#the cast the story the performance the effects

[youzicha]

Simulacra, Simulation, and Girls' Generation

That take that "anime girls don’t correspond to anything" reminded me of one of my own pet theories, which is that the same is true about Kpop groups.

Groups like Girls' Generation are like the opposite of American singer-songwriters. The singer-songwriter's core value is authenticity. Their songs are taken to be autobiographical, and to be valuable because they are a true description of the emotions that the songwriter felt. The singer-writer must be a single person so we can be sure that nobody has tampered with the depiction before it reaches us. This is Baudrillard's "first order" image, we in the audience should believe that the song is "the reflection of a profound reality".

With the kpop groups, what we enjoy is that the song does not represent any underlying reality. Each music video is the impersonal product of songwriters, producers, choreographers, stylists, video directors, etc. Rather than a spontaneous expression, you can see the moves being developed in the behind-the-scenes dance practice videos. The online discourse emphasizes the role of the entertainment agency (e.g. SM Entertainment): the group members themselves do not have "agency" so we can be confident that their own emotions didn't make it into the love songs they sing.

Let’s look at the music video for Oh! (2010) to see how this plays out. It's like a game of dress-up, showing off two different cheerleader uniforms. Argumate once wrote that Girls' Generation perform "a detailed sequence of dance moves that are very 'sexy', i.e. strongly coded as suggesting sexiness without necessarily being sexy-without-quotes", and I think we can say something similar about cheerleader outfits. They are not there to convey a message or story (and as if to stress the arbitrariness, the last few seconds of the video show the girls dressed in a completely different "strong woman" style, to tease the upcoming next look). Rather, the "sexy cheerleader" is itself a stylized, free-floating signifier to be quoted. "The whole system becomes weightless … an uninterrupted circuit without reference or circumference." (Although I believe it is still possible to overcome the ironic stance.)

So far everything is straightforward, but now consider the lyrics:

Oppa please see me, please look at me It's the first time I talk like this (ha!) I did my hair and I did my makeup too But why is it only you who doesn't know? […] Don't think of me just like a little sister You might regret that after a year

I claim that this also works in the opposite direction to the normal mode of storytelling. When creating a movie or play, the auteur-director starts with an idea or a story, and then casts actors to best represent his vision. Or, if that is not what it in fact took place, it is still the convention the viewer is supposed to apply to interpret the work. But with an idol music video, the starting point is the singer, who already has a fanbase. "Please see me, please look at me"—well, we already were. (This is not the only Girls' Generation song about looking at the idol, by the way, compare e.g. The Boys, which begins "I can tell you're looking at me / I know what you see".)

Given the opposite starting point, the representational function of the lyrics changes correspondingly. Rather than focusing on the new fictional person who emerges ex nihilo, the fan's attention is still on the singer, and the "little sister" character is yet another stock signifier for them to bring out and put on, much like the uniform. The function of the story is erasure: there was in fact a hairdresser and a makeup artist who styled Yuri, but instead we're invited to project a different fantasy over her. The effect is to further stress the unreality of all the symbols involved.

With this in mind, I think one Girls' Generation song has a really interesting concept for the lyrics. In Paparazzi (2012) the idol looks out across the crowds, spots a photographer who is trying to be discreet, and speaks directly to him: "shall I give you a better photo? let's be friendly, after all aren't we allies?"

It re-establishes the inauthenticity and unreality of the idol! As time goes by, pesky reality intrudes. People will follow the individual group members devotedly, and there are paparazzi images of them. Members will capitalize on their fame through individual brand endorsement deals. There is the perennial problem of girl group girls getting boyfriends, jarringly peeking out as an actual human being from behind the illusion. Or in the extreme case they can even use their new independent existence to leave the group.

In Paparazzi, those candid photos are re-imagined as performance. And furthermore, just like in Oh! we are invited to imagine a fictional character speaking directly to us. But in this case the character is superimposed not just over the image from the music video, but also over all the already existing photos. The actual person of the idol is crowded out by the fantasy…

[scuddish]

“Even a man who is pure in heart and says his prayers by night may become a wolf when the wolfbane blooms and the autumn moon is bright.”

THE WOLFMAN 2010 | dir. Joe Johnston

[galedekarios]

Dragon Age: Veilguard | The Ultimate Preview Summary

shinobi602 on twitter shared this amazing in-depth summary of all new information about the game that we have so far:

Coming to PS5, Xbox Series X and PC in Fall 2024

Consoles: Quality and Performance modes (60FPS)

Photo mode is confirmed

Fully offline single player, no EA account linking, no micro-transactions'

Play as a human, elf, dwarf, or Qunari

Choose your backstory, 6 factions to choose from when you create your character, all with "deep roots in Thedas": Antivan Crows, Grey Wardens, Shadow Dragons, Veil Jumpers, Lords of Fortune, The Mourne Watch

Each faction offers 3 distinct buffs each, like being able to hold an extra potion or do extra damage against certain enemies, and the odd reference in dialogue

You can customize your Inquisitor from Dragon Age: Inquisition in the character creator and "make a few key decisions that will impact how The Veilguard begins"

There are some "killer cameos" from past games that show up

Warrior Class: Use a sword and shield or two handed weapon to send enemies flying

Rogue Class: Utilizes quick movement and reflexes. You can wield a bow or dual swords with "powerful, precise strikes for lethal damage"

Mage Class: Use magic to incinerate, freeze, electrocute and crush. Some cast from afar, while others prefer close quarters combat

Each class also has 3 sub-specializations, such as duelist, saboteur, or veil ranger for the Rogue

Classes also have unique 'resource system's, for example, the Rogue has "momentum", which builds up as you land consecutive hits, and each will always have a ranged option

One Rogue momentum attack is a "hip fire" option we saw for the Rogue's bow, letting you pop off arrows from the waist

Another momentum attack for the Warrior lets you lob your shield at enemies

Quests are more handcrafted and mission based, curated with alternate paths, secrets to discover and optional content

There are also open ended explorable areas

Party size of 3 during combat, ala Mass Effect

Combat is focused on real-time action, dodge, parry, counter, "sophisticated animation canceling and branching", using risk-reward charge attacks designed to break enemy armor layers

Enemies have elemental weaknesses and resistances, and you can chain together elemental combos for extra damage

One example is a squadmate using a gravity well attack to suck enemies in, another slowing them down, and the player then unleashing a big AOE attack

You don't take direct control of companions like past Dragon Age games, but you can still pause and issues ability commands for you and your allies

There is a hub area for the player like Skyhold and the Normandy, called The Lighthouse

Companions can eventually start romancing other characters if you opt not to romance them

Each companion also has unique missions tied to them that play into the larger story

Nudity confirmed - romance scenes can get "a little spicy"

"Incredibly deep" character creator: 5 categories including: Lineage, Appearance, Class, Faction, Playstyle

Players can also choose different body sizes and shapes

Dozens of hairstyles to choose from, with "individual strands of hair rendered separately and reacting quite remarkably to in-game physics", pulled from EA Sports

Character creator lets you adjust the lighting so you can be sure your character looks good

The team wanted to balance the look of the game with both light and darkness. "When everything is dark, nothing really feels dark. For this one, we really wanted to build that contrast again."

Skill tree is "vast", you can also set up specific companions with certain kits, from tackling specific enemy types to being more of a supporting healer or flexible all-rounders

There are tarot cards you go through during the character creation process that will let you choose decisions from past games to implement into Veilguard

The team teases you may lose some characters during the story

[superectojazzmage]

Just back from Alien Romulus and hoooo boy oh boy. Review/analysis.

Easily the best Alien movie since the first two, which isn't saying much, yeah, but it is legit a really cool and well-made movie, competing with Late Night With The Devil, Longlegs, and Cuckoo for title of my favorite horror movie this year.

In a lot of ways it's about harvesting the few good ideas from the post-2 movies that were squandered and doing them right, plus getting the series back to it's healthier roots, kinda the movie equivalent of someone doing physical therapy to get back in the saddle after an injury. This means it's not quite brand new ground like some may hope for and I've heard some people feel it gets a little derivative at points because of it. I can kinda agree and certainly understand that criticism, but I feel it does what it's aiming for really well and sets things up for future works to go in even crazier directions. Furthermore, it takes a lot of time to try and weld together the disparate post-2 movies in a way that brings the series back to a little coherency.

The atmosphere is really intense and cool, swinging between lovecraftian dread and build-up and high-energy chaos. The aesthetics and special effects are gorgeous, taking full advantage of the progress that technology has made since 2 plus really digging in to the used cassette future vibe of the older films. The characters are likable and actually intelligent (or at least understandable) in behavior like in the first two movies, so you care about what's happening to them instead of just waiting for them to get munched. The action and kills were really cool and creative, the cinematography in general was off-kilter in an awesome way - there's a definite attempt to make the movie feel claustrophobic and intimate. Fede Alvarez did a fantastic job in general, I'd love to see him do more with the series.

It REALLY cranks up the series' psychosexual, freudian, and sexual assault subtext, arguably to a point where it's just plain text. So if you're sensitive to stuff like that or if this is your first go at Alien, be warned for that.

More specific notes go under the header for spoilers. Highly recommend you go in as blind as you can.

Andy and Rain were wonderful leads, their dynamic was fantastic and Calie Spaeny and David Jonsson both turned in great performances. I direly hope they join the first two films' casts as "major" characters for the series going forward.

The effects to make Daniel Betts look like Ian Holms were quite possibly the one and only time the special effects failed. It looks very wonky, which is sad because Betts does a really good job copying Holms' mannerisms for Ash while still making Rook feel like a distinct character.

In addition to the usual themes of sexual unease, genetics, and parenthood, this movie adds in some really interesting themes of familial legacy, the rise of new generations, foundations, etc.. Andy and Rain are like Romulus and Remus of myth, orphaned and left to fend for themselves but growing into founders of a new age - both in-story with their carrying the XX121 substance and evidence of Weyland-Yutani's misdeeds to Yvaga and out-of-story with them being the protagonists of a new era for Alien. Likewise, the Offspring is the first example of an entirely new species, neither human nor alien but taking from the lineages of both through Kay and Big Chap, a Romulus-like founder of it's breed that will later bear fruit in Resurrection with the Ripley clone and Newborn.

I'm really not kidding when I say above that the psychosexual undercurrents are taken to the extreme here. This movie basically sees the ways the original film subtly pin-pricked at those themes, says "fuck that", and deliberately rubs it in your face in a way designed to make sure you can't ignore it. It wants you to be grossed out and to squirm in your chair and it knows exactly how to make it happen.

Alvarez noted in the lead-up to release that he took a lot of influence from Isolation and you can definitely see that in how he depicts the Xenomorphs and the general aura of the film. He further described it as a kind of halfway point between the first and second movies and you can also see that; it has the Lovecraft-style tension and horror of the first, balanced with the energy and action of the second, and it does a really good job finding a middle ground between Ridley Scott and James Cameron's styles while also doing it's own dance.

I mentioned way back at the start how the movie basically harvests the good ideas from 3, Resurrection, Prometheus, and Covenant and gives them the room they deserve while dumping the bad. It does that in both terms of themes/style and continuity/lore. Concepts that those movies bungled like xeno-human hybridism, the black goo, genetic engineering as a focus, and so on are done here more creatively and competently. Themes that those films tried and failed to tackle are handled with significantly more grace. It has the atmosphere and characterization of 3 but none of it's baggage and needlessly depressive tone. It has the body horror and weirdness of Resurrection without taking it to the zany, embarrassing areas that movie went. The effects and creativity of Prometheus and Covenant without any of their awful writing and clumsy messages. Alvarez takes on kind of an Al Ewing-esque "repairman" writing style here.

The Xenomorphs are absolutely deranged in behavior compared to most portrayals, attacking like either cruel sadists or raging chimps and rarely bothering to take hosts. I'm not sure if such a reading was intended, but I got the vibe that the idea is Xenos raised without a queen or hive grow to be basically sociopathic like how real world predatory animals grown without parental figures become feral and dysfunctional. Which would also explain a lot about how the Xeno in the original movie, Big Chap, acts there.

The Offspring's design is fucking wicked and I love it.

