desperately would like to be liked, but I don't know. I'm open to anti-hero-ness. I think they were the characters that I always warmed to as a child, when I was watching animated films or when you were at a puppet show, or just those first formative steps into understanding different creative worlds. I was an Ursula "Little Mermaid" fan. [Laughs]

They have much more fun, to be honest.

I think it's sort of ... you have to do more work as an audience member, and as an actor if you are going to win them over in the end. And of course you can win people over by just being extremely devious, and that's a very delicious experience.

I really love that also we're seeing an antagonist in a film of this genre who is a woman of color, who isn't attempting to be anything other than who she is. I really don't want to ever defang a performance for the purposes of being palatable. I personally don't feel like I make good work if I'm trying to pander to an audience in that way. And I also feel like you don't keep the door open for even more complex interpretations in that space, unless you really commit to walking that line. So I have a penchant for walking the line.

You've spoken about your relationship to secondhand clothes and how vintage has helped you find characters in the past. How did costuming inform your kind of molding of Julia?

Huge. And I'm so glad they have the costumes on show here at Saks Fifth Avenue as a way of representing this film. I love it mostly because there wasn't a huge amount of budget to make a lot of costumes. We really had to kind of do a lot with a little and that's down to our fantastic costume designer, Pam Downe.

Costume is very influential in this film, because I'd never played this era before, the Regency era. It's something that you've watched for such a long time. It has so much iconography attached to it. Stepping into it is a very, very unique experience, because the door has been closed to this genre to me for a very long time. So putting on a bonnet was heaven. I was like, "I feel cute! And I feel aspirational." Putting on the little ballet slippers that they wore at that time, it's extremely ... again, it's just very, very gentle and very ... it has a softness to it that really does transport you from this world to that one.

Also, I feel like there was something really, really fantastic about how sometimes wrong Julia was getting the fashion of that time. Her huge feather that was extremely offensive to Malcolm, I mean ... there was just a wonderful freedom in that to be someone who was presenting this very fashionable high society woman, but without making those fumbles and mistakes that we all make. Because of course, it was a hedonistic time. We don't think of it necessarily as that because we see the slightly more repressed behavior. Then the Victorians came along and corseted the Georgians up for a reason, because it was kind of sexy and out there! It was, again, it had this contemporary edge of a woman who's kind of embracing the fashions of the time and not necessarily always hitting the mark, but having fun with it. There was a huge freedom in that. (x)

[ogradyfilm]

Recently Viewed - Mission: Impossible - Dead Reckoning Part One

[The following review contains SPOILERS; YOU HAVE BEEN WARNED!]

Objective. Obstacle. Solution. Complication. Rinse and repeat until the goal is achieved. Over the course of almost three decades, the Mission: Impossible series has refined its formula to near perfection. The latest installment—the cumbersomely titled Mission: Impossible - Dead Reckoning Part One—does it again, but bigger: the stakes are higher, the stunts more awesome, the locations more numerous, and the pace more relentless.

Beneath its surface-level spectacle, however, the film is also surprisingly intimate. The plot, after all, is rather basic and busy—with our intrepid heroes pursuing a vaguely defined McGuffin from set piece to explosive set piece—and shootouts, car chases, and train top brawls, no matter how immaculately framed and impeccably choreographed, can only carry a story so far; it is the characters that keep the audience invested in the action.

For perhaps the first time since the original movie, Tom Cruise’s Ethan Hunt feels like an actual human being (M:i:III’s awkward, unconvincing attempt to portray him as an average Joe between assignments notwithstanding). Make no mistake: he’s still a cape away from being an outright superhero; he jumps a motorcycle off a mountain, survives injuries that would reduce a mere mortal to pulp, and is explicitly stated in dialogue to be the one person on Earth capable of thwarting the villains’ schemes. But director Chris McQuarrie manages to find the chinks in our protagonist’s durable armor; Hunt doesn’t stick every landing, is frequently outmaneuvered by his foes, and occasionally fails to save his friends. Here more than ever, it is evident that his success relies more on luck than skill or cunning; indeed, the relative inexperience of rookie operative Grace (Hayley Atwell) serves to highlight the utter absurdity of his propensity for improvisation.

Hunt’s vulnerabilities aren’t just skin deep: he is fiercely protective of his allies—even at the expense of the mission. To him, casualties and collateral damage are totally unacceptable; while the Secretary is heartless enough to simply disavow knowledge of their existence, the loss of an agent would (and does) haunt Ethan for the rest of his days. This unwavering loyalty manifests as intense fear—and Cruise’s steely conviction absolutely sells it.

