#there isn’t enough competent storytelling for it

[mimdecisive]

honestly I think almost everyone has moved on from SPOP at this point in their life and tbh good for them.

[crooked-wasteland]

How I Came to Love the Bomb: Mammon's Musical Special and the Spectacle of Mediocrity

A little more than halfway through the second season, Helluva Boss has finally found its place where it performs best: embracing its own mediocrity with an emphasis on shallow storytelling and a narrative death spiral that only serves to strip the world and characters of depth every time they are engaged with. It’s almost disappointing to see how highly rated this episode is by fellow critics solely because of the superficial aspects that add nothing to the plot, nor do these scenes affect change in the characters. It is far from the worst episode, but it has every major narrative flaw from every previous episode inside of it, that seems to get a pass because it's a “Special” and not necessarily expected to progress the main series in any way. My counterpoint is that an episode that is self-contained should then be able to narratively progress a character, if not the plot, which Medrano and her team continues to fail to accomplish.

To make my points concise, I will alternatively deconstruct the episode as is while including a general rewrite of how Medrano could have accomplished the same story with any shred of competence.

The narrative needs to skip around a bit, so, starting from the present, FizzaRolli is in a frenzied state of distress while looking for his foundation to hide his imperfections. It is far from a subtle metaphor of Fizz requiring the image of perfection while being “broken” underneath. It isn’t in any way revolutionary from the setup to the execution, though that isn’t to insinuate it is bad because it is unoriginal. Arguably, nothing is. But this scene establishes the major conflict throughout the episode, that being FizzaRolli's self-esteem. The issue is, this scene is a contradiction from the actual cold opening.

FizzaRolli and Blitz going to the Mammon show sets up the entire backstory premise of FizzaRolli’s climb to fame, but presents a confusing representation of what Fizz’s self-esteem issues are. There are generally a ton of problems with this opening on a systemic scale. Why is the circus so run down if FizzaRolli’s shows are so popular that he has a fanclub as a teenager? Why is it the audience is supposed to be invested in FizzaRolli’s self-esteem about being good enough when every external indicator in the episode shows Fizz as already being at the top of his game. The star of the circus, his own obsessive fanclub, winning Mammon’s clown pageant and being the “Host with the Most” for Ozzie’s shows a character who has maintained a very consistent rise to fame. Shoehorning in a singular and random nobody claiming Fizz is overrated after fawning all over him doesn’t warrant the tearful meltdown he has associated with his abilities, nor would it warrant the shaky sense of esteem he apparently keeps with him the entire rest of his life. Even in Oops, it's Blit’s insinuation of FizzaRolli being a sugar baby pet of Ozzie’s that upsets him, not any jab at Fizz’s abilities.

The alternative version that would have made all of this make sense would have been not questioning FizzaRolli’s ability to do, but the crushing weight of expectation to continue to succeed. The fear of having “peaked”. It’s why he can both be at the top and severely anxious. The knowledge that once you’re at the top, there is an awfully long way to fall would have made far more sense than Fizz questioning his actual ability to get to where he is. The reason Fizz can’t be obtuse to his popularity and fame is because of every other episode we have actively seen him revel in it. Just the episode prior he is so confident in his status that he shows off ostentatiously with a limo decked out in phallic shaped sparklers and even says that it's nice not to be a recognized celebrity after that display. It’s clear that being “good enough” is not a long-standing fear for Fizz’s character, but that it should have been the pressure to keep being “good enough”. This misinterpretation of what their own character’s weaknesses are, and said weakness being the plot, is the root of the obnoxious weed that has strangled the show from the beginning.

Once again, I also can’t help but point out the lack of information on Tilla is still a huge problem with this storyline. For a character whose existence is the inciting incident for the entire series:

1) Blitzo meets Stolas to “help” his mom, being the inciting incident for the entire series to this point.

2) Tilla’s implied death in the fire is why Blitzo lost his family as a whole

3) Tilla’s implied illness is why it makes implied sense that money was never used to make the circus better/safer so the fire never happened despite FizzaRolli being so popular that he has a rabid fanbase so he must be making the circus substantial money, which Cash even claims when he is a child.

As I said, this episode is merely the accumulation of every other episode’s main problems put front and center. It’s almost an exercise in self denial to limit the number of tangents that my arguments could go down.

Regardless, the insecurity in the flashback sequence of FizzaRolli and Blitz is fundamentally not the same insecurity as seen in the rest of the episode. Not only does it not make sense for the character, it makes no sense for the storyline up to this point.

Then there is the confusion that supersedes the plot: the timeline. It is nothing new for Medrano to lack a clear definition of her own narrative; linking The Circus with Loo Loo Land was one of the most egregious misunderstandings of her own story that generally derailed the escalation of the relationship between Stolas and Blitz and required the assassination plot to be unwritten. So this episode puts us back in that exact same position by having it be that somewhere between this episode’s flashback and the accident from Oops, FizzaRolli went through puberty, won the pageant, got prosthetics, went through rehab and instantaneously exploded in fame. It is a miserably scrambled mess of events that just necessitates the practice the writers obviously utilized to get to this point: Don’t think about it.

Fizz had to have won the Clown Pageant before he got his prosthetics because he has his prosthetics. It's clear they were designed and built by Asmodeus so he would have needed connections with a Sin before that. Fizz linking his romantic relationship to Ozzie with his business relationship with Mammon specifies how that connection was made. As such he needed to win the pageant BEFORE the accident, so regardless of Fizz entering the first ever pageant or a subsequent one, it doesn’t change the complications of the timeline.

Back to the story issues at hand, Asmodeus is very clear that he would prefer if FizzaRolli would not attend the Clown Pageant that year. The fact that he has Fizz’s foundation in hand to give insinuates that Ozzie was actively hiding the makeup from his partner to keep him from going in the first place. Regardless of how much one would prefer to read character into these actions, it makes it very clear that Ozzie is not impressed by Fizz’s participation and he tries everything imaginable to talk the jester out of it, just short of forcibly locking him in their home. FizzaRolli makes the claim in this scene that being in the pageant is for himself and not Ozzie’s opinion of him, only for that to not be the case come the emotional turn of the narrative. When the reason Fizz breaks away from Mammon isn’t because he has any confidence in himself, but because Ozzie would love him anyway contradicts the entire setup. It additionally weakens Fizz’s resolve and the meaning behind his rejection of Mammon by making it not at all about him and all about the relationship. It isn’t FizzaRolli overcoming a codependency, but merely reassigning the target of it from Mammon to Asmodeus. Which, in terms of the beginning, is his brokenness. He never fixes that metaphors, just that it is okay now which is never the case with codependency.

Then there is the pointless addition of Blitz’s to the story. Unlike the Theft subplot in The Circus where it felt like some kind of repercussion should have come from the event due to its inciting nature, Blitz’s presence in this episode is purely unnecessary. Which falls back into how Medrano and Spindlehorse fail to optimize time and animation (and thus funds) in the show.

There was absolutely a way to have this episode work with only the most minor of changes that would have overwhelmingly shifted the plot and made all these elements cohesive. This is why I state this is one of the worst episodes, but that this is probably the best Helluva Boss will ever be able to achieve moving forward. It isn’t a means of insulting Medrano and the team by calling this episode incompetent, it is merely stating a fact. The issue with this episode is that it is incompetent and this is why:

As previously stated, the episode needed to keep a clear focus on the nature of Fizzarolli’s self esteem issues. They put their money on the wrong horse in practice, but just a slight contextual shift would have rectified those problems. Still have the episode play out generally the same

I personally do not like how one dimensional the antagonists are in this episode. The clown competitors deserve to have some dignity and be defined as something other than “bitch”. I am pained every time a female character in this show gets boiled down to that one word. There is a major difference between a character being “bitchy” and a character just being a “bitch”. It's demeaning to women, makes them one dimensional, devalues feminine competitiveness and ambition to being a personality flaw. It is agonizing to witness it happening over and over again.