One of my few major criticisms is that Big Chap died off-screen instead of getting more to do. What was the point of having him be alive at the start if he wasn't gonna be used beyond a backstory point to set up the main story?

All in all, a very impressive effort and a great return to form for the series that I recommend highly.

[felassan]

Post on the Dragon Age website:

"Journal #2 The Voices of the Veilguard Get acquainted with some of the voice actors and join us for our upcoming character panel at SDCC! --- Hey everyone, We're packing our bags and heading down to SDCC this week and alongside that comes more Dragon Age: The Veilguard reveals! Today, we're excited to reveal some of the voice actors who bring our characters to life - a few of whom will be joining us for our character-focused panel at the convention. ICYMI, our SDCC panel "Dragon Age - Meet The Heroic Companions of Thedas” will feature Creative Director John Epler and Creative Performance Director Ashley Barlow as they discuss bringing the cast of Dragon Age: The Veilguard to life. Moderated by Lucy James, host and video producer at GameSpot, panel attendees will hear from Neve, Emmrich, Harding, and Lucanis’ voice actors as they discuss their motivations and inspirations that have lit up the personalities and uniqueness of each companion. The panel will be held on Friday, July 26 from 3:15PM - 4:15PM in Room 6BCF.  If the panel isn't enough to satisfy your Dragon Age cravings and you'll be at SDCC in person, join us at the Dark Horse Comics booth (#2615) where we will have swag to give away as well as talent & developer signings. Keep an eye on our social channels for more information on this. Discord members who drop by the booth and show us that they're a part of the server will receive a Romancer pin while supplies last. For those of you who will be keeping an eye on SDCC coverage from home, we'll have the full panel video available at a later date. Stay tuned. With that said, let’s get into our cast."

-

"Four Rooks are Better than One Featuring the most comprehensive character creator in Dragon Age yet, your character, nicknamed Rook, debuts with four different voice overs to make this story truly your own. Rook is Dragon Age: The Veilguard’s leader in the making who has to bring the Veilguard together to take down the threats on Thedas. Immerse yourself even further by picking your voice, with two options from US/North American personalities and two from the United Kingdom/EU.  Rook’s voices have been provided by iconic television, film and video game personalities Alex Jordan (Cyberpunk 2077, The Amazing World of Gumball), Bryony Corrigan (Baldur’s Gate 3, Good Omens), Erika Ishii (Apex Legends, Destiny 2), and Jeff Berg (Battlefield 1, NCIS). What even is Dragon Age: The Veilguard without the Veilguard? These 7 companions stand ready to join the fight to restore order to Thedas. We're happy to announce that our cast of companions includes: - Ali Hillis (Mass Effect 3, Naruto), returns to the fray as Harding, the dwarven scout, a Dragon Age: Inquisition hero with a big heart, a positive outlook, and a ready bow – as well as unexpected magical powers. - Ike Amadi (Mass Effect 3, Halo 5: Guardians, Insomniac's Spider-Man) as Davrin, a bold and charming Grey Warden who has made a name for himself as a monster hunter. - Jee Young Han (Perry Mason, Unprisoned) as Bellara, a creative and romantic Veil Jumper obsessed with uncovering ancient secrets. - Jessica Clark (True Blood, Pocket Listing) as Neve, a cynic fighting for a better future, both as a private detective and a member of Tevinter's rebellious Shadow Dragons.  - Jin Maley (Star Trek: Picard, Silicon Valley) as Taash, a dragon hunter allied with the Lords of Fortune who lives for adventure and doesn't mind taking risks.  - Nick Boraine (Call of Duty: Modern Warfare, Black Sails) as Emmrich, a necromancer of Nevarra's Mourn Watch who comes complete with a skeletal assistant, Manfred, voiced by Matthew Mercer (Critical Role, Fallout 4). - Zach Mendez (Horizon Forbidden West, Married Alive) as Lucanis, a poised & pragmatic assassin who descends from the bloodline of the House of Crows, a criminal organization renowned throughout Thedas.  Last but not least, we’re excited to let you know Gareth David-Lloyd is returning as Solas, and Brian Bloom as Varric. We have so many more people to introduce you to, including some returning characters, but we’re not quite ready to reveal all those yet, because of you know - story spoilers.  While that’s all we have for now, we’re eager to meet those of you attending SDCC and to continue our summer filled with reveals from Dragon Age: The Veilguard. Talk soon. — The Dragon Age Team"

[source] [Twitter post]

[jesncin]

Caped Crusader, "Safe Diversity", and Catwoman

We're at a point where it's expected that a new incarnation of any story previously with a white-dominated cast would be reimagined with a "more diverse" cast. This can mean racebending them, genderbending them or making them queer, but for the purposes of this analysis we'll be focusing on racebends. Most of the time, executives will take the "safer" routes with diversifying their cast- pick a couple of unproblematic supporting characters to be incidentally "diverse this time". Other times, there might be "braver" takes where more prominent characters (perhaps even the main character) are racebent. This doesn't necessarily mean racebending prominent characters is an inherently better thing to do.

I've been more than critical of MAWS' portrayal of BIPOC characters but especially their Asian Lois before. Sometimes BIPOC representation is just a decorative palette-swap change for these shows. Caped Crusader however, is different. It's more complicated- but it's rooted in very similar problems. Unlike MAWS (though I can only speak for S1), CC is far more willing to take on political topics: classism, sexism, police corruption and brutality, even beauty standards in the entertainment industry! Yet, in choosing to portray these topics in their stylistically anachronistic 30s-40s set piece- it makes it so the show's reluctance to discuss race intersecting with any of these topics far more apparent.

(spoilers for all of Caped Crusader)

Take for instance, episode 2: "...And Be A Villain". The story is about Basil Karlo, a less than handsome actor who wishes his appearance wasn't holding him back from both love and playing roles saved for better looking people. He makes a deal with Jack Ellman, an experimental makeup artist who turns him into Clayface. This story is set in motion when Miss Yvonne Francis, a beautiful actress, goes missing. Miss Francis is a woman of color (brown skinned, unspecified) played by Lacey Chabert: a white actress. CC goes for a generally colorblind casting what with Stephie (a white girl) being voiced by Amari McCoy (a Black actress) but it always feels icky when a white actor voices a character of color. Prominent characters of color in CC are more accurately casted. However I do think animation should be wary of using their medium to get away with their show appearing more diverse than the actual talent behind it.

The episode's theme is pretty clear on how unfair the entertainment industry is in regards to who it prioritizes in leading roles. Basil is constantly emphasized as a tragically talented actor whose appearance is holding him back. "With your talent you should be a leading man, Basil." Yvonne says to Basil in a flashback. Meanwhile as Alfred is watching through movie clips featuring Yvonne and Basil together, he comments "while lovely to look at, Miss Francis is no Gloria Swanson." So Yvonne has the looks, but not the talent and still gets prestigious roles because that's showbiz. The only time this is weirdly inconsistent is when Yvonne calls out Basil/Clayface in the finale, saying:

"I don't believe your performance. You're chewing on scenery. Relying on makeup effects to enhance weak characterization. It's insincere, Basil. It's not real."

I honestly feel like this scene was just meant to quickly "subvert" Yvonne being a damsel in distress by having her call out Basil's acting. It's a moment that isn't reinforced by anything the episode set up. After all, according to Alfred, she's not as good an actor compared to Basil. That's supposed to be how they foil each other, so this moment feels unmotivated. Again, I get what they're going for, that Basil's performance ironically relies on his newfound appearance so much that even a bad actress like Yvonne can spot his meager acting. But it doesn't work when our protagonists were actually convinced by his imitation of others. She's still a damsel in distress character regardless of her having a bit of attitude when calling her captor out.

What I don't understand is: why make Yvonne a woman of color if this was the story you wanted to tell? It's not like they're paying homage to how her voice actress looks, after all. Why, in your story set in purposely anachronistic 30s-40s era noir, did the character who was meant to represent the epitome of "not talented but gets by the industry because of her conventional beauty and pretty privilege" a woman of color? We're missing the very obvious conversation here where Tinsel Town is a white industry with white biases to what it considers attractive. It doesn't matter how many attractive actors of color exist, they're still pigeon holed into stereotyped and often racist roles (especially back then), and have to work twice as hard to get the opportunities their white colleagues get. Why is Basil, a white man, the only one afforded a marginalized narrative when Yvonne is quite literally a woman of color right next to him? The episode is especially painful to sit through when Basil is afforded so much sympathy compared to Yvonne.

"He didn't have the right look. He didn't have the right face."

"The camera is kind to some, but cruel to others."

This is transparently a colorblind narrative. Yvonne is written and even casted as a white woman. The CC crew just decided she should be a WOC likely because "wouldn't it be neat if the beautiful actress in this story is POC" without thinking about how that would drastically change a narrative already critical of the showbiz industry based on appearances. It's not intersectional and flattens the narrative to being selective of the prejudices Tinsel Town has. This episode is a great example to what CC generally does with diversity. It's not afraid to be critical of society, but it gets oddly squeamish with discussing how race intersects with these topics- opting mostly for a palette-change type of representation.

It's not entirely fair to say CC doesn't ever touch on the topic of racism. It sort of does: if you read between the lines for why the mayor gives Jim Gordon his commissioner role, and more prominently with the Gentleman Ghost (a rich aristocrat ghost that steals from the poor, believing wealth is his right) being offended that his mansion is sold to Lucius Fox (saying "and you would sell it to rabble like this?")- racism is somewhat present in the world of CC. We see the women in this show experience misogyny, but it's ambiguous if any of their struggles are intersectional with that of race. But that's... just about it. Racism isn't discussed more than it is alluded to, whenever the writers decide it's relevant. Because of this, CC has a spectrum of hits and misses when it comes to integrating characters of color in their reimagined cast.

Here's how I would visualize that spectrum using canonized instances of Asian Lois Lane. I should emphasize that representation of people of color doesn't entail the narrative owing us "a racism arc" or what have you. This spectrum is more used to measure how much racial identity was integrated in the characterization of the character: whether that be cultural identity or history. Being a person of color isn't just "person who goes through racism".

This is how I'd personally place the prominent characters of color in CC on my "spectrum of racebends" chart. Generally most of the characters of color (whether reimagined that way or were originally POC already) are fairly harmless in how they were integrated into CC's world, but none of the characters feel bespoke as a reimagining of the character and are interchangeable with their white counterparts. To quote cartoonist Juni Ba (in a discussion on CC):

"...stripping characters of color in these time period stories of any cultural, [a]esthetic or social signifiers that’d make them true to the groups being represented. Instead they dress, act and speak very western."

In my opinion, the only character that is an exception to this is Linton Midnite (or as he's popularly known as: "Papa Midnite"). Midnite is a character so interlinked with Haitian culture and mysticism that even CC couldn't erase that aspect of his identity (important note: historically, the portrayal of Midnite since his creation is riddled in racism, but that's not my place to discuss here). Midnite at most speaks with an accent, dresses more nonconformingly compared to the western standard dress of all the other characters, and practices occultish stuff (though I don't think there was anything culturally specific in that episode, please correct me otherwise if someone has more insight!). That's a lot more cultural representation than just about any other character of color in CC. Midnite can't be changed to a white character, his African identity is too interlinked with who he is.

There are a few characters I consider in poor taste to be POC- that being Arnold Flass, Yvonne Francis (who we've covered already), and Harley Quinn (who will be getting her own post, as her case is complicated). So let's talk about cops, then.

I tend to be indifferent about media choosing to diversify cop characters because it feels like choosing the most "respectable to society" role for a marginalized character to play. Cops uphold bigoted systems of power at the end of the day, so that's a very comfortable place to represent your marginalized characters. It's why we keep getting gay or lesbian cops, which Batman media absolutely perpetuates as well with Renee Montoya. It's hard to cheer for two women of color being allowed to date and kiss in public when one of them is a cop, y'know? But this doesn't mean re-imagining cop characters doesn't have narrative merit.

In regards to Jim Gordon being reimagined as a Black cop, I'm gonna refer to La'Ron Readus' video on "Fixing the Batman's Copaganda problem" where he goes into detail about the missed potential of Black!Jim Gordon from Reeves' The Batman (2022). Generally, I felt that opportunity was missed in CC as well. While I love that Barbara Gordon is in CC, nothing about her being a WOC is integrated into this version of her. It felt like if either character was white, the story wouldn't be that different. The bigger issue here is the choice to racebend Arnold Flass- a previously white, blonde, cunningly smart, and brutally corrupt cop.