The supporting players are equally compelling. Of particular note is Henry Czerny’s Eugene Kittridge, returning to the franchise following a twenty-seven-year absence; the incomparably charismatic actor, who could recite a grocery list with gravitas, makes bloated, unwieldy exposition sound as musical as Shakespeare’s sonnets. His adversarial relationship with his subordinate likewise enriches the central conflict; Hunt is too well acquainted with his boss’ jingoism to trust him completely, and Kittridge resents Hunt’s tendency to “go rogue” at the slightest provocation—but each man nevertheless grudgingly respects the other, and they will immediately put aside their differences should the situation require cooperation.

Pom Klementieff delivers the real standout performance, though, lending depth and complexity to what could easily have been a generic minion. As the maniacal Paris, the actress—best known for her comparatively subdued role in Marvel’s Guardians of the Galaxy trilogy—projects a wonderfully chaotic energy; this is a baddie that thoroughly enjoys her violent work, relishing the wanton destruction left behind in her wake. But something resembling a conscience lurks within her cruelty and savagery, and its gradual emergence is the film’s most delightful twist.

These memorable minor antagonists compensate for the otherwise uninspiring heavies. As the enigmatic mastermind pulling the strings from the shadows, The Entity is adequate enough, propelling the narrative from Point A to Point B… but as a purely digital construct, it inherently lacks screen presence and personality. That’s where Esai Morales’ Gabriel is supposed to come in. As the AI’s handpicked flesh-and-blood avatar, he succeeds in providing Ethan with a physical foe with whom to trade blows… but there simply isn’t a whole lot of substance to him beyond this superficial function; essentially, he’s as anonymous and forgettable as the literally faceless computer program to which he’s pledged his fealty. And considering Hunt is implied to have a personal vendetta against him (owing to an encounter in their mutually mysterious past,  briefly glimpsed via poorly integrated flashbacks), this is a glaring flaw.

I assume that Gabriel, at least, will be further developed in the upcoming sequel, currently scheduled for a 2024 release. Fortunately, this is the sole thread that remains unresolved; unlike Across the Spider-Verse, which abruptly ends mid-scene, Dead Reckoning Part One arrives at an organic conclusion—the only “cliffhanger” here is the mangled wreckage of the Orient Express. And that sense of closure makes the wait for the next chapter significantly more tolerable.

[jeweled-blue-eyes]

I like the idea well ig au?

oooh new dialope flavor unlocked: evil Diana. I feel like with claudiana it can go only two ways if we wanna be realistic: either Diana was an unsuspecting victim trapped in an unhealthy relationship or she was just as fucked up and evil as Claude and had him wrapped around her little finger. ngl it’d be kinda funny if Claude was a magnet to beautiful but dangerous women with a hunger for power and physically incapable of not chasing after the affection of someone who would betray him in a heartbeat and ruin his life in an exchange for power. Evil Diana could answer some question I had about canon Diana. For example if Diana was his one true love then why did he continue to sleep with other woman? Answer: the harem in the Ruby Palace actually belonged to Diana. 😳 Another question how did Diana fall in love with him within a night? Answer: she didn’t. Our dear Diana intentionally seduced the most powerful man in the country. Or another question why was Diana dressed from head to toe in jewelry if she wasn’t materialistic and in vain? Answer: well maybe she was more like his ex than Claude would like to admit. He just distorted her image to suit his fantasy of an ideal woman.

Evil Diana would be such a nice subversion to the disney dead mom trope. Based on his memories Athy would assume Diana was a little angel since that’s how Claude painted her in his dreams but in reality she might have been a cunning woman and an amazing actress on top of that.

[repo-net]

Hi there, Monaca! 😁 I’ve got a question for you (or for Repo-net about you). How would Monaca rank her friends/the other Warriors of Hope? I’ve always gotten the feeling that Monaca and Kotoko actually don’t get along very well even if they act like besties and that Monaca isn’t nearly as close to Masaru as someone might think, for instance. Is that really the case? Thanks in advance & enjoy your blog takeover! 😉

(A/N: Happy April’s Fools too! I’ve gotten such a great laugh about this! Your Monaca post was so spot on that I thought it was some sort of suggested Tumblr post from a Monaca rp blog at first. And gosh you changed your blog theme and colors and everything! It’s impressive!! 😊 Given the current Monaca theme, I thought this would be a good time to ask this but please don’t feel obligated or anything. Cheers!!)