Have Fizzarolli become progressively overwhelmed by his need to be the best and seeing younger and fresh new talent threatening his status. Not necessarily because Mammon or Ozzie would replace him, but because of his fear of losing value in himself due to equating it with his professional popularity. Have Blitz be a voice of concern about FizzaRolli’s declining mental health. Play into that relationship they started building in Oops by having Blitz say something along the lines of “This isn’t you.” Go back to the line in Oops about how he demands to know if the sex thing is all Fizz is about anymore and show that, actually, no, it isn’t.

Stepping back a bit, it feels highly inappropriate to include a child in this episode when placed in context with the show. Especially a disabled child where this merely feels like a manipulation ploy by the creators that shocks the moment out of being a true emotional connection.

For one, the pageant and Fizzarolli’s performance prior to this scene has been rather sexual, additionally the sexualization of the entire performance starts with the designs for the girls in the competition and merely becomes more overt from there. It is obvious this isn’t a show for a child as young as the one depicted, maybe a teenager, but not a child. The argument can be made that it is Hell and whatever, the show’s sense of values oscillate based on what reaction the creators are seeking to elicit from the audience. The choice of having the character be deaf is simply the cherry on top of what the purpose of this character was: Brownie points. This entire sequence is solely to garner praise for representation and animation instead of playing any narrative role or being impactful to the characters. It isn't even a deep representation, but one that disappears once they feel they did enough to earn that adulation, utilizing a real disability real people live with as a means of creating attention and praise for themselves.

Instead, this scene should have focused on the poor kid who was thrown out. It could have been a group of kids who shouldn’t be there in the first place due to their age and lack of money, allowing the deaf child to remain in the story and have a more meaningful impact. Start the scene with FizzaRolli being obviously uncomfortable with his older fans and how this life he has been working to achieve and maintain actually isn’t what he wants. Having this scene after a moment where Blitzo tells Fizz, “You haven’t changed that much. I know you, and this isn’t you.” could really show how stressful Fizz’s job is because he doesn’t belong there.

Use the kids being tossed out or shooed away as the inciting factor for why Fizz gains his confidence.

The biggest problem with the deaf child scene is that the interaction lacks any depth. FizzaRolli doesn’t break through his own insecurities by engaging with the child, instead it is cut short and the scene is immediately forgotten with the comedic villain from the beginning interrupting the moment and the kid proceeds to vanish, no longer useful to the creators.

This should have been the moment when FizzaRolli had his emotional turn.

Remove the Ozzie scene in the back room entirely and have Fizz engage with the kids. Ask them their names and what their interests are. Treat them like people and not just props. Having Fizz be poor growing up himself, have them connect on that. Growing up in an adult world with nothing and being unwanted unless they are useful for some greedy or selfish adult. Have Fizz rekindle his genuine love for performing through the kids and wanting to give them the best performance, because he sees how he inspires them. Added with the (admittedly inconsistent) world building that Imps are socially regarded very lowly, it brings power to Fizz’s position and resolve to be the performer who would have inspired himself when he was a kid.

Following that scene, have Fizzarolli cut the Meet and Greet short and run back to his dressing room where Blitz is and have Fizz ask Blitz to perform with him like when they were younger, incorporating Blitz’s presence in the story more fully and allowing their relationship to progress from the previous episode. This allows Fizz’s song to feel empowering because it is coming from him and inside himself, not because his buff boyfriend is just behind the curtain to protect him. It would legitimately be Fizz risking something in the process of rediscovering himself and reclaiming his identity as well as reconcile Fizz’s past with his present to merge a new future.

This isn't even touching on the super public reveal of the one secret Ozzie and Fizz are supposed to be living under that has been proven not to matter seeing as how many demon nobility are dating the "lowest" of commoners in this universe. Additionally, people have already known about the Ozzie and Fizz relationship based on the newspaper, so, again, having the resolution being "true love" and the reason everything is okay at the end being about a romantic relationship just further reaffirms the implied belief that the creators think codependency is romance and relationships can replace a personality.

The point being that these changes don’t fundamentally alter anything from the episode while creating a stronger character for FizzaRolli and progressing the larger story. It would have also been a moment for Blitz to grow as well and set up the starting point of a turn for his character too. It could have rehabilitated the worst parts of Seeing Stars and additionally worked on Blitz’s self esteem issues vicariously, showing how bettering yourself can also improve those around you. It also wouldn't have taken much to make these changes in the writing and editing process because these problems are so glaringly obvious and simply required a couple more eyes on the script to make it something good.

So the only reason it failed to identify any of these weaknesses can only be chalked up to pure incompetence. And excuse me if I guild the lily for a moment, but if these slight changes were missed for how they would have benefitted the characters and elevated the story, then there is no reason to believe or hope the writing will ever get better.

Helluva Boss has peaked.

[chevelleneech]

I would also like to state, physically cheating isn’t the only form of infidelity.

Buck and Eddie may almost kiss or actually kiss (which I don’t really want, but can see the potential unfolding story if they do) but that doesn’t automatically mean they will start an affair or have done it with intent.

Neither Buck nor Eddie seem aware they have feelings for the other (if that is where canon is going) so them getting drunk off their asses and giving in to feelings they’re both unaware they have, is a compelling story based on how their friendship has gone all these years.

That said, an almost kiss or no kiss but one or both of them still realizing down the line they are in love with the other, while still being in a relationship with Marisol or Tommy, is emotional cheating. Yet people still want that.

Buck cannot in good faith stay with Tommy after he realizes he’s in love with Eddie, because he’s too involved in Eddie’s life. He helps him care for his kid. He breaks down whenever he’s in danger. They fought like a couple on the verge of divorce when Buck sued the LAFD.

Eddie can’t in good faith stay with Marisol after realizing he’s in love with Buck, because Buck helps him raise his kid. Buck is in his will to obtain guardianship of his kid, over all other family and friends. Including those who are currently or have already raised children. As well, in the middle of him dying, Eddie was more concerned with whether Buck was injured or not.

The two of them have too much history built up in just five/six years, for any other love interest to compete if it becomes canon that they are in love. So while I obviously don’t want Buddie cheating to be their origin, I am curious how all those opposed will justify either one or both of them being in love with each other, while still being with someone else?

Because again, this isn’t typical “I met someone else and we connected.” It will be, “I realized I’m in love with the person I consider my best friend, and I didn’t distance myself to try and get over him.”

Unless of course they do that, but even then… the storyline would have to address it. Unless they go the unrequited feelings route for one of them, how can they justify Eddie or Buck forcing themselves to stay with Marisol or Tommy, despite being in love with someone they have a deep history with? Despite being so in love with someone else, they have to upend their life to make it work? They can’t.

The only way it works, is if Buck and/or Eddie have their realization, then become single. Because there is no way to view their emotional unavailability to a partner you want them to not cheat on, as not cheating emotionally.

Now, I for one am here for emotional infidelity. I think it’s way more complex than a physical affair, but again, I can see how a kiss or almost kiss can also be interesting story wise for Buddie. Because it can lead to emotional infidelity, without Buck nor Eddie realizing that’s what is happening until it happens. But you know… folks don’t like any sort of storytelling that paints lovable characters in a bad light anymore. Everything has to be spelled out or done the respectful way, which I understand to an extent, but no one is this hung up about it regarding Hen. And she made an active choice to cheat, even if she regretted it.

That is also a storyline I don’t like, but again, it was compelling enough to not ruin her character. Why can’t the same be said for anything Buck and Eddie might do? Because them figuring out they like each other in a way they both would never want to happen means they’ll fight it harder and likely beg to be forgiven, despite not being able to shake this newly discovered want.