CC follows some of this in their version of Arnold Flass- he's paired with Harvey Bullock (also a corrupt cop). While Bullock is the brawns of the duo, Flass is the smarts. He's cunning and even implied to be willing to frame Bullock if the worse comes to it. It isn't an inherently bad idea to racebend a corrupt white cop into a Black cop. If the writers want to tell a story about how the police force assimilates people of color into the system and forces them to be just as if not more brutal than their white counterparts, then by all means tell that story.

But that's not what CC gave us. By rarely acknowledging race, we don't get to have a conversation or themes surrounding that delicate intersection of identities. We just have "diverse Flass". Look at these panels from Year One for example, can you imagine how Flass' casual disrespect for Gordon by constantly calling him "Jimmy" could be re-contextualized with a race change? Unlike other characters who just feel like missed opportunities for not integrating race into their characterization, Flass is an elephant in the room. To not acknowledge his race in themes of police corruption and brutality is to white wash the narrative with diverse paint.

I personally think the stronger narrative decision would have been to racebend Bullock as Black instead of Flass. Flass could still be the conniving cop, but he encourages Black!Bullock to be the more "violent brute" who does the dirty work for him. It would put a newfound racial layer to how Flass considers Bullock disposable. Then we could have some kind of commentary on how the police force encourages a system of abuse that makes even fellow POC turn on each other. It'd also make it so a certain scene would be better in optics.

I have many criticisms for the scene where Batman holds a gun to Flass in the finale of CC. It's a narratively unmotivated (see my criticisms for CC's Two Face here for elaboration) and weak moment that relies on metatextual shock value to cover up how underdeveloped this take on Batman is. But it's also just very uncomfortable optics-wise. It's a common and valid criticism that Batman as a character can very easily fall into copaganda, with his status, goals, and collaboration with the police force. In many ways, Batman is often written to be committing his own kind of vigilante police brutality.

Caped Crusader wants to be a deconstruction of a Batman tied to power and hellbent on his mission to eliminate crime. But because CC occasionally omits race from its narrative, the scene where Batman holds a gun to a Black cop-a man stripped of his ability to fight back-just falls flat for me. There's no acknowledgement in this scene that Batman basically gets to be an anonymous cop, "warning shots" and all. Batman shoots at an unarmed Black man several times. It's meant to be shocking to us how Bruce is willing to stoop to such a level and indulge in gratuitous gun violence, but it honestly hits too close to real incidents where this is racially the case for me to enjoy the narrative point of this scene.

You know a character who would be perfect for calling out Batman's many privileges? Selina Kyle. Let's talk about Caped Crusader's biggest downgrade.

I've heard just about all the arguments in favor for CC's reimagining of Catwoman and none have convinced me that this was in any way a good take on the character. I see people saying that this Catwoman is a return to her golden age roots, and there's a lot of misconception surrounding that assumption. So bear with me as looking at Catwoman's history is necessary to discuss race and how a character evolves.

Catwoman debuted in the 1940s as a jewel thief who disguised herself as an old lady. She was just called "The Cat" and would not don her more feline appearance until later. True to the mystery woman femme fatale trope she was inspired by, her backstory was left unknown for a long time. 10 years later, in Batman #62 it is revealed that after a plane accident bonked her head, the now named Selina Kyle got amnesia and went on a crime spree. Giving her leeway to reform and be an ally to Batman. This would historically inform how Selina Kyle toed the line between good and evil as an anti-hero.

Her origin would be revisited in 1983, in the Brave and the Bold #197. Although not canon to the mainline universe, it is still a crucial development for her character's history. In this story, Selina reveals that she lied about having amnesia to get out of facing punishment. Her true story was that she entered a life of crime to escape an abusive relationship with a rich man. The only loss her husband understood was material loss, loss of property, so stealing was how Selina fought back.

This crucial re-examination of her character transformed her from shenanigans inducing femme fatale, to a marginalized fighter. Shortly later in 1987 in Batman Year One, Catwoman is reimagined as a street-hardened sex worker in poverty. She is inspired by the Batman to become a vigilante for her own goals and gets annoyed that she's assumed to be his sidekick.

The moment Catwoman became marginalized by power, was the point where she became worthy of solo-character status. She was not only a compelling foil to Batman-capable of going toe to toe with him and make him question his motives even though she did not share his privilege-she could lead her own adventures reflecting a side of Gotham Bruce Wayne's perspective doesn't. She actively makes the setting of Gotham stronger because of how she's evolved as a character.

Catwoman's character would continue to evolve, with some iterations reimagining her as a latina woman and others where she's canonically bisexual.

While Catwoman has been portrayed by Black actresses before, I want to focus on the most recent and prominent iteration of a race-swapped Catwoman. When Matt Reeves' The Batman (2022) featured Zoe Kravitz as Selina Kyle, an explicitly biracial character within the text of the story, we see another step this character evolves. I think La'Ron Readus' video on "Why Race-Swapped Characters Are Not The Full Story" does a fantastic job of explaining why this is a narratively great race swap. To summarize (though I do encourage watching his video as he goes into depth about 2022 Batman's Jim Gordon as well among many other examples) and add analysis of my own: Selina being the byproduct of an Italian crime lord and a Black sex worker is a brilliant marriage of her original backstory (being connected to and abused by powerful men) and her modern backstory where she's poverty stricken (and tangentially related to a sex worker if we're talking about Batman Year One).

We understand why someone of her background would have an affinity for stray cats because of how she lost her mom at a young age, she is sympathetic to fellow people from the lower class, and explicitly calls out privileged white people- including Batman who attempted to over moralize Selina's partner as a sex worker.

"All anyone cares about in this place, are these white privileged assholes."

It's especially that last line that makes it so Selina's character isn't interchangeable with her white counterpart. She's a textually rich character to contrast Bruce in Batman 2022, and we can see how years of history and evolution has brought such an empathetic character to the screen. Interestingly, Readus feels that while 2022 Selina was an example of a race-swap that works, he believes it was great by coincidence, because of the miss that was Gordon's characterization in the same movie. I think with Reeves as a collaborator on Caped Crusader, that assumption was correct.

Selina in CC is back to being a rich socialite, but (unlike her Golden Age counterpart) she's not married into wealth- she's got generational wealth (with a dad serving jail time for tax evasion). Worse yet, she's taking what little remains of her money and spending it on superficially imitating the Batman to create her Catwoman persona. She even has her own reluctant Alfred, a Catmobile, the works. Selina steals things because. She likes shiny things. And is something of a kleptomaniac. Catwoman is instantly discovered to be Selina because of course she's not as good as Batman is with keeping a secret identity (another key difference from her Golden Age counterpart, whose backstory was shrouded in mystery for a decade).

It is laughable to me that CC touts that their version of Harley Quinn has an origin of her own outside of the Joker, only to turn around and make a Catwoman that is completely tied to copying a man as her origin (did they decide Harley's goofyness as a character needed to be replicated in Selina for some reason? In their supposed dark and edgy show?). What a strange choice to fixate on the part in Year One where Selina didn't like being mistaken for Batman's assistant despite being inspired by him and turn it into a quirky bit. It feels like such a regressive take that frames Selina as a sillier, whimsical version of Bruce that just spends money on a whim because women just aren't smart enough to know how to keep track of their money. They're too busy looking for shiny things to steal. The fact that both 2022 Batman and CC have a scene where Selina is looking through her many bills she's yet to pay is wild to me. How am I supposed to care for a Selina that has the expendable wealth to create a Catwoman costume, car, and gadgets, but delay paying her maid? One of these versions of Selina is far more sympathetic than the other.

Again, I get what CC is going for. Batman is characterized to be hellbent on catching criminals, Catwoman is supposed to serve as some kind of reflection of his obsession. They're both self destructive in their goals, but one is vengeance and the other is chasing thrills. But is that really as interesting a foil as having Catwoman be marginalized, just as skilled, and making Batman second guess himself? Is it a take that strengthens Gotham as a setting by shedding light on its lower class characters? Is it a take that makes her worth revisiting as a perpetual rogue and not a one off episode where's she's basically a shenanigans-inducing nuisance to Batman? Evolved takes on Catwoman have talked about her desire to seek thrills and paired it with how she dismantles power. So it's not like CC's take is particularly unique, it just lacks all the depth that usually surrounds Selina's thrill seeking.

In a show that is frankly desperate to make it so Bruce doesn't have a personal relationship to his rogues gallery because he's too busy being "A cold, remorseless avenger of evil, seemingly more machine than man. Forged in the fire of tragedy, every fiber of his being is dedicated to the eradication of crime." (according to promo) that's how we end up with Barbara as the foil and humanity to both Harvey Dent and Harley Quinn. How the show focuses on the police force more than Bruce. It feels especially pointed that Catwoman is characterized this way. When she doesn't contrast Bruce, she becomes less personal to him as a character that is poverty stricken but still matches up to him in skill. She can't challenge him or his worldview, he can't find her fascinating as an equal, all of their chemistry and intrigue is erased.

All this to say that of the characters revealed for CC, I was honestly surprised that Selina wasn't one of the many characters racebent. CC followed up on a Black Jim and Barbara Gordon, two characters that have been race swapped before in previous media. Most prominently! Harley is Asian in this iteration, something never done before. So why is it that Selina doesn't follow up on the many times she's been portrayed by Black actresses?

It's because it's an actual good racebend if written well. It wouldn't be a "safe" racebend because writing Selina this way means you'd have to acknowledge racism, and it would be much more noticeable if you didn't. There is no canonized version of Asian Lois Lane that parallels her relationship to Superman as an immigrant. But there is a version of Selina as a Black woman who directly calls out white people and is aware of systemic power. It's in something as prominent and mainstream as Matt Reeves' 2022 Batman. So instead it just reads as cowardice to me that CC couldn't follow up on this evolution of Selina.

Not only does it weaken Catwoman and Batman's relationship to regress Selina this way, but it actively weakens Gotham as a setting and the very themes of Caped Crusader. I personally think all the energy that went into Harley Quinn should have been shared with (or straight up gone to) Selina Kyle. Because unlike CC's take on Harley, the way Selina Kyle's marginalization intersects with race and queerness would have actually critiqued Gotham's class corruption effectively. As a Black queer woman, Selina would be among the most vulnerable people in Gotham. We don't have prominent characters in CC that truly reflect the lower class, there are these unnamed characters Harvey Dent sits next to on a train. There are some orphans with Batfam names. A proper Catwoman reimagining that takes advantage of her evolution would have filled this gap in their narrative.

But that's not how "safe diversity" works. CC would rather racebend and canonize the queerness of a character like their take on Harley Quinn. A WOC who gets to kiss a cop and call out powerful men, but not in a way that makes white people uncomfortable.

If I could edit the Sandman quote that "The great stories will always return to their original forms" for Superheroes, I'd say "The great stories will always return to their most resonant forms" because without iterations we don't get characters like the Kents, Alfred or Catwoman as we know her today. Classics are good to look to, but we like these characters because they evolve. In my opinion, none of CC's takes on these characters of color feel resonant. They're not definitive to the level of Mister Freeze's tragic love story in BTAS, among many standout narrative choices in BTAS that continue across media iterations.

In my opinion, CC isn't as thoroughly clumsy as MAWS is in regards to POC representation and race-swaps (all characters of color in MAWS get put in the left side of that chart I made. In the Sunken Place. Where they all Missed The Movement). However, I can't help but see Caped Crusader's take on the world of Gotham as nothing more than an anecdote in the evolution of Batman's story for the modern era. "It's BTAS but superficially more diverse and with less compelling narrative choices."