Hello, friend from another land! Thank you for taking the time to write such an interesting question to Monaca.

Hmm, it's been some time since I spent my day thinking about the other Warriors of Hope. My goal is a little further from theirs; and Monaca just has too much on her plate to worry about what antics the four of them get up to. That, and ranking them feels a little trivial and 'gossipy'. But, since you asked so nicely, I'll be happy to indulge you in a few secrets!

4. Jataro Kemuri

Mmm... I don't really have much to say about poor old Jataro, unfortunately. He's just... kind of there. And Monaca feels like he's happy with that role. He says a lot of super strange and random stuff, going on suuuuper long tangets, and all he ever talks about is us hating him.

Which, if he really wants us to believe that? Then Monaca will! It makes him happy, for some strange reason. You can blame his mother for that. Jataro's honestly just really gross and weird - like a worm! But one with value, at the very least. You can never have too many throwaway pieces at your disposal to buy time for yourself, after all.

3. Masaru Daimon

'Monaca's in love with Masaru and how cool, strong and brave he is!' ... That's what Masaru thinks our relationship is, anyways. I get the feeling he does a lot of the stuff he does in an effort to impress Monaca, which I don't particularly mind. But he just feels so needy for the spotlight and to be a 'hero'. He's really reckless and gets himself into trouble so very often.

Frankly, Masaru has his 'redeemable' qualities, if you'd like to call them that. He does care for everyone else in the Warriors of Hope and the other kids in the city in his own arrogant and boastful kind of way, but his motivations are just so fueled with pride of being the best. Monaca can see why he turned out the way he did, but really, I just think he's a little bit too plain.

Still, he's a devoted boy who will never back down from a fight. Monaca could ask him to go out there and fight every adult in the city with his bare hands and he'd probably be silly enough to do it. The 'bravery' and supposed 'courage' he has can be turned into a selfish foolishness quickly and easily.

2. Kotoko Utsugi

If Monaca had to be blunt about it, there's quite the gap between this poor girl and the boy sitting at number one. And even then, she's only up this high anyways because she entertains me in ways the other boys can't. Having someone I can actually talk to about girly girl stuff is a nice way to breathe and relax for once, y'see?

But Monaca knows what Kotoko is. She doesn't love Monaca because she thinks she's 'totally adorbs' and 'so kyuuute'. She loves me because she knows that I know everything that can set her off and turn that freaky facade of hers into a shattered mess in mere seconds. She might be able to fool everyone else, but not Monaca. I know what she really sees me as in the depths of her mind.

But she's more cunning and serves more uses to the grand scheme of things compared to the two pieces below her. Monaca still thinks she's a fraud of an actress, but she wouldn't say that out loud and break poor Kotoko's heart; unless the time finally calls for it and she needs to be disciplined for stepping out of line. Heeheehee...

1. Nagisa Shingetsu

Oh, pitiful Nagisa. It's a travesty; Monaca can see so much potential and talent in him to be something more than what he already is. He can be Monaca's smartest and most reliable soldier, able to handle any task his princess assigns him to because she knows he's capable of it. She expects him to pass every assignment she gives him. But Monaca just can't feel that way about him.

If nothing else; I do... feel amused and charmed by Nagisa's devotion. Out of all the Warriors of Hope, it's super easy to tell that he's more focused than anyone else in our group about the paradise. But his heart is too fragile and too easily manipulated. And that's... dangerous. Monaca knows Nagisa's one heartfelt talk with an adult away from possibly turning against us - and worse, against Monaca.

So... as endearing as Nagisa's obvious feelings for Monaca are and how much he'll do for me to shower him with the praise he's so incredibly reliant on... all I see are the makings of a potential traitor who can't see the world the way Monaca sees it. A shame that him being so obsessed with me is going to be what leads him to break. It'll only be a matter of time though, and he'll finally help me to realize my dream. Doesn't that sound nice, Nagisa? 💚

[heroheart]

@wristful / lena: i fell for the wrong person. it was a mistake, but… it happened.

there are wrongs to be righted, as mxyzptlk would say. his answer, with all the fifth dimensional knowledge and understanding in the world, is to do a rerun. an after-school-special. he wheels in the popcorn, and sets about the tapes to find the true magic in what she’s already lost. something about it feels farcical — licking her own wounds at the expense of another — but if there’s any way to fix what’s so clearly broken between them, she’s willing to try anything. 