And that is not feeding into stereotypes about bisexual or questioning men. That is writing bisexual and questioning men, who happen to be best friends, realizing they're in love and having it fuck up their lives due to how long they’ve known each other, yet been oblivious to how deeply involved they’ve been over the years.

[beheworthy]

‘Ragnarok’, ‘Love and Thunder’ and how not to write films

[Disclaimer: This essay talks negatively about director Taika Waititi’s Thor films. Please don’t read if you happen to like them. Word count - 3.6K words]

You’d think that after all these years I’d run out of things to say about the myriad ways Marvel has screwed over Thor’s character. You’d be wrong.

The Marvel Cinematic Universe often gets criticism for being by the numbers and mediocre. However, with the rise of streaming and making and releasing content becoming far too – for want of a better word – easy, you’re at least guaranteed basic competence with the MCU in a sea of badly-made films.

This isn’t exactly high praise. But I’m seeing far too many movies with no effort put into camera work and sound design and stories with no pacing, internal logic, or character arcs. Whereas the MCU offers the quintessential movie experience everyone can enjoy. You know their movies will be fun, popcorn entertainment with proper 3-act structures, character development, and technical soundness.

Or at least I believed so. Because with Thor4, even that one saving grace of MCU is gone. It fails at basic storytelling, setups, payoffs, character arcs, and resolutions. It’s honestly surreal how it was supposed to be something extra special being the first solo 4th film and managed to fail at even basic competence. And funnily enough, it was exactly the same in Thor3, but everyone was so busy hailing it as a masterpiece that they just ignored it all.

Keep reading

[ivankellydressage]

DESCRIPTIVE RIDING

Describing my horse, not his ears, although they are the best ears a horse could every have, despite being told by a lady in the warm up of a show he had ears just like a donkey, but describe him in training terms. Growing up in Ireland we were offered lots of wonderfully lyrical stories about horses, their parents, their uncles and aunts because we do genuinely come from the land of storytellers, for better and worse. One breeder I worked with could tell me the lineage of every horse on the farm and what its half sisters older brother competed in. I’m still none the wiser to whether it cold bend left or not. This kind of describing, as well as brain melting makes it very easy to get stuck in descriptors that are more reflective of our brains rather than their physical training.

I often forget that I love horses for themselves and the riding came secondary and mostly because I needed to demonstrate I could make enough money to put food on the table to my horrified parents. Some said it's been very brave to stick at this profession. I actually think it's more cowardice because it's the only thing I know, it's the relationship that rewards me the most and that includes my relationship with myself.

Yearning to know a horse best and fullest through the riding because often it's the most intimate moment in the dynamic and relationship. On a side note, I believe that because I, as well as many others struggle with human relationships that the rider/horse dynamic is more enticing because it's not two humans. I struggle with humanity often, wondering about things I cannot affect. I can however effect my horses training. Approaching the training from a horse personality point of view leaves me no opening for how I’m going to signal or ask for something. With a perfectionist brain I often end up frozen in fear of making it worse.

At the beginning of every lesson I ask my riders, how has your horse been, this isn’t a cue to tell me how sharp or sassy or quirky he is but that they're lacking in confidence in something and that together we are going to explore what that is. Forcing the phrase my horse is lacking in confidence in shapes a whole new conversation in whether I correct my horse or help my horse. Once we’ve explored the underneath then we can throw around words, sometimes as I’m Irish, they’re often very colourful but everyones on the same page as to what we’re aiming to achieve.

In my first ever training session with Conrad Schumacher I worried I didn’t have enough experience as I didn’t know what he meant with a particular phrase. It turned out it was the same phrase my trainer used with a German accent. I’m getting better at asking, "what did you mean? “

[badedramay]

my issue with the fairytale fandom as someone who does personally enjoy the drama is that people try to extend it beyond the genre it’s emblematic of. there’s these constant complaints about how fairy tale isn’t taken as seriously nor is umeed as a heroine (in comparison to say umera ahmed heroines or more recently kuch ankahi’s heroine aaliya) and it’s like. obv there’s not going to be much of a comparison between the female lead of a realistic fiction drama and the female lead of a romcom drama lol. the stakes are starkly different and subsequently the depth and complexity of the conflicts tackled will be different as well. as nice as fairy tale is i’m not watching it to be anything beyond entertaining and cozy and that’s fine. it’s a sweet romance with easily resolved conflict and inoffensive humor and i understand why that appeals to people. nothing wrong with that. but i don’t get the need to constantly compete with dramas where the stakes are higher and the scope is broader. it’s not misogynist for people to be more invested in narratives where women are tackling real world problems rather than simply navigating a harmless romance with some silly drama. i feel like bc people are so used to seeing women suffer in dramas they’ve attached themselves to umeed as a reactionary measure (which, again, is totally understandable) and started to view any display of women struggling in narrative as regressive or uncomfortable to watch. and i get where that comes from but i also think it’s a bit shortsighted to act like people are misogynist if they don’t readily identify with a girl who doesn’t have to struggle much at all. we have a drama industry that has thrived on creating near insurmountable conflict for its characters. maybe that’s something we need to move away from to pursue somewhat healthier storytelling not held hostage to conservative religious and cultural notions but even in the most progressive world it’s not like women won’t have to deal with hard problems or have complicated responsibilities to navigate. and sometimes for people the struggle is appeal. as much as escapism is a comfort so can be the story that shows us we can survive the hardships we’re living. it’s fine to be tired of that and enjoy fairy tale as a respite from it. but it’s also fine to prefer the harder narratives and i don’t see why these defensive arguments that are clearly driven by an inability to respect genre preferences continue to persist. sometimes people just aren’t going to gel with a show bc they want more from it than the constraints of the genre would ever afford

Uffff...itna saccchhh!! fandom mein na bol dena haters ki line lag jayegi xD

there's one criticism I have of the larger PakDrama fandom is how the genre of the drama and more specifically the canon of the drama is disregarded completely when fans engage with it. yes yes I get it how fandom allows transformation of the media to better represent what they want the media to cover but shouldn't that be limited to fanfictions and fanart only though? when making meta analysis or criticism of the piece of media one cannot completely ignore the canon and proceed to then write essays which sound more wish fulfillment fantasies than providing any meaning to the media which is hidden. FT fandom does that.

I dropped FT completely as a show in the 4th episode when Umeed complained to her father that he didn't earn big money like his peers did. and when her father retorted that all his peers undertook illegal and unethical methods of making money, Umeed only rolled her eyes and defended their actions while criticizing her father of not doing the same. additionally, the written gareebi that Umeed lamented about all the time which 100% didn't make considering the visual ameeri of the show was enough to tell me that this show is not made to be a faithful representation of the reality I am more interested to see stories in. so, I bid the show adieu. it took me a quick binge of 4 episodes to realize what the genre and setting of the show was just by that knowledge I understood the directions the show was going to to (and I was completely right in my guesses) and all of that was not my cup of tea. so it continues to baffle me STILL how such a large fandom for the show still hasn't realized that this show is a wish fulfillment escapist fantasy with no real representation of any real life character neither empowered nor realistic. it's an idealistic world as all the worlds of romcoms are. there are no lessons to be learned of from here because of the very apparent contradiction of the world as the audience sees in the drama vs the world they are living in. you take this utterly harmless and inconsequential world away from the characters of FT and put them in a more faithful representation of the real world and they will not be able to survive a day. how then are these characters an embodiment of "empowerment"? surely, a truly empowered character will not be relying so heavily on the plot armor and the bubble-wrapped edges of the world.