[mothmans-side-ho]

Armand called Lestat a clown in the most round about way

s2e3 hot wired the two passions in my brain into this info dump, however seeing as a central theme of this episode (and the season) is power, status, and their subversions, it seems relevant. for context, I have 2 degrees in theatre, specifically theatre history and how trends effect form. (I am in no way an expert though, and this is very simplified). long story short, I'm relishing in being a big ol nerd about this entire season

FINALLY, we got to see Lestat (a version of) strutting his stuff on stage in a scene with peak commedia dell'arte shenanigans. Commedia dell'arte is/was an originally Italian form of theatre which was defined by lazzi (comedic bits), improv, and stock characters. these stock characters have been around from Roman times and are still super familiar to us today - the young lovers, the pervy old rich man, the soldier with bravado, etc. It's been seen as a somewhat formulaic form of theatre which relied on quickly identifiable characters and situations so audiences can sit back and enjoy the butt jokes and servant beatings.

In the book - specifically The Vampire Lestat - our beloved Lestat RELISHES in playing a character called Lelio, one of the young lovers. It is in playing Lelio that he "found a tongue for verses and wit [he]'d never had in life" (TVL pg 31). It is in playing Lelio that Lestat first gets a taste of the person he can become, and it is in Lelio that we see the first glimpses of the Lestat which so fully seduces Louis. In short, Lestat casts himself as the suave and handsome romantic protagonist, here to sweep people off their feet. The young lovers are also notably some of the only roles portrayed without masks, to emphasize their youth and natural beauty.

SO IMAGINE MY SURPRISE WHEN LESTAT SHOWS UP IN S2E3 DRESSED LIKE THIS:

He has a half mask! He's wearing all sorts of colors! He's clearly acting as a go between between two other characters who seem to be of a higher status than him! As I said before, commedia dell'arte can be very formulaic (especially by the late 1700s when it is being codified away from being improv focused to being cemented into scripts). From all of these visual and characterization clues, Lestat is not playing Lelio the young lover, he's playing a Harlequin! And his costume seems to be heavily based off of this Harlequin (Arlecchino, Arlecino, etc.) which is literally the wikipedia image of a Harlequin.

(note, if you give a fuck, this image is depicting an Arlechino from 1671, roughly 125 years before Lestat on stage. in my mind, this accounts for the changes in silhouette, styling, why Lestat doesn't wear the mask for the entirety of the performance, etc. Also, just while we're talking about costuming, I believe the late 18th Century was still a time in which actors would have been expected to provide their own costumes, which would explain why Lestat's version is made with expensive fabrics and includes cunty little details like the bow in his hair. At the very least, I can see him making looking good a priority as the owner of the theater and as...well...Lestat.)

Okay, okay, okay. Why does this matter?

Harlequins are not characters of any social status. They're servants who are quick witted enough to get into antics but stupid enough to be commanded by animalistic instincts (lust, food, you name it). The Harlequin being beaten by their master was ENORMOUSLY funny, and is the origin of the term "slapstick comedy". They a memorable iteration of clown.

In this scene, which I'm willing to bet was inspired by (if not outright) Carlo Goldoni's A Servant of Two Masters, Lestat plays a servant who interacts with two characters. One appears to be a young woman in a breeches part - another common trope of commedia performance. The other appears to be the young male lover! We see Lestat prancing between the two, seemingly facilitating some romance plot, being paid for his compliance, and doing a good ol fashioned butt lazzi. (Could he be presenting his ass for beating? Maybe.)

So why is Lestat not the young valiant lover, but instead A LITERAL CLOWN? Three potential, not conflicting, reasons. By the time Lestat is performing (mid to late 1790s, based off Armand's earlier comment about Robespierre's 1794 execution), the Harlequin characters were the most sought after roles! At this time, we are seeing the emergence of "Celebrity Culture" where audiences sought out actors for their off-stage personalities as much as their on-stage ones. This is an extremely fitting position for Lestat to fall into. Yay a semblance of historical accuracy!

Secondly, Lestat's ENTIRE ROLE in season two is to come between this season's new pair of young(ish) lovers: Louis & Armand. Lestat's function is to repeatedly detract and distract from their relationship through Dreamstat's antics (appearing at the piano calling Louis a whore, having Louis re-kill him, etc.). Additionally, simply put, Lestat (and Sam Reid as Lestat) is a lot of fun to watch. He is absolutely a stand out (if not THE stand out) of the show! His constant ability to serve cunt is often what your eye is drawn to, he pulls focus to himself, and often undercuts the more subdued, philosophical, and morose nature of others. Both on-stage and on-screen, Lestat continuously upstages his screen partners. He does kinda function as a Harlequin. But in the end, the Harlequin's antics are also what ultimately drive the young lovers together. If not for Lestat's actions, Louis and Armand would have never met nor bonded over knowing this fucked up brat prince.

But we also have to remember! This portion of the episode is presented by Armand the mind fuckery master. It is absolutely in his best interests to paint Lestat as some sort of ridiculous, lesser being driven by animalistic nature. Especially if - by extension of the metaphor - this frames he and Louis as the virtuous and optimistic young lovers, striving to cling to each other in a world of chaos. I would be EXTREMELY interested to see if, when recollected by someone else, Lestat appears in a different role or characterized differently.

Again, given the celebrity culture of the time and Lestat being himself, it is entirely believable that he would appear in the Harlequin role (Truffaldino, if this is Goldoni's Servant). However, I think it's extremely telling that in Armand's iteration of the story Lestat is not the dignified, refined, and sympathetic young romantic. He is instead a literal fucking clown.

[averagecygnet-blog]

one thing I absolutely adore about tgwdlm is how completely and irrevocably a stage musical it is. it HAS to be a stage musical - the medium is so deeply baked into the story that it truly would not translate to another medium.

some reasons why:

the musical style is old-fashioned in a way that screams classic broadway. you can't get away from it, especially in songs like "lah dee dah dah day" and "show stoppin number". and it's not just the music, it's the dancing too - have you ever seen a kickline in a movie musical, once, ever? or jazz hands? gimme a break

along similar lines - all the broadway references! hamilton of course, but also wicked and mamma mia and jekyll & hyde

all the attention deliberately brought to the lighting and set! the performers in "la dee dah dah day" loudly saying "lights down!" when it's over; ted, paul, and emma striking the stage after "show stoppin number"; the lighting panels used as sirens, TVs, showcasing hudgins' alexa, and more; ted wheeling the big meteor prop off the stage after "let it out". they don't let you forget that we're in a theater.

all the hokey ass miming and special effects???? charlotte and hudgins having their guts ripped out is flashy and fun onstage because of the intestine props. emma and ted having blood capsules in their mouths. paul, emma, and zoey violently shaking when pantomiming being in a helicopter. ted running in place, moving forward or back to suggest movement across the road. it's all so fun and consistently reminds you that this is a stage

double-casting as intentional obstruction of the truth. we're used to seeing one actor play several roles in a musical, so when a familiar face shows up in a new costume we assume it's a new character. but it was zoey flying the helicopter to clivesdale, and I think it was zoey in the hospital at the end as well. you couldn't pull that shit in a movie because movies don't double-cast.

the role of the audience, the laughter and gasps and reactions and applause, especially the applause at the end when emma is begging the audience members to let her use their phone and demanding to know why they're clapping; sure movies have audiences too but the presence of the audience as part of the story makes a point about societal ideals as something we all have a part in that a movie just couldn't make in the same way

on a related note - emma's sudden awareness of the stage and the audience as the horror trope where the person realizes they're trapped and will imminently die. she knows she can't escape because it's just a fuckin loop. she knows no one will save her because they're all clapping. you couldn't do that in a movie because in a movie there is a fourth wall, whereas on a stage there's nowhere for the characters to run away. on a stage the characters can look you, the audience, directly in the eye, with no camera or screen between you

I will literally never shut up about that curtain call

god damn what I wouldn't give to watch this show performed live

[heliza24]

Complicated Thoughts on Daniel's Turning (or, in defense of disabled vampires)

So I have complicated feelings about Daniel’s turning. The way I feel about it changes every day. Sometimes I don’t mind it, but some days, on days like today when I’ve dealt with a bunch of other ableist bullshit out in the real world, I kind of hate it. Or at least I think I might, depending on how season 3 pans out.

One of the first reasons I fell in love with the show was its inclusion of a disabled character as the main audience surrogate. I’ve already written a lot about what good disabled representation Daniel is, and how including a sick character serves as a foil for the bodily transformation vampires experience and adds to the story. So many of the show’s themes of immortality and grief are thrown into high relief by the inclusion of Daniel as a disabled/chronically ill man.

Interview with the Vampire is a show about trauma and grief, and I found it especially exciting that the show’s refusal to pull any punches extended to addressing the pandemic. The pandemic is a huge source of loss, trauma and grief, especially for disabled people, and Hollywood’s response to that has been to memory hole it as quickly as possible. Most shows, artists and viewers find it too painful to delve back into these sore spots. But Interview with Vampire can’t do that, because the main plot of the show is about a character being “protected” from trauma by having his memories removed. This is a show that wants us to confront our grief in our pain and learn how to move through it.

So you can see how Daniel showing up as a vampire in the very last minutes of season two was a little jarring and initially upsetting to me. Gone are all of those complex explorations of illness and trauma and instead Daniel is almost a completely different character. The fact that this was dropped as basically a tease for the next season, like a Marvel post credits sequence, was what really bothered me. This incredibly important transformation was reduced to a punch line at worst and a “coming next on” at best.

There are a lot of unfortunate tropes that get used almost every time an able bodied writer decides to include a disabled character (and let’s be real, they are always able bodied, because disabled writers do not get hired to show run). One of the most common is the “magical cure“. This happens in almost every example of speculative fiction that includes a disabled character that I can think of. It means that disabled characters are effectively written out of almost every fantasy and science fiction story. There are a lot of problems with this trope. It tells disabled people that they don’t deserve stories that include magic or adventure. It takes away opportunities from disabled actors and means that able bodied actors are cast, and then instructed to “crip up” for the scenes that take place before their cure arrives. (I love Eric’s performance, but it’s not lost on me that he’s an able bodied actor playing a disabled character). There’s the fact that cures are very rarely complete, and most disabled people live in a halfway world of having some access and some treatment that is effective, while they still deal with the physical pain or exclusion that being disabled brings. And there’s no reason that this in betweenness would not extend to treatment available in speculative worlds. Perhaps the worst part of this trope is that it bends to able bodied peoples’ discomfort around this ambiguity. Chronic pain and inaccessibility and reliance on care is sad and scary to a lot of people, and they’d rather not see it. And because of that, they lose out on an opportunity to explore all sorts of themes that only disabled characters can really unlock. Themes about the body, about metamorphosis, about community, and about a hundred other things that us crips understand in a way that someone outside our bodies cannot see in the same way.

So the way that Daniel was presented at the very end of season two was as a complete and total magical cure. He doesn’t have to worry about pandemic anymore, his movement seems a lot easier, and he’s immortal now.

If the show moves forward in this way, without digging deeper into Daniel‘s transformation and perhaps re-examining some vampire lore, it’s going to end up sacrificing some of the themes that made season one and two so great. And it’s going to make me very upset.

However, I think there’s a lot of opportunity for the show to explore Daniel’s transformation with sensitivity and depth. I haven’t talked about Armand yet in this meta, but I love him and I love shipping him with Daniel. My love for Devil’s minion is perhaps the one reason I wasn’t purely angry about Daniel being turned in the way that he was; I do appreciated the way it sets up the show to explore their complicated dynamic. In particular, I’m fascinated by the fact that Armand not only violated his own personal vow never to turn someone, but also violated the great laws when doing so. Daniel breaks the laws in just about every way – he’s written about the history of the vampires, he knows the vampires true identity and has been allowed to live, etc. But the biggest violation is that Daniel is “crippled“ when he’s turned. Now I’ve already written about the way the vampire coven and the great laws espouse eugenics, and I think the show makes it pretty clear that these laws are harmful. The greatest tragedy of the show is Claudia‘s murder. She was killed because according to the coven, she was turned too young. This early turning really had no tangible negative impact on her life as a vampire except in the way that other vampires perceived her. The consequences were all imposed by the coven, who saw her body as wrong and unacceptable. In show canon Armand was also turned when he was sick. Specifically, he had some kind of wasting disease, then made him lose muscle and feel weaker as he came closer to dying. I’ve always maintained the part of the reason that Armand comes down so hard on Claudia is because he projects his own insecurities and weaknesses on her. If he doesn’t eliminate her, someone might recognize how similar they are and question Armand‘s power and authority.