            “— so! let’s see where our cunning supporting actress is.”

she already knows where she is. gotham. hiding under the guise of a new business venture — it’s valiant, and she won’t fault her for it, because everywhere she steps in national city, there’s a new threat attempting to topple the luthor empire, and a new flash of red that keeps suffocating her. (lena needs space. lena needs to breathe, and rest, and renew. this is kara attempting to give her that.)

the problem is mxy. he meddles. so as they sit, cushion hugged against her chest, and a cosmic martini in his hand — one olive, no exceptions — the dread pools in her stomach.

he snaps his fingers. the movie starts.

she watches, enrapt. sam flew in from national city a few days ago. ruby’s doing homework. lena swills the dregs of a bottle of wine into two glasses, and they talk. (it’s normal, for a moment — how she’s getting on, how she’s fitting in, how the business is clawing at new great heights, how bruce wayne has started to take a greater interest in it— then she buckles. she hears it. they don’t say her name, but the conversation shifts, along with that brief moment of levity that lena was awarded with.)

                          “i fell for the wrong person. it was a mistake, but... it happened.”

she can hear a pin drop from thirty thousand feet, or a helicopter’s blades in andalusia. she can hear a cat purring from two thousand miles away, but this — she hears nothing. not even her own breath. this is... flatline.

      (she doesn’t notice, because she’s been holding it for the past thirty seconds.)

         mxy grimaces, offers a solitary oof, and takes a careful sip of his martini.

oh. it’s taken years, but she finally understands, now, that this is even worse than hate.

the cushion rips beneath her fingers. the sinking feeling’s back.

[selenaevander]

Prompt #19: Turn a Blind Eye

For the greater part of my career, casting directors were willing to overlook the mounting tension between Valerie Salacia and I as a petty catfight between two actresses racing for the pinnacle of their careers. And really, were they so wrong to say so? Rearranging seating charts and rumormongering were at the low end of our respective potentials, even I can admit as much, and it kept the Cantilena’s press operators on fire for its weekly publishing, which in turn fueled ticket sales. We were a cultural tour de force, her and I, commanding levels of fascination that hadn’t been seen since Appolinar and Fulgencio’s tit-for-tat, which ended in infidelity, pregnancies, and drug overdoses, doubtlessly a tough act to follow. All in all, a healthy ecosystem for show business, and I think you’d be hard-pressed to find that any of us disagreed. Content with this arrangement, they became as frogs in a heating pot, and the water was boiling before they all discovered they’d let it go too far to turn back.

The night I well and truly unsheathed my claws was to be a run-of-the-mill live interview for my work on Time Unwinding. I knew I was sharing a guest slot with Salacia (doubtless the intent of the cunning host), but resolved to maintain my composure; I’d been overexposed, my publicist cautioned me, and it was time to recede out of the burn of the spotlight for at least a week. I had no reason to doubt her advice, and so I decided to have a drink to soothe my anger before my stage call and steel myself to be the bigger person. Valerie, however, had her own designs on the evening, starting with the bottle of red wine I requested on every set.

“Our next guest needs no introduction. You know her, you love her, you love to hate her. Let’s welcome Marcella Maxime.” 

I put back a good two glasses before I was called to stage and I was feeling good about the odds of making it through the appearance without being intentionally catty or malicious. I strode across the stage draped in a rich emerald green number that made me feel royal and expensive next to the cheap, tawdry glitter and glitz of my rival, waving to the audience with a summoned smile. I never noticed anything amiss in their reaction before placing myself on the couch next to the viper, herself.

“Marcella, it’s good to have you back.”

“Thank you, Erasmus. My aesthetician tells me the same thing every day.”

A wave of polite laughter rises from the audience, but doesn’t quite die down even as the host continues to speak.

“Does she...?” He asks curiously, then pauses before he presses further. “Marcella, did she tell you that this morning, as well?”

I tilt my head slightly, my smile frozen. What a strange question. “Well, I know I’m not renowned for my comedy, Ras, but that’s the implication of the joke. She’s grateful I’m still employed, and in turn employing her.”

I can hear an odd titter break out in the audience as their murmuring grows louder, and Erasmus is studying me intently.

“Are you sure her paychecks are current, Ms. Maxime? Because it seems to me she may be upset with you.”

My blood runs cold, and my heart is pounding my ears. My eyes sweep from the host’s desk to the audience, then reluctantly land at Valerie’s expression. She regards me with her mouth pressed into a thin line, a suppressed grin that’s fit to burst. Do something. But what?