FT is often called a "kdrama coded" show and I agree. the tropes and characters are similar to how most kdrama romcoms work. again, romcoms. South Korean entertainment industry has managed to present a utopian image of the society via its colorful cheery romcoms but it takes one simple google search to realize how under all that glitter just how deeply gloomy the actual society of the country is with its myriad of social, economical, and political problems. there's a reason why there are recurring instances of the "internet favorite kdrama of the year" being completely different than the "critics favorite kdrama of the year" because the former is judged by an audience that either willingly or by ignorance chooses to fully buy in the fantasy world of the drama and the latter is chosen by the people who actually live in the country and are more interested in seeing a more faithful representation of the bleakness they are surrounded with in the stories. Chaebols aren't busy falling head over heels with a ditzy intern working at their company; they are far too busy controlling the economy and misusing the law to get away with atrocious deeds. but you won't get that in A Business Proposal (a show I most absolutely adore)

it’s not misogynist for people to be more invested in narratives where women are tackling real world problems rather than simply navigating a harmless romance with some silly drama. i feel like bc people are so used to seeing women suffer in dramas they’ve attached themselves to umeed as a reactionary measure (which, again, is totally understandable) and started to view any display of women struggling in narrative as regressive or uncomfortable to watch. and i get where that comes from but i also think it’s a bit shortsighted to act like people are misogynist if they don’t readily identify with a girl who doesn’t have to struggle much at all.

struggle is etched on the very skin of women. there's simply no denying it. there's struggle big and small practically ruling our lives. sure, our narratives often exaggerate the struggles but the inflation happens of existing struggles. there's nothing to imagine here cuz the struggle is not an mythical dragon. it's our reality. heck, even Umeed isn't devoid of struggles. except her struggles are that she doesn't have a wardrobe full of new clothes that gets updated every month vs the struggle other FLs face in other dramas ranging from fighting for their agency or livelihood. as an audience I am more interested in realistic struggles that come with realistic solutions. I remember how bloody impressed I was by how Sabaat chose to show Anaya's struggle after her marriage with Hasan specifically when she and her mother are left to fend for themselves after her father's death. the very little plot point of Anaya with the help of her friends opening a home-bakery service to make ends meet till her delivery left me teary eyes because THAT'S what I want from dramas when I saw I want them to be socially responsible. not to preach lengthy monologues about social issues but to show actual, practical ways of bringing an improvement in one's lives. walk the walk. i don't know why Kashf Foundation didn't do it with Kuch Ankahi (or if they did i completely missed it as I didn't see it mention anywhere) but in their previous shows Udaari and Rehai they used the platform of the drama to also promote the services the foundation provides to needy women by teaching them life skills that would enable them to stand on their own two feet. that's empowerment. not getting a fat cheque of crores from a gameshow that the FL then proceeds to waste on frivolous things under the guise of "she's a realistically flawed character". child..that's a fool. a fool that was still spared the consequences cuz hey, there's a convenient young hot rich single billionaire to fall in love with her and spare her from any trouble.

having a respecting green flag ML is great and of course I want more of them but FT isn't the only drama to give us that. green flag characters have existed in dramas for years. but because those characters exist not in the romcom/sitcom genre they are allowed their moments of weaknesses and flaws cuz real world is not black&white. and that's okay. having frivolous materialistic FL is also fine. it's great if fans are enjoying and celebrating a FL that is not in the business of being miserable and has an assertive and devil may care attitude about the things she wants to achieve in her life. however, any person with any real life experience will know that such characteristics don't yield long term fruitful results in the real world that we live in except in rare rare rare RAREEEE cases if any at all cuz the real world is not like a fairytale. this isn't me being misogynistic. why would I want to wish misery on a character willingly? no no. but c'mon. Umeed is not me. Umeed is not any woman around me. Umeed is not any woman I know of close or distant. for me she's an alien and I don't find it smart to make an ideal of an alien. why am i getting hate for that?

[newsblog12]

Professional Website Design: A Key Driver for Business Growth.

In today’s digital age, a website is the face of a business. It’s often the first interaction a potential customer has with a company. However, merely having a website isn’t enough. A professional website design plays a crucial role in determining the success of any modern business. But why is it so pivotal? Let’s delve into the reasons.

1. First Impressions Are Crucial

Immediate Judgement: A website’s design is like the storefront of a brick-and-mortar shop. When visitors arrive, they take a mere few seconds to decide if they like what they see. A well-crafted, modern design portrays competence, which can make users more likely to explore further.

Reflects Your Brand: The design should encapsulate your brand’s identity, typography, images, and layout all speak volumes. A professional design communicates brand consistency, creating a connection between your online presence and any physical branding like brochures or storefronts.

2. Seamless User Experience

Fluid Navigation: A top-tier website ensures visitors can find the information they seek without hassle. Menus, site maps, and interactive elements should be intuitive, ensuring visitors remain on the site longer.

Mobile Optimization: With a significant chunk of users accessing websites via smartphones, mobile optimization isn’t just optional. A site that adapts to different screen sizes ensures that users have a consistent experience, whether on a desktop or a smartphone.

3. Trust and Credibility Enhancement

Consistent Branding: From the logo to the footer, every part of your site should communicate your brand’s message consistently. This uniformity builds familiarity, which in turn fosters trust among site visitors.

Updated Content: Regularly refreshed content not only offers value but shows visitors that your business is active and updated. Whether it’s a blog post or updating product information, staying current is essential.

4. SEO: The Backbone of Digital Visibility

Google Loves Design: A well-structured, clean website is favored by search engine algorithms. Google, in particular, rewards sites that are user-friendly, have low bounce rates, and engage visitors longer.

User Engagement Metrics: The longer users stay on your site, the better it is for SEO. A captivating design, paired with quality content, ensures users spend more time exploring, boosting these vital metrics.

5. Competitive Edge

Stand Out: In an online world saturated with websites, a unique design makes your brand memorable. A professional design sets you apart from competitors and can be the difference between a user staying or bouncing off.

Reflects Modernity: An updated, trendy design communicates that your brand is contemporary. This modern touch can be particularly important if your target demographic is a younger audience or tech-savvy individuals.

6. Enhanced Conversion Rates

Guided User Journey: A well-thought-out design strategically guides users towards conversion points, be it contact forms, purchase buttons, or newsletter signups.

Clarity in Communication: Designs that are clean and free of clutter allow for clear communication. When a user understands what you’re offering quickly, they’re more likely to convert.

7. Scalability and Future Growth

Room to Grow: A business isn’t static; it evolves. A professionally designed website can easily be expanded or modified to incorporate new offerings or services.

Tech Ready: As new web technologies emerge, a professional site can integrate these advancements without requiring an entire overhaul, ensuring your web presence remains contemporary.

8. Cost Efficiency

Fewer Redesigns: Initial investment in a comprehensive design reduces the need for frequent expensive revamps, translating to long-term savings.

Maintenance Benefits: High-quality designs are less prone to issues like crashes or bugs, ensuring your maintenance costs remain low.

9. Authentic Brand Representation

Storytelling: Your website should tell your brand’s story. The design plays a significant role in this storytelling, enabling customers to connect with your brand ethos emotionally.

Aligning with Brand Image: Every design element, from color palettes to typography, should align with what your brand stands for, ensuring an authentic digital representation.

10. Security

Sturdy Platforms: Top-tier website designs prioritize platforms known for robust security features, ensuring user data remains protected.

Regular Updates: Keeping your website’s backend updated is essential. Professional website design ensures seamless integrations with security patches, safeguarding both your reputation and your user’s trust.

Conclusion

Investing in a professional website design is more than just aesthetics; it’s about ensuring user trust, bolstering brand identity, and securing online visibility. With the digital realm becoming increasingly competitive, a top-notch website design serves as a foundational pillar, driving growth, engagement, and conversions.

Originally published at https://webarcitech.com on August 24, 2023.