I wonder how much older Daniel’s Parkinson’s reminds Armand of his wasting disease. I wonder if the fact that their vampire eyes are the same color makes Armand think about how similar they are, and about how they are both violators of the Great Laws. I wonder if they ever talk about the ableism inherent in vampire society. I wonder if Armand worries that his transformation of Daniel will be incomplete or botched, because he’s never made one before and because why would there be a prohibition against turning disabled people if there weren’t potential negative consequences? I wonder if sometimes Daniel feels conflicted about leaving behind a body that caused him pain but also shaped him into the person he is, the person that Armand fell in love with (fell in love with again?). I wonder if the show will explore any of these questions with the depth the deserve, or if it will lean fully into a quick and tidy magical cure for Daniel. I really, really hope they do the conversations around Daniel’s turning justice. Because I think in the right hands, a script that explores these issues could be transcendent. These are all themes that the show has already been exploring, and it would be a downright shame to fumble the opportunity to deepen the storytelling around bodily difference, eugenics, grief and change at the final hurdle.

If I were writing on the show, I would lobby hard to have Daniel still retain some symptoms of Parkinson’s even after he’s turned. I know that Daniel will be an unusually powerful fledgling, because he’s Armand‘s only and Armand is very powerful and old. But disability does not preclude power. Daniel should have extraordinary vampire instincts, and power – we’ve already seen him master long distance telepathy quite early, and he could have access to other gifts as a young vampire too. But he could be doing all those things while still sometimes having tremors or fatigue or experiencing the ghosts of old pain. What an interesting way to add complexity to a loud and brash new fledgling.

In general, I want to make the case for disabled vampires. Anne Rice was immensely talented but also immensely ableist. But that doesn’t mean we have to be too. We can take her world and make it more colorful and diverse, just as the show has already begun to do. And let me tell you, there is no group of people more prepared to become vampires than disabled people. We’ve already had to adapt to bodies that act in unruly ways. We’ve already had to cope with being outcasts in society. And those of us with chronic pain (I include myself here) have a more similar relationship to pain and bodies to vampires than to most other humans. Vampires spend a lot of time being afraid of pain; since they are immortal, it’s the next biggest threat after death. Not a lot of people experience pain in this way, as totally separate from a mortal threat on their life. But I do, because even on days when I am in blinding, horrendous pain, it is in no danger of killing me. Its only consequence is the toll it takes on my mind and spirit. Honestly, I don’t think there’s anyone more prepared to weather the uncertainty and the pain and the brutality of living forever than disabled people. And I would absolutely love to see a disabled vampire in action on my screen.

As we move into season three, and into Lestat’s rockstar career, we’re going to necessarily leave behind the world that is still concerned about the pandemic. Rock venues and musicians in the real world have abandoned any kind of Covid precautions and no longer care if their concerts are super spreaders. Lestat doesn’t strike me as someone particularly concerned with the health of mortals, so I’m sure he’ll be the same. So I hope in order to balance that out, the show does make a deliberate attempt to continue exploring disability through Daniel. I guess they might also weave the pandemic into the Great Convergence and whatever they’ve got cooking for Those Who Must Be Kept since those things were mentioned together and season one, and I would also be excited to see that.

In the meantime, I’m going to be writing a fic that explores Daniel’s turning in a way that delves into all of the questions I asked earlier about the intersections of disability, eugenics, and vampirism. I would love if you read the first chapter and subscribed. I would also love if you included disability in your discussions about the show, and especially about baby vamp Daniel. I can only hope that the writers will follow our example!

[hotvintagepoll]

Propaganda

Eleanor Parker (Scaramouche, The Sound of Music)— Eulogized as a ravishing beauty whose looks were merely ornamental to her craft, feast your eyes on Eleanor Parker. Listen! I know you're thinking of the Baroness in Sound of Music and saying NO I won't protect the woman who tried to steal him from Maria but forget about that (like you personally wouldn't shoot your shot with Plummer)! The trailer for Scaramouche describes her character Lenore as "The glamourous queen of the nightlife of Paris. A flame-haired wildcat" and this is a woman who was able to pull off that role, and you get the vibe she was like that irl too. There's a story about her changing hair colors that never fails to make me laugh. Take note of her stunning eyes! Her amazing legs! And to see her in motion is to make note of the aura about her, she has an amazing presence. Fall in love with Eleanor Parker today, and make your vote count!

Audrey Hepburn (My Fair Lady, Sabrina, Roman Holiday)—Growing up, Audrey Hepburn desperately wanting to be a professional ballerina, but she was starved during WWII and couldn't pursue her dream due to the effects of malnourishment. After she was cast in Roman Holiday, she skyrocketed to fame, and appeared in classics like My Fair Lady and Breakfast at Tiffany's. She's gorgeous, and mixes humor and class in all of her performances. After the majority of her acting career came to close, she became a UNICEF ambassador.

This is round 3 of the tournament. (yes I know it says round 2 in the poll. sometimes I post these when I’m sleepy.) All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Eleanor Parker:

“When I’m spotted somewhere, it means that my characterizations haven’t covered up Eleanor Parker the person. I prefer it the other way around.” So shy she was actively nervous about winning awards in person, her personal life remains mostly behind the scenes. But on screen? she was a force majeure. It's a shame the role most people remember her in is the Baroness in The Sound of Music, but then again, it did make Christopher Plummer reminisce upon her passing “I was sure she was enchanted and would live forever.”

Listen we all know Christopher Plummer and Julie Andrews had insane chemistry but the Baroness deserves some love too! She has such a glamorous presence but not in a hard way

She will be known as the fabulous baroness in TSOM, but she was so much more than that. Just as comfortable in westerns or melodrama, the scheming other woman, and the beauty that wins the heart of every man in town.

Audrey Hepburn propaganda:

"She may be a wispy, thin little thing, but when you see that girl, you know you're really in the presence of something. In that league there's only ever been Garbo, and the other Hepburn, and maybe Bergman. It's a rare quality, but boy, do you know when you've found it." - Billy Wilder

Raised money for the resistance in nazi occupied Hungary. Became a humanitarian after retiring. Two very sexy things to do!

where to begin......... i wont her so bad. i literally dont know what to say.

My dude. The big doe eyes, the cheekbones, the voice. The flawless way she carried herself. She was never in a movie where she wasn't drop dead gorgeous. Oh, also the fact she raised funds against the Nazis doing BALLET and she won the Presidential Medal of Freedom for her humanitarian work.

"It’s as if she dropped out of the sky into the ’50s, half wood-nymph, half princess, and then disappeared in her golden coach, wearing her glass slippers and leaving no footprints." - Molly Haskell

"All I want for Christmas is to make another movie with Audrey Hepburn." - Cary Grant

64.media.tumblr.com

I know people nowadays are probably sick of seeing her with all the beauty and fashion merch around that depicts her and/or Marilyn Monroe but she is considered a classic Hollywood beauty for a reason. Ironically in her day she was more of the alternative beauty when compared to many of her contemporaries. She always came off with such elegance and grace, and she was so charming. Apparently she was a delight to work with considering how many of her co-stars had wonderful things to say about her. Outside of her beauty and acting ability she was immensely kind. She helped raise funds for the Dutch resistance during WWII by putting on underground dance performances as well as volunteering at hospitals and other small things to help the resistance. During her Hollywood career and later years she worked with UNICEF a lot. Just an all around beautiful person both inside and out.

No one could wear clothes in this era like she could. She was every major designer's favorite star and as such her films are time capsules of high fashion at the time. But beyond that, she had such an elegance in her screen presence that belied a broad range of ability. From a naive princess, to a confused widow, to a loving and mischievous daughter, she could play it all.

Look at that woman's neck. Don't you want to bite it?

[dreadfuldevotee]

Like Loumand-hate vexing aside, there actually is something truly insideous about reducing the complete absence of Jacob & Assad interviews and even questions pertaining to eachother this promo cycle to "they don't like Loumand". It not about Loustat vs. Loumand, or which actors are insane about eachother, It's the fact that this season hinges on the rise and fall of the relationship of queer black/brown men and AMC and interviewers alike sidelined that dynamic the entire time. You would not know from press that Assad is co-leading and the only time Jacob and Assad even talk about eachother is in reference to the ep 5 argument being their first scene together. Like, it would be willfully ignorant to ignore how Lestat is as present in this season because producers had no faith in the strength of the rest of the cast, and how Jacob and Assad are only ever paired up with their white co-workers who simply are not as essential to the season as they are to eachother.

In a show about toxic relationships and the way trauma lingers and effects one's ability to interact with another- There is so much to talk about between Louis and Armand. It is not only a diservice to a large chunk of the performances being given, but also to the story itself. I can sit here and wax about how these 77 years together are still worthy of discussion and careful consideration but the truth is- I wouldn't be writing this post if one or both of them were white. If Armand were still that redheaded russian boy we would have a wealth of promo and playing up the romance at the heart of their relationship all the way to the divorce hearings. But because our leading men are Black and South Asian, instead POC are asking you once again to please give a fuck about us even when a white person isn't around for you to latch on to.

[thegirlwhorideslikeasamurai]

"... and then he casts aside the coach he seduced and moves on to the judges..."

In the context of the latest chapter of my YOI novelisation, I subjected the scene in which Yuuri flaunts a big portion of extra sass by blowing that kiss at the start of his short programme a closer examination.

There are two ways to interpret that move. Each one has different implications for the plot as well as for Yuuri's characterisation and motivation. And one is more plausible than the other.

Let's take a closer look at each interpretation!

1. Yuuri blows Viktor the kiss

Such a move would neatly join the ranks of past performances of Eros. What strikes me here as unusual, however, is that how anticlimactic the blow-kiss feels compared to the sensual lip-licking Yuuri did at the Cup of China because so far, he became flirtier with every performance of Eros. One would naturally expect him to double down on that as an escalation to an even lewder gesture.

In a continuous escalation of the Eros intro, the blow-kiss would happen after the flirty nod and before the lip-licking. But that doesn't happen. A blow-kiss for Viktor at this point in the story would thus imply that Yuuri no longer needs to seduce Viktor because he accomplished that at the Cup of China and focuses on keeping the love alight. However, the flippancy of the move contradicts the current stage of Yuuri and Viktor's relationship as them being madly in love and only days away from Yuuri blurting out a proposal at the airport reunion. It also contradicts Yuuri's intention to form a bond with Viktor because it stands in stark contrast to the committment Yuuri has been showing regarding his relationship for the last couple of episodes.

Just by looking at Yuuri's characterisation, this scenario seems not that likely to me.

2. Yuuri performs to the judges

Yuuri's short programme at the Rostelecom Cup has one main theme:

Before the crowd can intimidate me in enemy territory, I must intimidate them.

Skating in Viktor's homeland and in front of the people whose hero he has stolen, puts immense pressure on Yuuri that forces him to skate better than ever. Flirting with Viktor is no longer enough, Yuuri must seduce convince the audience that Viktor didn't waste his time on him and that includes seducing convincing the judges. He is freaking out internally over the possibility that this might be the last competition with Viktor as his coach. Unlike at the Cup of China where his inner monologue during his skate revolved around his prowess of seducing Viktor, his thoughts are centered around the audience. Every skater knows that an excited crowd generates power that motivates them to perform even better, and the effect of that is not lost on the judges, either. By flirting with the judges, Yuuri can increase his chances for a high placing and gets rewarded with a new personal best. Figure skating is a crazy sport and athletes can be quite eccentric, but a direct flirt probably isn't on the list of things the judges see that often—and if they did, they rather saw it from the likes of Chris. (Performing to the judges has become popular in the 2023/2024 season, but only a small part of the skaters bold enough for that move, actually used it to flirt with the judges. Right now I can only think of Loena Hendrickx in her free programme.)

It really takes guts to flirt with the judges like. Yuuri is known to show guts in the most desperate situations and when the stakes are highest, and the Rostelecom Cup puts him to the test. He has grown so much that he no longer needs to rely on performing to Viktor to deliver a perfect skate. He now has the confidence to achieve with his skating any goal he sets his mind on and by doing so in episode 8, shows the world that coaching him wasn't a waste of Viktor's energy and time.