“Well, let me have a look and get to the bottom of this,” I bluff with a humored lilt, and reach into my clutch for my compact. The silver lid lifts and I search the mirror for the source of the interest, feeling the stage lights grow hotter and hotter. My makeup is immaculate, lipstick unbudged by the wine glasses. I open my mouth to protest and find myself face to face with a blue-tinted mouth, my teeth faintly stained with ceruleum blue. My pulse halts, breath held tight, but everyone is waiting to see what happens next. I gather my resolve and snap the case shut again.

“Oh, this little thing?” I hear myself say, but I’ve divorced from my own body by now. The only thing I’d consumed since leaving the makeup chair was that red wine, dark enough to hide the dyes she must have paid a runner to drop in. “I’m preparing for my next role, you see. It’s a thrilling number about a woman who is half-machine. I thought I’d take a little sip of ceruleum and see if I could step into the part...”

I thought I’d buried my origins well and truly in the past; when I moved out of Silvestre, I became a new girl who in turn became a new woman, old skins shed and left to crumble when they outlived their usefulness. I don’t know how Valerie came by the intuition to come after me this way, but it was the day I decided I was no longer satisfied with simply questioning the wingspan of Salacia’s spread eagle when she went into casting calls, or slipping bills from palm to palm until her valet got conveniently mixed up, making her late to press junkets. Since that day, I’ve been out for blood.

[highlifestyleindia]

On Tuesday, "Succession," an HBO series about a cunning media tycoon and his squabbling family, received 25 Emmy nominations, one of which was for the coveted best drama award.

It will compete against "Squid Game," the first non-English language Emmy nominee from Netflix Inc, which is a South Korean thriller.

In "Squid Game," competitors who are short on cash vie for prize money, occasionally at their peril.

Both HBO's "Euphoria," about youth juggling sex, drugs, and social media, and the sci-fi sensation "Stranger Things" from Netflix were nominated for the drama award at the televised industry's highest accolades.

Among its 20 nominations, the cheery series "Ted Lasso" will defend its best comedy crown. The show will go up against "Hacks," "Only Murders in the Building," and "The Marvelous Mrs. Maisel".

Hannah Waddingham, who starred in "Lasso" and was nominated for a supporting actress Emmy last year, said she was surprised to receive a second nomination because she felt she had "had my minute."

For everyone of us, it's a little bit of a magical moment, she remarked of the cast of the programme. The "Lasso" cast had ten nominees.

With 20 nominations, HBO's "The White Lotus," which follows guests and workers at a posh beachside resort, earned a spot in the competition for best limited series.

On September 12, the Emmy Award winners will be revealed.

This year, the Television Academy received a record number of entries, according to CEO Frank Scherma, indicating that production was rebounding after being halted due to the COVID-19 pandemic.

The nominees were dominated by streaming television programmes, continuing a trend as viewers migrate to internet viewing. HBO and HBO Max received 140 nominations. Netflix received a 105.

For "Succession," which won best drama in 2020, there were fourteen acting nominations. In the race for outstanding actor, Brian Cox will face off against Jeremy Strong.

Adam Scott, the star and acting nominee of the newcomer "Severance," a psychological thriller about office workers, is speechless after learning that it has received 14 nominations and will compete for best drama.

"It is too much. I was genuinely shocked, flattered, and honoured," said Scott.

A brand-new show from ABC, which is owned by Walt Disney Co, "Abbot Elementary" entered the competition for best comedy.

Quinta Brunson, who was nominated for writing and acting on the programme, stated on Twitter that "crying, shaking, and throwing up has new meaning to me because I real life did all three."

Although voters passed over their co-star Selena Gomez in acting categories, Steve Martin and Martin Short will vie for the title of best comic actor in Hulu's "Only Murders in the Building," which is about true-crime podcasters.

For her portrayal of a 1950s housewife and comedian on "Mrs. Maisel," Rachel Brosnahan is a contender for best comedy actress, along with "Insecure" actor Issa Rae and "Hacks" star Jean Smart.

For the second year running, "Hacks," which follows an established female comic attempting to advance her career, has been nominated for best comedy series.

Jen Statsky, co-creator of "Hacks," said in an interview: "I think it's a really important thing, especially in this moment and time in our country, to showcase women and to tell their stories."

Zendaya, the previous winner for best drama actress, was nominated for "Euphoria," Laura Linney was nominated for the drug-dealing drama "Ozark," and Melanie Lynskey was nominated for the new series "Yellowjackets," which follows high school girls who must survive in the woods.

This year's major categories did not include the concluding seasons of the comic "Black-ish" or the heartbreaking "This is Us." Also overlooked by Emmy voters was the well-known Western "Yellowstone."