[sepanbanquet]

Use Sepan Banquet Hall for Team Building Activities

Bringing your employees together is vital to the success of your business. That’s why your company must undertake team building activities. They can range from problem-solving to cooking lessons to art classes to cocktail classes to so much else. If you do plan to have a team-building with your employees, you need to consider the venue. Sepan Banquet Hall can give you the space that you and your team need to bond together.

sepan banquet hall

Rent Sepan Banquet Hall for Cooking Classes Even though your company isn’t in the restaurant business or food business, cooking classes can be a great team-building activity for your employees. They are guaranteed to come together through yummy food.

Cooking classes as a team-building activity requires your employees to compete with one another while preparing a tray of appetizers.

What’s great about a hands-on cooking team building activity is that your employees will improve how they communicate with one another. They can foster their relationships while they learn how to prepare a chicken kebab or something similar.

Art Classes

Another fun team building activity is an art class. Your team members will learn more about one another through storytelling, drawing, or painting.

They can gather around a table and ask each other a question. Then, they must answer with art. It is a unique experience that can strengthen the bonds among your employees.

Karaoke You can also rent our banquet hall to host a private karaoke party. It is not necessarily a team-building activity. However, it still brings your employees together as they belt out their favorite tunes.

This type of activity will get your employees together as they form lasting memories.

Cocktail Classes On the other hand, you might want to teach your employees how to make delicious drinks. With this type of team building activity, you will need to hire an expert mixologist to teach your employees.

Our banquet hall is huge enough to have various tables to help your employees learn how to mix drinks. The instructor will show how to craft a perfect drink while your employees will try to mimic it or make their own.

What’s great about this type of class is that they can learn about mixing drinks and use it at your next event. In that way, there is no need for you to hire bartenders to serve your guests a drink. Some of your employees can be the bartenders for such an occasion.

There are so many team-building activities that your employees can undertake. Whatever activity you choose, make sure that it aims to improve their productivity. As you encourage your employees to work together, they can help to  work that much more efficiently.

They also help increase your team’s motivation and nurture your brand’s culture in various ways. As you complete a team-building activity, you are creating momentum. It also makes them feel more confident and good about themselves.

To get the most out of it, team building must be done regularly. And if you are planning to host one in the coming weeks, make sure to book our Sepan Banquet Hall to have adequate space for these activities. Call us at (323) 894-9446.

[phantomtutor]

Week 2 Discussion Topic: Performance Appraisal Case Study This case deals with the development of a comprehensive performance appraisal and management system that Dr. Amy Carver and her team designed and implemented for Wachovia Bank. Dr. Carver received her Ph.D. in I/O Psychology in 1992 from Rice University. At the time of this case, she was Senior Vice President for Organizational Effectiveness for Wachovia Bank. One of the concerns Dr. Carver had when she got to Wachovia was that they did not have a common performance appraisal and management system. Each year supervisors filled out evaluations, but there were no consistent standards and raises were not closely tied to performance. To remedy this, Dr. Carver and her team put together a comprehensive system that became part of the management/supervision system of the organization. This system tied together annual performance reviews with goal setting, employee development, and supervisor coaching. The system runs on an annual cycle beginning in December. The evaluation portion, which involves both employee self-appraisal and supervisor ratings, is entirely Web-based. Each employee-supervisor pair logs onto the company computer system to complete evaluation forms. These forms are focused on the match between the employee’s competencies, as displayed for the year, and the organization’s competency model for that position. This model, which was derived from a job analysis, is a specification of the competencies and skills needed for doing the job. When both employee and supervisor are done, a report is automatically generated that highlights areas of disagreement, and this becomes the basis for a face-to-face discussion. Around the first of the year, each supervisor meets with each subordinate to discuss his or her performance and to agree on goals for the upcoming year. These goals specify not only what is to be accomplished but also how it is to be done, thus providing a balanced emphasis on both work quality and quantity. The Web-based system sends e-mail reminders to each supervisor at quarterly intervals to conduct required coaching sessions with subordinates to provide feedback about competency and goal progress up to that time of the year. Goals for the future of the system include linking raises each year to performance and making the salary system part of performance management. As you can see, the Wachovia system goes far beyond just completing the usual “report card” on every employee each year. (Spector, 2006 p.103)  ReferenceSpector, P.E. (2006). Industrial and Organizational Psychology: Research and Practice (4th ed.). New York: John Wiley & Sons, Inc. Use the following discussion questions to guide your discussion of this case study: Do you think you would like working in a company with this sort of performance system? Why or why not? Why would a company like Wachovia invest so much effort into performance evaluation? Why are managers required to provide quarterly coaching sessions? Isn’t a once-a-year system enough? Do you think goal setting will increase employee motivation and performance? ORDER THIS PAPER NOW. 100% CUSTOM PAPER CategoriesAPA 7th edition, English Leave a Reply Cancel replyYour email address will not be published. Required fields are marked *Comment * Name * Email * Website Save my name, email, and website in this browser for the next time I comment. Post navigation Previous PostPrevious Storytelling and PersuasionNext PostNext toxic masculinity

[macadam]

First time falling into the thick of a couple transformers discourse blogs on here. Good lord no wonder I’ve gotten so many asks saying I’m a refreshingly chill blog

[rphelperblog]

Gilded Book Quote Rp Meme

book by Marissa Meyer- feel free to edit or change pronouns for rp purposes

“I suppose spite can be a weapon, too.”

“Absolutely. My favorite, in fact. Well. Other than a sword. Because who doesn’t love a sword?”

“Judging by your weaponry, I suspect you spend a great deal of time dueling and competing in target practice.”

“I may not have fully considered the repercussions.” 

“I’m just wondering if you plan to stand there gawking at me all night?

“The boundary between truth and fiction felt thinner every day.” 

“No, I’m not a witch. And I didn’t summon you. I was just sitting here, crying, contemplating my own demise, thank you muchly.” 

“The world was full of small enchantments, when one was willing to look for them.”

“How can you not? It’s your story?”

“Not every story has a happy ending. Life isn’t like that, you know.”

“I don’t think a shred of civility is unwarranted.”

“The superstitions of humans are so often the result of ignorance and ill-placed blame.”

“Suit yourself. After all, why he accommodating when one can be difficult?”

“Not every story is willing to reveal itself right away. Some of them are bashful.” 

“Books are meant to be shared.” 

“You only needed to say please. If you’re concerned with etiquette, that might be a good place to start.”

“I find that only mildly comforting.”

“That was one thing she loved about children. They were always surprising her.”

“But I prefer natural charm over vanity and brute strength.”

“It would appear that you’re trying to be aggravating, but that is my talent, I’ll have you know.” 

“A mortal in your realm. I’ve been paying attention.” 

“He was just one more jewel in her crown of guilt. One more person she'd failed.” 

“Unrequited love sounds awful.”

“Once my pupil, always my pupil,”

“this bargain is binding and unbreakable, and I fully expect you to stay alive long enough to fulfill your end of it. Do you understand me?”

“Despite your apparent disdain for this poetry, I think you’re a romantic.”

“I will gladly take awful over indifferent. Not every story has a happy ending. Life isn’t like that, you know.” 

You say those words like they’re bad things. But when it comes to the age-old art of storytelling, you need darkness to appreciate the light.” 

“Well, you might be a little in love with your own brilliance.” 

“I’m just wondering if you plan to stand there gawking at me all night?”

“If you’re suggesting I take a nap instead, I’ll gladly comply.”

“Your jokes. Your…pranks. You wield laughter like a weapon, a protection against your awful circumstances. I think you’re trying to create lightness where there is so much dark.”

“I feel so close to you both. Shall we embrace?”

“Would it hurt to ask politely?”

“You are very persuasive.”

“You’ll do it? You’ll accept that offer?”

“You win. I’ve decided to help you.”

“Absolutely horrid, but only a romantic would think so.”

“Of course not. But you still haven’t told me how, exactly, you plan to help me.”