However, at the same time, Yuuri is sending a certain message to his coach and boyfriend. Paying no attention to Viktor in a moment in which Viktor anticipates to be the centre of Yuuri's attention is a small but sweet revenge for Viktor ignoring Yuuri earlier when he was supposed to send him off. This little gesture of saying "I can flirt with the audience, too" has the power to stoke Viktor's desire and make him even more devoted to Yuuri than he already is. It makes me wish that Makkachin was less greedy.

In a way, Yuuri's flirting with the judges is also a reference to the story he used in the beginning to get an idea of Eros: "...and then the woman casts aside the playboy she seduced and moves onto the next man." Not that Yuuri would ever cast Viktor aside for another man, he just knows how to pay him back in kind and get the message across. Beware, Viktor! This extra-large serving of katsudon his spicier than you can take.

Like Yuuri, Viktor has come to Moscow with a goal "I want everyone to focus on Yuuri" that is supplementary to Yuuri's goal to convince the audience of himself. Except for that one time when Viktor greets his fans like an overexcited puppy, all his words and actions strictly adhere to his motto, starting from the interview in the beginning, to lacing Yuuri's boots and kissing his blade. But he didn't reckon with Yuuri's eros that is quick to remind Viktor and the world that Yuuri made this man his. (How fortunate that Viktor forgets his coaching duties when Yuuri needs him most!)

These two kinky dorks absolutely deserve each other.

That Yuuri blows the judges a kiss is more in line with his characterisation and the themes in this episode than Viktor being the recipient of that kiss. The cut towards the judges right afterwards supports this theory from a technical viewpoint. The Rostelecom Cup SP is the first time that we get a glimpse of the judging panel during Yuuri's performance. We've not been shown the judges' shocked expressions right after Yuuri blew the kiss because that move was so scandalous. Yuuri has been more scandalous in the past and the creators didn't bother to show us the judges then and preferred to show us a blushy Viktor and a stuttering commentator instead. The cut towards the judges seems to be a deliberate choice to drive home whom Yuuri was flirting with.

It's amazing how much meaning the YOI creators poured into even these couple of seemingly insignificant but hilarious seconds. And that deepens the love and appreciation I feel for this beautiful show.

A personal note below...

If you like this meta, please consider supporting me by reblogging it or giving this blog a follow. You might also be interested in checking out my canon works on AO3.

[the-monkey-ruler]

Which translation/adaptation of JTTW is best for beginners? Besides maybe Dragon Ball (doubt it counts)

Heh yeah I mean it’s a great anime but I don’t think you would have a good Xiyouji experience per se. Usually, I see Dragon Ball used as a gateway for people to THEN read/watch Xiyouji content but like it doesn’t really have much Xiyouji plot wise even if the characters are homages.

I would say that if you want an ACCURATE Xiyouji experience then you can choose between three shows. That being the classic 1986 which is many people's first Xiyouji experience as the cast is so iconic you see these designs in dozens of movies and their influence in future performances. The second is more family-friendly but still one of the most charming and fairly accurate portrayals is the 1999 Xiyouji animation, I would say far more younger people's first piece of media and without a doubt the best Xiyouji animation series thus far personally. That last I would suggest is 2011 Xiyouji series which is one of the more newer shows and I would say I would that if you want more modern effects and humor than this might be a preferance to the 1986 version. They both have their own charm but just depends on what you are looking for!

Now while these are the most accurate there are some Xiyouji media I would still recommend even if they take far more liberties.

This without a doubt being the 1996 tv series. This is portrayed as more of a drama but between the characters and the pure HEART AND LOVE that is in this show that you will be falling in love with the characters. It vaguely follows the Xiyouji monster of the weak formula but taking far more time to humanize each enemy and having our main cast overcome not only physical obstacles but also their own emotional obstacles as well. Fantastic show. Another is Chinese Odessey (please note this is a two part movie)! This does NOT follow the journey at all instead more of an introspective of the character Wukong. This is more of comedy but this is a cult classic as one of the first romance films with Wukong to show him as more of a complex hero which was a deviation from how he was portrayed in media for years as this point. This movie is silly but it is actually very heartfelt and makes you feel for these characters's plights. If you don't know Xiyouji I would say you will be confused, but you can fall in love with these characters anyway! Whil I can't suggest Dragon Ball I can suggest another Son Goku from My Son Goku! This is a Japanese production but the animation is so fluid and the characters are not only charming but there are some heart reaching scenes in this very cute art style! I would say give this a watch if you enjoy anime but also can appreciate angst even in a cute style.

If you are looking for more just great Xiyouji movies that you can pop in and a fantastic one is the 2015 Hero is Back! This was the Wukong come back animation-wise since 1999 and a lot of people first Wukong in the big screens! Does take liberties story wise as we don't see Sha Wujing or any of the journey really, but the HEART and soul of Sun Wukong is there. Another great one is just watching the first and classic 1961 Havoc in Heaven! This was the staple of Wukong iconics for decades and even now you see this Wukong in commercials! This is just a beautiful art style and without a doubt charming and feel good vibes. This one is surprising but actually Nezha Reborn where Sun Wukong actually makes a cameo appearance, but I hear so many people got into Xiyouji just cause how much they love him. So while it's not Xiyouji I would say give it a watch if you are a die hard Sun Wukong fan.

There is also Monkey King Reborn which while less known I still think is wonderfully popular and shows both great animation and also how all three characters of Wukong, Bajie, and Wujing interact in a movie. There is also Monkey King 2 which I know that usually I would say which the first movie but honestly the second movie is my personal fav. You don't miss much without watching the first as the second starts right at the begging of the journey and we are introduced to some of the best designs for these characters in my opinion. This last one is kinda of a hit-or-miss but Conquering the Demon! This one follows Sanzang as a demon hunter in a loosely based story of him finding his disciples, each more monstrous than the last in a dark-comedy! If you enjoy Stephen Chow films then you know what kind of humor you are going to get but it is new take on Xiyouji films in a unique but still entertaining manner! They really make you feel for Sanzang as a character and one of the best humanizations of him really as a man still learning about the world himself.

There some other that are great but I would suggest more on a second watch or if you know the story more! Saiyuki / The Great Alakazam was the first eng dub saiyuki piece of media that came to the USA and still had a lasting influence with the beloved character Rinrin! There is also Monkey King 2009 that only looks at the story BEFORE the journey, adding so many elements to Wukong's childhood and his relationship with the Six Eared Macaque. I would also suggest the Monkey King Netflix Movie as while it is fast-paced it really makes you understand how dangerous but also how complex Sun Wukong is. I think it was a charming movie so give it a watch!. Last is Immortal Demon Slayer! This movie was based on a web novel that was extremely popular in the early 2000s which was based off Chinese Odessey funny enough! This is a movie I would suggest if you know Xiyouji already but it such a tragedy I have to share if you love angst.

If anyone wants to share their what was their first Xiyouji or their favorite Xioyuji please let me know!

[dangermousie]

2023 End of Year Post - kdrama edition

Yes, we have a some of December left, and I want to check out Death's Game but whatever. I got time for this now and not sure if I will have later so here goes.

This is only going to cover kdramas that aired in 2023; if I watched it but it was made in a different year, it’s not on the list. This was an excellent kdrama year, the likes of which we hadn't had in a long time.

DRAMAS WATCHED

In order of liking from least to most as opposed to pure quality so pls don't come for me, fans of some popular dramas that are on my nope list. Also, I am including if I’ve seen enough to make up my mind; yes I realize that’s inaccurate, but that’s my list.

33. The Escape of the Seven - this is so aggressively stupid and mean that it feels like the makers are playing a practical joke seeing how much their audience will take. This has a season 2 coming, so the answer is a lot.

32. Behind Your Touch - the FL gets superpowers by touching people's and animals' butts. Yes, you read this right. Do I really need to add anything?

31. King the Land - yes, it was a hit. Yes, it stars popular actors. I HATED IT LIKE IT TOUCHED MY BUTT TO GET SUPERPOWERS!!! Plastic people in paint by the numbers story, with about as much genuineness or retability as a barbie aisle in walmart. I never expect much from Yoona so whatever, but to have LJH go from The Red Sleeve to this boggles the mind.

30. Mrs Durian - this is so dumb that I think I lost a few IQ points watching this, but its insanity becomes entertaining - I mean what kdrama can you name where a daughter in law declares her love and lust for her mother in law at a family dinner?

29. The Matchmakers - there is nothing offensive about this drama at all. But there is nothing in the least interesting either. If elevator music took drama shape, it would be this show.

28. Destined with You - sorry, Rowoon, I am still fond of you, but you are two for two in drama duds department this year. This is a drama where I loved ep 1, liked ep 2, was indifferent to 3 and...you get the point. Each ep was worse than the one before, and I bailed before I was dragged into a cosmic singularity.

27. Oasis - great first two episodes. Unfortunately it was not a two ep show. The performances are solid but the story is just not there - the effect is like a fancy chef making an amazing sauce to put on pig slop.

26. Boyhood - it's not you, it's me in action. I can see why people would like it but a 34-year old playing a high schooler in a Weak Hero Class 1 Slapstick Edition is no go for me.

25. Castaway Diva - it's so precious and kooky in the most annoying ways, with the most well-adjusted abused castaway in history. I like magic realism when done by Jorge Amado, but this ain't Amado.

24. Island - it had a good concept, good cast and fun visuals but the execution deserved one of ML's swords through the neck.

23. The Worst of Evil - if I wanted an American show, I'd watch one. Very solid performances though.

22. Song of the Bandits - period edition of what I said about The Worst of Evil.

21. Welcome to Samdalri - and goodbye to any hope of emotional involvement.

20. Joseon Attorney - I have yet to like a single sageuk centered around a profession and this was not an exception. I guess it could be worse but it also could have been so much better.

19. Twinkling Watermelon - everyone loved this drama. Everyone except for me. It's the kind of precious that sets my teeth on edge and I couldn't stand half the main characters we were supposed to root for. I guess I like my fruits to shine steadily.

18. Our Blooming Youth - probably the biggest disappointment on this list. This is not a bad drama by any means, but with that cast and that story (I loved the novel), I was hoping for a memorable sageuk not merely all right.

17. Vigilante - it has the emotional complexity and nuance of a punch to the throat but it gives us quasi-gay openly-murderous dudes going after psychos and Yoo Ji Tae holding feral Nam Joo Hyuk by his hoodie at his feet.

16. The Forbidden Marriage - expected nothing but it was a surprisingly enjoyable trifle of a costume drama that was also quite pretty.

15. Arthdal Chronicles: Sword of Aramun - a hot mess but such an entertaining epic one. And it gave us TWO Lee Jun Kis in period gear and who am I to cavil at the bounty of God?

14. The Story of Park's Marriage - it's a trifle, a souffle, so light it might blow away, but it keeps my attention and is so fun and sweet.

13. My Lovely Liar - a huge surprise, that manages to mix a murder mystery and a romcom, and shocked me by showing Hwang Minhyun can act.

12. Tale of the Nine Tailed 1938 - the original ToNT was my fave drama of its year and I did not think it needed a sequel. But this is not a sequel but more of a side-quel and is such a total delight with brotherly love, adventures, romance and hijinks. It's a joy.

11. Perfect Marriage Revenge - it's actually very hard to do a soap right but this slim 12 ep drama managed. So fun, so crazy, such a good ship!

10. My Lovely Boxer - not really about sports, but about two broken people finding salvation because of and in each other. Also, if you like age gap romances, this is delicious. Sort of loses steam by the end but c’est la vie.

9. The Secret Romantic Guesthouse - this was a sageuk that was not on my radar with a bunch of actors I was not familiar with but it took my heart away. A good plot that was perfectly paced, characters and ships I adored, a logical ending. This is one of the biggest positive surprises of the year for me.

8. Tell Me That You Love Me - a slice of life remake (sort of, it's more "inspired by") of my favorite jdrama of all time. It's not as good as the jdrama because nothing could be, but it's an aching lovely story with some incredible performances.

7. See You In My 19th Life - funny and romantic and haunting and hopeful and odd. This was one of my favorites of the year.