“But that was nearly an entire year away. An entire year to dream up delectable, fanciful tales to awe and frighten the little goslings who were forced to attend this soulless school. Poor things.” 

"This may come as a surprise to you, madam, but your opinion is not required.”

“ Please. Do this for me one more time and I’ll give you…“I’ll give you my firstborn child!”

“I’m fine, Papa. Not kidnapped, not ferried away by some ghoul. After all, who would want me, really?”

“Would you care to hear a story?”

“I’m sure you’re fond of me, but to ask for my hand in marriage? I’m quite flattered, but we barely—

“Exactly. I always like hearing a story when I work. Or…in my case, making one up. Time slips away and before you know it, you’re finished. And all the while, you’ve been transported somewhere vibrant and exciting and wonderful.”

“But she had heard, and told enough stories to know that it was never wise to ignore the summons of a magical creature.” 

“My magic won’t work without a payment of some sort. It isn’t my rule, but there it is. You’ll have to give me something.”

“All of my favorite stories are about love, and I’ve spent an inordinate amount of time thinking about what it would be like, and wishing…” 

“It was mostly gloom and death and darkness.”

“I’ll keep that in mind the next time I’m saving your life.” 

“Sometimes superstitions are all that we have been given by the gods in order to make sense of our world. Superstitions…and stories.” 

“Now, that’s the sort of education that might come in handy someday,” 

“you’re in my way. Please and thank you.”

“You aren’t dead yet. That’s a distinct advantage over just about everyone else in this castle.”

“Any ghoul would be blasted lucky to have you.” 

"Selfish child. You are already a blight on this community, and now you will bring wickedness upon us!"

Her wandering mind getting her into trouble yet again.” 

“Fairy tales have happy endings! The prince is supposed to save the princess. Kill the Erlking and the huntress, then they both ride on home to their awaiting family and are celebrated by all the land. Happily. Forever! What is this…this rubbish, what with the king stabbing his sister, the prince getting mauled by his hounds… I can’t remember all too many stories, but I’m certain that this is the absolute worst I’ve ever heard.” 

“What child could resist the allure of such magic? The images of fae creatures dancing on toadstools and water sprites bathing in brooks and songbirds with glowing feathers alighting on the branches overhead.” 

My job is to prepare you for adulthood.” 

“Your stories, I think they’re sort of like spinning, too. Because it’s like you’re making something beautiful out of nothing.” 

“I’m done telling tales. Starting today, you’ll get nothing but boring news and the most trivial of facts. For example, did you know that playing three particular notes on the hackbrett will summon a demon?”

“ That tale did not sparkle,”

“ But there are two sides to every story. The hero and the villain. The dark and the light. The blessing and the curse. And what the miller had not understood is that the god of stories is also the god of lies. 

A trickster god.”

“Lately, all her stories had featured haunted ruins and nightmare monsters and heartless kings. Burning hounds and a stolen princess.” 

Is the little human afraid of the beasts?”

“I will not let you toil here forever. And until that day comes, I promise, I will tell you the happiest of stories to take your minds away from all of this. Where the heroes are victorious. The villains vanquished. Where everyone who is just and kind and brave is granted a perfect finale.” 

“All these miraculous beasts,

“Would that I could spin straw into gold. It’d be far more useful than this…spinning nothing but silly stories.” 

A real witch—not the way some petty people use the word to describe an unlikable woman with a haggard appearance, though she was that, too.” 

“ The true beginning was in the before times, when monsters roamed freely outside the veil that now separates them from mortals, and demons sometimes fell in love.” 

“I’m already dead.”

“gold has caused as many problems as it has ever solved.” 

“Cats don’t get much notice, but a toad? Could cause all sorts of trouble at the next feast.” 

“If she wasn't beholden to the truth of what had happened under the full moon, then she would have no qualms about embellishing it.” 

“You couldn’t have told him you could spin gold from silk, or even wool?”

“ When she talked, she could hardly keep herself from telling the most outlandish tales, as though her tongue could not tell the difference between truth and falsehoods. She began to trade in stories and lies herself, and while the other children delighted in her tales—so full of whimsy and enchantment—the elders knew better.” 

“One can only go around kidnapping people and butchering magical creatures for so many centuries before it gets tiresome.” 

“ The child was forever marked with untrustworthy eyes—pitch black irises, each overlaid by a golden wheel with eight tiny golden spikes. The wheel of fate and fortune, which, if you are wise, you know is the greatest deception of all. Such a peculiar gaze ensured that all who saw her would know she had been touched by old magic.” 

“She was not dead. She was not a ghost, like the children, like the rest of the king’s servants. But what did that make her? Tired, she thought. She felt so very tired. Yet restless, too.”

[writingdotcoffee]

#212: How to Turn an Idea into a Story

Thanks to dryadbucky for his question that inspired this post!

Ideas are weird. They come in all sorts of shapes and sizes. Sometimes, you're standing in the street, and you get this odd feeling that it would be a great place for a story. A person walks past; it seems that they would make a perfect character. Or you're just sitting at your desk, asking a series of 'what-if' questions. What would happen if the human civilisation evolved to live underwater?

Sometimes, when you get an idea, it seems like that's the whole story. Then you sit down to write and find out how wrong you were.

Stories are 🔥

Think of stories as fire. Ideas are the sparks. But you can't start a fire with just sparks alone. You'll need a whole bunch of sparks and some flammable material too.

An idea needs to be kindled and developed into something that will satisfy readers. But what sort of flammable material do you need?

Story structure

The flammable material is story structure. To turn a bunch of ideas into a story, you have to have a good understanding of what makes a good one first.

Developing a story will be very difficult if you don't know what you're aiming for. It's like asking someone who has no idea how engines work to build a car. Every car is different, but they all work along with the same general principles. Story structure is that but for writing.

When you know why stories can be broken down into three acts and what happens in each one; when you're familiar with what makes a good character arc and what makes characters relatable; when you know how structure each scene, you'll be able to turn almost any idea into a story.

Learning story structure

This will take some time. It certainly took me a while before I got a good grasp of it, and honestly, I'm still learning. I've read at least a dozen books on structure, and I'd recommend reading more than one to get different perspectives from various authors. After a while, you'll realise that they’re all talking about the same thing from different angles.

My favourites include Story Grid by Shawn Coyne and Into the Woods by John Yorke, but there are many others that people recommend. Save the Cat by Blake Snyder, Story by Robert McKee, Anatomy of Story by John Truby to name a few.

Keep working on stories while you're learning the principles. Every time you get stuck or can't make something work, learn more about that aspect of storytelling. Maybe your characters aren't relatable enough? Or perhaps you're struggling with writing scenes? Or your story doesn't have a climax? There are many great online resources about storytelling.

How I do it

Here's how I go from a bunch of what-if ideas to a developed story. I'm not saying this is necessarily the right way to do it. But that's what I've got.

Step 1: Where do your ideas fit?

First, I want to take a look at what I already have. Do I have an idea for a character or setting? Do I have an idea for a specific scene?

The 'what if the human civilisation evolved to live under water' idea from above isn't very specific. There aren't any characters or detailed settings. It's more of a theme.

In this case, I'd do a little more world-building to gather more clues. Maybe there are two factions — one in the Atlantic and one in the Pacific Ocean? Each should have an ancient capital city. I'd probably try to make these factions oppose each other — maybe they're competing for resources? Maybe they're having a cold war situation going on? Any conflict that you can get will be a fertile ground for more story ideas.

Step 2: What's the climax?

I like to think about the climax first. The climax is the most important bit — that's what the entire story will be building up to. If the climax falls flat, your readers won't be happy regardless of how amazing the rest may be.

When you have the climax and resolution figured out, find ways to connect it to the other aspects of your story.

In this case, let's say the conflict between the Atlantic and Pacific factions develops into a full-on war. One side is about to destroy the other's capital city. If things go that far, there will never be peace.

Maybe the protagonist is a secret agent that knows that the conflict is actually stoked by a small, elusive group that wants to cause chaos and take control when both sides are weak. That's the twist.

The climax of the story would be a scene where they're about to nuke the city, but the protagonist just manages to stop it.

In the resolution, the two factions would start talking to each other, and there would be a pathway to peace or even reconciliation.

Step 3: Work backwards and fill in what's missing

I like to work backwards from the climax. What would need to happen for things to end up in that place? How does the agent learn about the conspiracy? How does the war escalate this far? Who are the people running the secretive organisation? How is the protagonist affected by the story — what's their character arc?

At this point, you can layer in subplots as well. Maybe the protagonist has a private life too? A partner that dies during the sieges?

And what's the story of the villains? Are they just straight-up baddies, or is there more to why they want to take over the two oceans?

Keep doing this until you have everything you need — from the inciting incident to the resolution. That's why understanding story structure is so important — you have to know what's missing.

Step 4: Iterate

At this point, I'll have loads of notes, lists, character profiles and whatnot. I'll also have a bunch of mind maps (those to help me think).

Sometimes, plot holes or conflicting ideas sneak in as I'm building the story up. Now is the time to fix those and clean things up. For longer projects (like a novel), I'll go back to some of my favourite story structure books to re-read some passages that I've highlighted to make sure I haven't missed anything.

The whole process feels like a balancing act. I’m rarely happy with everything, but I try not to get caught up on anything for too long.

Step 5: Create a list of scenes

Before I start writing, I like to create a detailed list of scenes from all the notes that I've captured — that's my outline. Again, understanding how scenes work and how to structure them will be invaluable at this stage (I learned this primarily from Story Grid).

Some will be easy to figure out (the ones based on your major plot points). Others will be a lot more work (some scenes will have to do multiple things — it’s a one big balancing act). The goal is to have a sequence of scenes that tells the story you want to tell while hitting all the right plot points at the appropriate times to make for a satisfying read. You may choose one or more POVs. Each scene should have a turning point of it’s own and move the protagonist either closer or farther away from achieving their goal.

For me, this is when everything I've learned about storytelling really comes together.

And then, I'll start writing.

Final Thoughts

There's no right way to do this. I'm sure other writers do something entirely different and create amazing stories. Storytelling is an art form. The tools and rules that we use are helpful guides, but if you can pull it off, you can do whatever you want.

Anyone can have an idea for a story. Your ability to turn that idea into a story is one of your core skills as a writer.

If you're reading this and wondering wtf am I talking about, that's ok. It can be pretty overwhelming. People go to university to study creative writing. It isn't something you can learn from a single blog post.

Keep writing, and do pick up a book on story structure. Don't worry if it doesn't all make sense the first time. There was a time when I had no clue what a crisis was, and now I do. If I could learn it, then you can too.

About the Author

Hi, I’m Radek 👋. I’m a writer, software engineer and the founder of Writing Analytics — an editor and writing tracker designed to help you beat writer’s block and create a sustainable writing routine.

I publish a post like this every week. Want to know when the next one comes out? Sign up for my email list below to get it right in your inbox.

SUBSCRIBE

(I won’t spam you or pass your email to a third party. You can unsubscribe at any time.)

Past Editions

#211: Writing Every Day, September 2021

#210: Ed Sheeran on Writing, August 2021

#209: Good Writers Copy, Great Writers Steal, August 2021

#208: Write Like a Painter, August 2021

#207: On Being Stuck, August 2021

[ljxlj48]

Experience

Preview

Ballerino!Winwin X Ballerina!Reader

Genre: enemies to lover!

Word Count: 800+

Warnings: explicit language

Authors Note: FJSJDHJS we have a winwin story now guys 😩. Obviously this isn’t complete yet, idk when I’m gonna release the full version. Whatever gets the most likes is gonna get worked on first. Hugs and kisses to anyone reading <333

————————

“I am better than you in every conceivable way (y/n),” Winwin mocked in a condescending tone. “There’s a reason people call me Winwin and they call you princess.” You wanted to wipe that damned cocky smirk off his face.

“You know, Sicheng,” you started off, squaring up in front of the boy that towered over you, “when you’re at the top there’s only one way left to go. Don’t get too comfortable up there.” You let out just the slightest chuckle before turning to walk away from him.

Being a student at the Genevieve dance academy alone was a privilege in itself, only the best of the best around the world were allowed in. Only 196 students each year, one from each country, the home country being allowed two students. To make it into the academy not only do you need to be the best in your home country but remain the best.

Sicheng was perfect, his dances were captivating, storytelling and he knew how to read the music unlike any other. It showed in his competitions, that he was the best of the best. There wasn’t a competition that he had ever lost, thus the nickname ‘winwin.’ It didn’t help that he was extremely handsome. Of course you couldn’t see the charm in him, he always seemed to be put on an act.

The Sicheng you saw was snobby, entitled, selfish and just a plain old jerk. He never had a kind thing to say and he refused to give out a single compliment even when it was deserved. However it’s probably due to your strong outright dislike for Sicheng that you have earned yourself the nickname of ‘princess.’

Your classmates all thought you were just a spoiled little brat that didn’t know how to earn her gold medal, but instead just complained loud and long enough to get it. You didn’t need their approval though, you knew you put in the work, you knew you earned those medals and those trophies, you knew you wouldn’t be here without the hard work you put into it. You knew what you sacrificed to end up here. They didn’t need to know, as long as you knew.

Yet, no matter how hard you worked, how many sacrifices you made, how many hours you put into training, how many times you ignored the rude comments. You would never beat Sicheng’s record of 132 competition wins, you would always fall just short. The 130 competition wins you did have, wasn’t enough for you. You needed to have more than him, even if it was just one more.

-

“One more thing, before I dismiss class, Mariinsky Ballet company will be visiting.” oos, and ahs were all heard throughout the studio, “they are looking for two new dancers, one male and one female. All of you will be expected to partner up and put on a performance that is unlike any other, by the end of the month. I know all of you have competed as singles before, but this is a new era now. So I expect everyone to work well together. That is all,” Madam Adele finished off, “Oh, Sicheng and (y/n), stay behind please.”

You packed away all of your things, waiting for the rest of your classmates to leave before making your way to Madam Adele. You couldn’t think you did anything wrong that you cause her to be angry with you. You knew your position in the school wasn’t in jeopardy. What could she want that you needed to stay behind.

As the last of the people filed out, you went up to where Madam Adele was situated in a corner, “you wanted to see me Madam Adele?”

“Yes, you and Sicheng,” she beckoned for the boy to come closer. When he was finally in earshot, only then did she continue with, “the school will like the two of you to pair up together for the Mariinsky Ballet company performance.”

“I must,” you spoke up, you couldn’t allow this to happen, “contest. I don’t think that it’s best for us to perform for the Mariinsky company together. I would much rather prefer to find another performer to work with.” You could hear Winwin scoff at your comment.

“I am sorry (y/n), but me and the other teachers have decided. Plus the Mariinsky company wants the two of you already, this last performance is just a courtesy to the company and the school.” Madam Adele revealed to the two of you.

“I have no problems working with (y/n),” Winwin smiled sweetly.

“Good, the company will be here at the end of the month. I know I will be blown away by the both of you.” Madam Adele smiled leaving the two of you in the studio.

“I can’t believe this,” you sighed.

“Face it princess, we’re working together now.” Winwin smirked down at you.

You scoffed, “I hope you fall down a flight of stairs and twist your ankle the week before the company’s arrival.” You walked away going to finish packing up all your items before leaving the studio.

[elceetheporcupine]

After finally seeing sing 2 after years of waiting, I’ve got long, spoilery thoughts about it!! Here’s what I managed to gather so far.