6. Alchemy of Souls: Light and Shadow - it's rare for me to like a (1) sequel (2) with FL actress change (3) that is a Hong Sisters drama. But this was such a gorgeous, surprisingly achy story of love and loss and love regained with some cool monster fighting in the middle. Between the two seasons, this is the first Hong Sisters' drama I enjoyed from beginning to end in well over a decade.

5. My Demon - so tropey (chaebols, supernaturals) but it proves that these tropes are popular for a reason. The chemistry is fire, the story is unpredictable and the whole thing is an addictive delight. A rare drama where I like each new ep more than the last one.

4. Goryeo Khitan War - an old school sageuk in every meaning of the term (no romance, no eye candy, lots of bearded men, battles and politics), this feels like watching an epic movie more than a drama. The vast cast all earns their place and the performances (mainly from character actors given a chance to shine) are incredible.

3. Call It Love - two very very damaged people finding love and healing with each other. This is a narrative very hard to do to my satisfaction but when it's done well, as here, there are few things that can hold a candle to it.

2. My Dearest - a masterpiece of cinematography, narrative, performances. This is an old-school epic romance in the best sense of the term. If it doesn't make you swoon or break your heart, there is something wrong with you. A story of two untraditional, strong-willed, flawed people who fall in love in the middle of the horrifying Qing invasion of Korea and have to deal with all that the world throws at them, this is a bona fide masterpiece.

1 - Moon in the Day - who knew my favorite kdrama of the year will star a store brand Domyoji from Extraordinary You and an actress I was never familiar with. But this part period/part modern fantasy tale of doomed cursed lovers is everything I knew I wanted and everything I didn't know I wanted but did. Two lovers where their love did not save them and in modern day it might not again, has got me obsessed the way I haven't been in years.

FAVORITE DRAMA

Moon in the Day - if there is such a thing as a drama made perfectly for me, this gorgeous, emotionally haunting, utterly romantic, twisty tale is it.

WORST DRAMA

The Escape of the Seven. This drama is proof that demons exist and not sexy ones like Song Kang but horrible nasty ones who delight in the torment this hot mess inflicted on its viewers.

FAVORITE MALE CHARACTER

Do Ha, Moon in the Day - a Silla general and a consummate killer who committed atrocities on the orders of his monster father and yearned to die for them, who found the meaning in life in loving his enemy but it did not make him better, a man so obsessed he literally was around for 1500 years of horrifying ghostly existence and still went "worth it" for a woman who killed him as long as he knew she loved him while she did it. He's intense and competent and beyond fucked up and has never had a normal day and I love him so so so very much from a safe distance.

FAVORITE FEMALE CHARACTER

Gil Chae, My Dearest - she starts out as vain and spoiled but the horrors that break so many others bring out all her fierce survivor potential and she becomes such a force of nature - capable of incredible love but also sacrifice and strength and compassion.

Runner Up: Shin Hye Sun's reincarnator in See You In My 19th Life - quirky, damaged, strong, so odd and so vulnerable at once.

NEEDS TO BE MURDERED

There are a lot of characters who fit that category (King Injo in My Dearest? My God) but the crown belongs to So Ri Bu from Moon in the Day. You think you've seen abusive parents but until you've seen a man abuse his son his whole life and then continue for 1500 years after his death, you ain't seen nothing!

FAVORITE SHIP

The doomed by the narrative OTP of Moon in The Day. Only thing that's better than enemies to lovers is enemies while lovers and their impossible relationship where her killing him is a supreme act of love and his refusing to let go is so strong that he stays around for 1500 years watching her, helpless as she dies over and over again, is everything you ever want.

Runner up: Jang Hyun/Gil Chae, My Dearest. They are so strong and so damaged and it takes them so long to figure out what they feel and what the other person feels but their love and sacrifice and complexities are perfect.

FAVORITE SECONDARY OTP

Kim Shi Yeol/Hong Joo, The Secret Romantic Guesthouse - an assassin bodyguard pretending to be a carefree scholar and a widow of the man he killed to protect his king (and whose life was destroyed as a result.) I enjoyed the main OTP of this drama but I was utterly and completely unhinged for the secondary couple.

I'd have probably picked Rang and his mermaid from TotNT 1938 even over them, but they really were the main OTP of that drama.

NOTP

King the Land couple seems like an easy target but honestly, they are both so terribly bland and antiseptic and marketing by committee, they kinda deserve each other. So I am gonna go with Destined with You, one half of which thinks supernaturally roofying someone into loving them is cute and the other half thinks dating one woman while wooing another is totally a-ok. Ugh.

FAVORITE SCENE

There is no competition for the scene in the slave market in My Dearest, where Jang Hyun finds Gil Chae - the way he screams and tries to clutch the hem of her skirt will live in my head forever.

And the scene where he 'wins' that horrifying bet, or the scene where she finds him in a pile of bodies - they are as good also. Or when he fights off a squad to protect her even though he's sick. That whole drama is perfect.

Runner up: the scene of Do Ha executing Ri Ta's family, covered in blood, as she looks at him from the crowd in Moon in the Day.

Or the scene where he talks about how he cannot live as a person but at least maybe she will kill him and he will die as one. Or when her confession in the past intercuts with his walking in the present, or when he comes home in his bloodied armor and she finds he has a fever and it's the first tender touch he's probably ever known. Her murdering So Ri Bu saying she knows she's going against filial piety in loving her parents' murderer, the way they hug, both bloody, as he says "let's live." The way she says she can't go on as she's hit rock bottom and he replies she cannot quit because she must accompany him to his rock bottom now. Honestly, the drama is a font of amazingness.

Also, the opening scene of Goryeo Khitan War or the scene of Yang Gyu ordering to shoot the captives and having to do so himself.

The OTP meeting again at the intersection at the end of ep 1 of Tell Me That You Love Me. SHS comforting ABH as he's having a traumatic breakdown in 19th Life. The love-making scene in Call It Love. There were a lot of great scenes this year.

BIGGEST CRUSH

Lee Jang Hyun, My Dearest - is that even a competition? He's flawed - vain, often emotionally closed off, not great at processing emotions, lashing out when hurt. He is also incredibly heroic in a real, knows the cost but bears it, kind of way. Whatever he does, he commits utterly but it's never without understanding the cost. He felt both larger than life and utterly real. He went through hell and maintained his soul and the way he loved Gil Chae was breath-taking to behold.

Runner Up: Yang Gyu, Goryeo Khitan War - an experienced military commander who wins an impossible victory even as it ravages his soul. Competence is sexy as fuck.

BEST SCENE STEALER CHARACTER

Rang, Tale of the Nine Tailed 1938 - 1938 really was Rang's chance to shine and he took it. For a character I started out disliking in the original, he really stole my entire heart in this drama. I am so glad he got his happy ending with his brother and his girl.

Runner Up: Crown Prince, My Dearest. He started out as a sheltered, spoiled aristocrat, convinced the world owed him for existing. He grew up slowly and painfully into an amazing man. And then was murdered for it and I cried.

NEEDS A SEQUEL

Arthdal - it leaves the story at a good stopping point but it's very much a "world in flux, adventures and conflicts continue" ending and I would love to see more of these characters. I know we won't but it would have been nice.

NEEDS SCISSORS TAKEN TO IT

Behind Your Touch - should have been snipped at birth.

TOO MANY SCISSORS TAKEN TO IT

Vigilante - I don't mean it had scissors taken to it because it's not cdrama and there is no NRTA, but this drama would have benefitted from being longer. I mean, I love fights and gay polycules as much as the next tumblr person but a bit more character development would not have come amiss. (ahaha - I said come. Leave me alone.)

TROPE THAT NEEDS TO DIE

I don't care about cops/doctors/trash collectors/whoever - workplace drama centering on their "cases" needs to die. I hate procedurals from any country and Korea is no exception.

FAVORITE TROPE WE’VE SEEN A LOT OF

Supernatural critter devoted to their OTP with all the power of their long life.

BIGGEST DISAPPOINTMENT

Our Blooming Youth - it was far from terrible but it was a giant meh. I was so excited to see Park Hyung Sik in a sageuk (that wasn't the hot mess that was Hwarang) and I adored the source novel. It actually started well and then...it's like Revenge of the Beige!

BIGGEST GOOD SURPRISE

I want to say Moon in the Day but to be honest, I was excited by posters and trailers so it wasn't wholly a surprise despite not having much of an opinion on the actors before I saw them. So I am going to say My Demon. I was bored by the trailers, I can't remember the last time I enjoyed a Kim Yoo Jung drama and before this year I would have said Song Kang was an incredibly limited actor in everything I've seen him in and not appealing to me at all. And here I am rabidly rabiding for this drama!

If I am not limiting myself to dramas but can use this for actors - Hwang Minhyun in My Lovely Liar. I genuinely did not think the man could act and then he gave such a pitch-perfect, nuanced performance out of nowhere!

2023 DRAMAS I HAVEN’T SEEN THAT I MOST WANT TO WATCH

I have actually watched all the kdramas that aired this year that I wanted to check out except for Evilive. I am saving this for when I have time.

BEST NON-2023 DRAMA I’VE WATCHED IN 2023

I don't know if I'd say it's the best but Say You Love Me (2004) with Kim Rae Won as a quasi monk seduced away from his true love by an evil older woman was a hell of a ride.

MOST ANTICIPATED

Love Song for Illusion (Lady assassin falls for her royal target who has two personalities), Captivating the King (lady spy falls for her royal target who is tormented) - notice a theme? Also Flower that Blooms at Night because Honey Lee in a sageuk, The Life of Mrs Ock (Lim Ji Yeon in a sageuk), The Love Story of Chun Hwa (an "erotic" sageuk, hmmmm, what?!), Hong Rang (Lee Jae Wook in a super angst sageuk), Queen Woo (that cast and set in Goguryeo!), Wong Kyung (about Lee Bang Won's wife and I love the cast.) Basically, if it's period, I am there with bells on.

[pumpkinmetaphor]

Ouran, Performance, Audience

Okay I said I was going to write this and I can't look at it anymore so posting. Anyway, performance in Ouran is interesting and we’ve all been chatting about it lately. Each character puts on an “act” for the guests, each character puts on another “act” for the people around them. It’s a testament to how well the characters are written that we can unravel these performances throughout the text. I still think there’s several levels of reading the characters and the text as well. 

Ouran is satire- hence why they’re essentially parodying these archetypes. But Ouran is also self-aware, self-referential, and meta. Characters break the fourth wall. They’re, at varying levels, aware of being in a story. We have characters who obviously break the fourth wall (Kyoya looking right into the camera in episode 1, for example. I would say Tamaki’s “homosexual supporting cast” speech, except it’s kind of an anomaly for him) and characters who are resistant to any sort of self-reflection that might lead them to any sort of conclusions like this (Hikaru.) I will at one point go through the entire manga again and count how many times each character narrates– which, to my recollection, is uncommon outside of Haruhi (MC obvs, and framed as talking to her mother) and Kaoru (framed as talking to himself/ the audience/ Hikaru-that-lives-in-his-brain) but I could be misremembering.

This is generally played for comedic effect. Tamaki breaks the fourth wall when it’s funny. Kyoya plays dumb about plot conventions (such as “we have birthdays here?” “I don’t know what you’re talking about.”) when it’s funny for him to do so. 

Anyway that’s just my setup. I want to discuss the Paris Arc, specifically whatever is going on with Kaoru. 

Read More because this is 2k words.

Kaoru is an interesting character because I think the performance is a little more pronounced. There’s reason to interpret he generally controls the scripts, his host club act is a bigger deviation from his natural personality, and fundamentally, as a person, Kaoru is less solid in his sense of identity. 

Which does kind of beg a question. The version of Kaoru the host club girls get is clearly fake. But the Kaoru most people get is some form of a mask. Kaoru reflects Hikaru– which is what Hikaru needs until Kaoru fears he doesn’t. Kaoru seems to take Haruhi’s assertion that he’s the “less evil one” to heart. I think neither Hikaru or Kaoru know what Haruhi is going to say is the difference between them in Episode/Chapter 5 because they themselves don’t know– aside from this very philosophical “well the one who is you is the one who is not me and the one who is not you is me etc.”

Anyway, we all kind of understand the general baseline– Hikaru is going to grow up, fall in love, and spread his wings– Kaoru is afraid this means Hikaru will leave him behind. This is the plot. 

But I think a lot of this comes down to “the thing they won’t be able to share,” which is presented to us in the form of that cookie. Haruhi notes that Kaoru will just give whatever it is to Hikaru. Hikaru ultimately snaps the cookie in half and forces Kaoru to take half of it anyway. This kind of embodies the fundamental difference between them, in my book. 

(Ch. 45, various spliced together pages) Hikaru: It is literally not on Hikaru’s radar that there might ever be anything that he and Kaoru do not share. He does not conceive this on any level before the Paris Arc. Kaoru will literally always be here, he is a constant that Hikaru cannot conceive losing. Hikaru’s not afraid of Kaoru abandoning him– he may be, afraid something will happen to Kaoru that will take him away, but he’s not afraid of Kaoru choosing to leave. Why would he? Kaoru is the one person who cannot betray him. 

Kaoru: It is a given that Hikaru will one day leave. It is simply the only way. Hikaru will grow up and, for various reasons, Kaoru will not grow with him. And Hikaru will choose to leave– this will not be a betrayal, it’s just how life works when you’re not the main character in your story. Your carriage turns back into a grubby ole pumpkin and you’re left all alone. 

After the cookie scene, Kaoru tells Hani that he has feelings for Haruhi. This is, in my opinion, when Kaoru takes the reins of the narrative. Of the carriage, so to speak. The carriage in the anime exists on the condition that no one acknowledges that they’re in a love story and “breaks” the found family. Kaoru saying he’s in love with Haruhi steers the narrative on the course to the inevitable. 

Which is great!

Except is Kaoru in love with Haruhi? 

My hypothesis: it literally doesn’t matter. Kaoru’s feelings for Haruhi do not drive the narrative. Kaoru talking about it does. He could be lying. He could be mistaken. He could be genuinely in love with her. It could be an idle crush. It doesn’t matter. It’s the performance of this love for the appropriate audience (aka: Hani, Hikaru etc.) that matters.

I think the base reading of this arc is that the cookie is Haruhi. Haruhi is the one thing they can’t share, right? They can’t like, keep eating biscuits out of her mouth and licking her face if Hikaru wants her to be his girlfriend and Kaoru wants her too. While I don’t think it’s incorrect to read this as a concern Kaoru has, I don’t think it gets to the heart of the issue. 

So, performance!

Kaoru puts on his little act for Hikaru throughout the Paris Arc. Generally tormenting him, ostracising him. In a way giving him a taste of what Kaoru goes through in a zillion Hika/Haru fanfictions or Kaoru’s own nightmares. This culminates in the date, where Kaoru basically brings Haruhi on the date he asked her on first (before giving it to Hikaru) and hitting every single mark that Hikaru missed. Not that anyone is enjoying themselves regardless to be honest. 

And of course, at the end, he kisses her and Hikaru sees and runs off upset. 

Except we, the audience, know Kaoru kisses Haruhi on the cheek. It’s a clear enough stage kiss from the art. Just close enough for us to understand that, from Hikaru’s perspective, Kaoru kissed her on the mouth. We’re bystanders, watching this plot unfold. Hikaru is Kaoru’s intended audience– that’s who he’s performing for. 

So what’s the difference then between this scene.

And this scene?

Well, first: what else can be the one thing Hikaru and Kaoru can’t share? If you go one level further, I think you come to the conclusion that Hikaru is the one thing they can’t share. After all, Hikaru cannot keep giving half of himself, half of his time, energy, love, self etc. to Kaoru all the time, and grow up. They suffer a classic case of enmeshment. Kaoru determines that Hikaru needs to be shoved out of the nest– and that the only way to do that is to stab him in the back. 

I don’t think Kaoru is trying to make Hikaru hate him. I do think what he’s trying to do is make Hikaru realise that he’s a person? Who is capable of betraying him, just like any other person. As long as Hikaru believes that Kaoru is “the only person he can trust,” he’s never going to grow up. By knocking himself off that pedestal in Hikaru’s eyes, Hikaru is forced to see him differently and Kaoru is prepared to accept however Hikaru might feel about him in the aftermath (though assuming he’ll drastically distance himself). 

(Side note. I think Hikaru and Kaoru internalise their maid-related-trauma slightly differently. While Kaoru’s fear is abandonment, Hikaru’s fear is betrayal. They just manifest similarly because there’s a lot of crossover. This is sooo long already, I’m not getting into it unless someone asks lmao.)

Loop back to the image again then. What’s the difference here? Well, it’s still a stage kiss! They both are. But, with one fundamental difference. 

Image one, Hikaru is Kaoru’s audience. He is performing to trick Hikaru (and possibly anyone else, like Hani and Mori, watching). But reality is clear to us, the reader.

Image two, you are Kaoru’s audience. He is performing to trick you. (but reality is clear to Hikaru, the participant)

Like, that’s pretty in your face huh? Faces obscured in a way that you don’t infer it as a cheek kiss as easily as you do with Kaoru and Haruhi. It’s also on the left page of the physical edition, meaning you have to skip to the next page to see the aftermath:

Kaoru’s not just tricking the audience. He’s queerbaiting the audience. Typical.

Firstly, I do think one can be led to the conclusion that if the one thing they can’t share is Hikaru, not Haruhi, that means Kaoru is not in love with Haruhi but is in love with Hikaru. In fact, I think that’s kind of the point with these panels. It’s framed as a bait-switch, which only works if the audience misinterprets the kiss. My ultimate conclusion therefore is that there is no textual romantic incest occuring. It is enmeshment at a bare minimum though. But that's another topic, another day, for somebody else.

Secondly, I think this is because the audience is, regardless, on the wrong track. Or at least not the full track. We have access to the narrative when other characters don’t, but we’re still reading the story Kaoru is telling. We’re still the audience to his performance of the story. It’s easier for Kaoru to tell a story that’s all about his brother– he’s been doing it his whole life. He’s not the main character, after all. So he’s telling us a story where the one thing they cannot share is Hikaru, telling all the other characters a story where the one thing they can’t share is Haruhi. 

So the one thing they can’t share is something more nebulous. It’s the identity. 

Which feels like a contradiction in a way, because the identity is Hikaru, isn't it?

They can’t be one double act, split down the middle. They can’t be one seed sprouting two leaves. They can’t be two halves of one cookie, or two halves of one soul. And the problem is, Kaoru views everything as something Hikaru has split down the middle and shared with him– and now he has to give it all back. 

I don’t really think Hikaru views “their room” as being “his room, that I share with Kaoru.” But I think Kaoru does. I think Kaoru views everything as something Hikaru has shared with him, right down to his own personality, his own face. Hikaru cannot leave, cannot grow up, unless Kaoru stops pretending to be him and gives him the half of his identity back to make one whole, true Hikaru. 

Only problem is, Kaoru has to cut that tricky spare leaf off. After all, when he gives Hikaru back the identity, Kaoru won’t have one. Kaoru is defined as being “the one who is not Hikaru.” My brother is Hikaru. The one who is not my brother is me. And how do you define that? When your brother is no longer there, who are you? 

That’s why it’s important that Hikaru dyes his hair. Because I don’t think him dyeing his hair matters if the issue is Haruhi (Haruhi can tell them apart anyway). I don’t think it matters if the issue is Hikaru (this would not, in isolation, fix Kaoru's thought process). 

It is however enough for Hikaru to be able to illustrate to Kaoru that their identity is inherently interwoven, not necessarily shared. It doesn’t matter if Kaoru is the same as Hikaru or not– because Kaoru is who he is. That may have been affected by the fact that they’re twins, but his identity is not negated by it. Kaoru's identity is not inherently a performance just because it reflects Hikaru, and he doesn't lose it when he ceases to reflect Hikaru.

(breathes)

CAVEAT AS ALWAYS: I am reading the English translation. While it is the official Viz Media translation, something is always changed in translation, localisation, and interpretation. With the assumption that everyone here is reading the manga in English (sweeping assumption, sorry) this is therefore a reading of the text inherently coloured by the site of circulation (English translation, volume compiled) and the site of audiencing: aka the fact that I am an English-speaking, European, media studies/animation academic, speaking on an largely American blogging platform to the like, twelve Kaoru stans that follow me. It also means your interpretation may be very different to mine! Anyway If you read this far, congrats! You deserve a cookie– whatever that might or might not signify.

[technically-a-kiwi]

Okay here's a bit more of the Cosmic PT cast, introducing Cosmic Pepperman and Cosmic Vigilante.

One small thing before we start ☝️, these are what you can define as "beta" designs, as you can see by the fact it's neither colored or digital, I just want to share those to hear some feedback and possible fresh ideas to make those designs better. Also because I want to share what they do and what is specific about them story wise. Until I say explicitly that I'm done with the design, keep in mind that they might change overtime. With that being said let's get to it!

And here's Cosmic Pepperman,

currently at the very end of the minor cosmic stage and one of the most experienced cosmic entity of the PT cast who's still around. Phil mostly plays solo and loves to show off when he intervenes in a universe, when he's here you know you're about to see a performance of quality 👌. Although sometimes his attempt at throwing shades and look cool falls flat and he can make a fool out of himself... But no matter what happens he always manages to save the day before disappearing Meta Knight style using his long jacket as a cape.

Meanwhile in the cosmic realm, Phil still is a freelance artist, showing off his art in his own museum in Cosmopolis's center. Before Cosmic Noise appeared, Phil's museum was one of the most popular and visited place of the realm, after NNS took over the public, the museum lost of it's glory and became another building among others with very few visitors. Ever since that, Phil holds a pretty big grudge toward Cosmic Noise, boycotting his show and just being generally annoyed at C Noise's presence.

For Pepperman's design I got inspired by his costume of the Halloween update and slitly exaggerated it to make a long flowy jacket. Also I gave him small star shaped shades because shades and Pepperman are just MEANT to be together, the star shape is just to stay consistent with the Cosmic theme (very thought out eh 👁️👄👁️👍), and finally one of my favorite aspect of his design is his scar across his face of which he wears with style ✨✨✨.

Now beware, here comes Cosmic Vigilante

Also at the very end of the minor cosmic stage, one the most experienced of the cast and the most efficient at his job. Vigi really puts his heart when doing his tasks, being very serious and making sure that everything goes back to normal, as if nothing happened. He also is the stealthiest entity of the cast with very little people to have ever noticed him in his whole carrier.

In the Cosmic realm, Vigi doesn't really have a job, his only job is to fix any anomalies in the multiverse so he just uses his time in the realm to have a break, take a coffee, going for a stroll or hang out with friends.

For the Vigilante's design, I barely changed anything, his hat is different with the edge going slitly up in flames, the only note worthy detail is his left eye of course, his scar is hidden by a very bright star, a star with the very cool effect of giving it's owner future vision, it only predicts things 10 seconds max before they happen, but it is still a formidable advantage.

Together, Pepperman and The Vigilante are a very efficient cosmic duo, over time they grew a very good relationship and learn how to work with each other. When joined together, they're very professional (in most cases) and really forged a reputation among cosmic entities.

And now is time for :

Random trivia ✨✨✨

Because I don't know how to write a sentence

Very few people knows about Vigi's future vision, only some members of the PT cast does, if the court comes to know about it, Vigi WILL get in trouble.

Pepperman kept his ability to bring his art to life after becoming a cosmic entity, he might be the only being of the realm capable of breathing life into inanimate objects (assuming that his art are conscious beings with free will and not puppets Pepperman controls somehow)

Both Pepperman and Vigilante's memories degenerated to the point they can't remember the people they once knew, they only remember experiences of their past life but not the people that participated in those experience.

The Vigilante's mode of transport is his hat ! He gets inside of it and morphs it into an UFO (with a gyrophare occasionally when he's on the hunt for an outlaw) , the hat gets transparent and you can see him all squished up inside his hat.

Cosmic Vigilante is aware that he's a cheese slime, which was a huge shock when he figured it out

When disappearing "Meta Knight style" Phill doesn't actually disappears, he just trows his jacket in the air and spins it to get people's attention while he runs as far and fast as possible into the distance, he runs until he reaches the edge of the universe and only after that he gets back to the cosmic realm.

And yeah that's it ! Thank you for reading! As always if you have any questions go ahead and ask, I'll be glad to answer.