MASSIVE SPOILER WARNING BELOW

- All the visuals improved. The textures, the facial expressions, all are amazing. Those shots of realistic foliage are basically Illumination flexing, lmao. Also it was so hard to sit still and pay attention to details because it was so easy to get lost in the music.

- So basically the plot wouldn’t have happened if Buster could take criticism and light praise lol

- No explanation to where Eddie went. I like to think he got an internship abroad to find a purpose in his life. Maybe Nana is portrayed as the new Moon Theater’s patron, if not owner, but it feels like her roles were originally meant for Eddie.

- I will say that the pacing in the first half is a little weird. I feel like there were a few important moments of character development that happened offscreen, especially between the old and new character interactions.

- That said, I loved that first little hint that Porscha isn’t happy with her dad’s treatment when we see a brief crestfallen look when he leaves. Consider how betrayed she must have felt, thinking her father would console her after getting “fired.” Instead he makes it all about him and has these total strangers handle her instead of himself. I can guarantee you that, offscreen, Porscha forgot about getting “fired” and now just cried about how little her Stage Dad cared for her.

- Anyway I love Porscha, even if I didn’t vibe with her at first. She only slips into her mean spoiled princess act when she doesn’t get way, but outside of that, she acts more like Elle Woods mixed with Charlotte from the Princess and The Frog.

- I feel like the upbeat nature of A Sky Full of Stars didn’t really fit the play’s war scene. It should’ve been Imagine Dragons’ Radioactive, especially given that the live version of that song contains a crescendo drum number that the movie incorporated. Although if Johnny needed a fast-paced song to dance to, maybe a hip-hop song would’ve done the job too.

- Ryan seems like a chill guy. Cool tiger. I want him and Johnny to hang out.

- I love Nooshy getting especially exited at the prospect of committing crimes. And the way she initially thought Johnny was asking her out on a date was priceless. Headcanon: lesbian….

- More on Nooshy, she acts a more childish than I originally assumed, so I really don’t know how old she is… I still think she’s in her early 20’s, and just probably acts immature. I want to know her past, especially since it’s obvious she likes to skirt the law…

- My gosh, I love that Gunter is the author of the screenplay, even though Buster had to spend effort helping him form it into a slightly more coherent plot. He’s got a creative mind and I’m proud of him, even if he’s indecisive. (He and my Christine have potential to clash. The silly storyteller vs the “serious” one.)

- I actually kinda dig that the in-universe play for Alice in Wonderland takes place in modern times, with a modern-day Alice in high school going into Wonderland.

- Alfonso must’ve somehow seen Meena before, and practiced that pickup line for her. Smooth.

- I thought Darius was gonna be enough of a jerk to have Alfonso replace him at the last minute, but the yak’s a competent actor and not a terrible person outside of his annoying pride. I have a feeling that might’ve been on the original draft of the script? But Meena imagining her crush on Darius’ place so she would feel comfortable acting romantic with an actor she isn’t into is pretty poignant from an acting perspective.

- Suki was surprisingly good. I didn’t expect her to join the gang.

- The cat though? He’s basically LeFou as a feline, which I’m pretty sure was completely intentional. Definitely a gay simp.

- The kids in my theater CLAPPED and CHEERED when Big Daddy came back. I didn’t know he was popular lol

- I don’t even have to change the script too much to make it fit the Ash Moon AU. Ash acts very close to Buster, beaming at him, and hugging him tightly at the beginning. It’s *adorable*. Imagine Porscha feeling even more inspired to stand up to her dad after seeing what real affection between father and daughter looks like, despite not even being related by blood.

[sundayswiththeilluminati]

The unplanned fourth part to my apparently-a-series on Essek Thelyss in the context of real-world espionage (parts 1, 2, and 3), today we look at an aspect of his story that doesn’t always apply in a D&D world: how do you prosecute espionage? 

Psych! That’s not the real question. The real question is: do you prosecute espionage? The answer is a) not as obvious as it might seem; and b) going to differ between D&D and the real world, because D&D governments are storytelling tools and IRL governments are...not.

The benefits of prosecuting espionage are obvious: the interests of justice are served, the person responsible can be punished appropriately and in accordance with the law, the full extent of their crimes are revealed (including potentially exonerating other suspects), counterintelligence gets to chalk up a win, and other people thinking about committing espionage themselves are hopefully discouraged. But there are a surprising number of arguments in the “against” column.

Some agencies that identify enemy assets want to leave them in place for their own purposes. For about 20 years during the Cold War CIA reserved the right to just plain not tell the Department of Justice if they had proof someone was engaged in espionage because they wanted the opportunity to turn them as double agents, feed them misinformation, etc. rather than outing and punishing them (President Gerald Ford ended this arrangement by executive order in 1976). This isn’t necessarily a good idea IRL, but it forms the bread and butter of RPG espionage storylines and is definitely something to think about in a D&D context.

In the real world, ideally someone can only be found guilty of a crime and punished accordingly after a trial, and an agency often finds itself with sufficient evidence to doubt a person’s trustworthiness but not enough hard proof to take to court. In those cases agencies may decide to leave that person in place but cut off their access to classified info. Ironically, sometimes this means promoting them - moving the person into a higher-ranking job in a different area that just so happens not to deal in secrets. Sometimes the asset realizes they’re close to being rumbled and goes along with the effort, maybe taking retirement early or changing jobs before they can be pushed, and the whole matter will quietly lapse without anything so formal as a trial. Sometimes someone makes a mistake and sidelines a loyal, competent employee. That’s a judgement call.

In the real world, ideally someone can only be found guilty of a crime and punished accordingly after an open trial. Given how severe the punishments are for espionage, civilized countries do try to stick to that even though holding such a trial carries risks. Providing proof that someone stole secrets generally requires talking about said secrets, which means revealing classified info in court, which may negate trying to keep the information secret in the first place. They may also not want to reveal in court how they figured out that person was a spy, especially if it was a double agent or cryptographic source that fingered them. In D&D-land where monarchs are common and still wield judicial power, fantasy rulers may hand down whatever punishment they please based on whatever evidence they (or the DM) will accept, so this isn’t as much of a concern.

Even a D&D monarchy that doesn’t have to worry about revealing secrets in court might think twice before publicly punishing a high-ranking spy, though, because the only thing more embarrassing than failing to convict a major spy is succeeding. A government having to admit that its people were compromised, especially high-ranking people, is a body-blow to its standing both at home and abroad. It damages trust in the government, makes the public feel unsafe, and makes allies hesitant to share information lest their secrets be leaked as well. Lower-ranking government employees may think, “My boss is selling secrets, why not me too?” or “Why bother to follow security protocol when some mole will give it all away?” Every decision and contribution made by the asset becomes retroactively suspect, even those that had nothing to do with whatever secrets they leaked. The foreign nation to whom they passed information inevitably gets drawn in as well, negatively affecting those relations. And of course everyone involved looks very, very bad.

All of which leads me to say I think there’s a chance - maybe not a good chance, but a chance - that Essek could privately confess the affair to the Bright Queen without major public repercussions. Leylas Kryn could simply declare him a traitor and order his public execution without justifying herself, but it would raise a lot of questions and none of the answers would help her or the ruling dens; Den Thelyss allowing Den Kryn to unilaterally execute a high-profile member - a child of the umavi - without explanation would stoke ferocious rumors about what Essek might have done and cast a major shadow over the entire den. But publicly declaring what Essek had done also doesn’t do the Dynasty any favors. It makes everyone involved look very bad - how could they miss a spy at the highest level? so close to the Bright Queen herself?? who can be trusted??? - especially Den Thelyss, which might lose its place among the ruling three as a result. Publicly outing such a high-ranking Kryn official as compromised might set off the Dynasty equivalent of a Red Scare, too, since the Explorer’s Guide to Wildemount mentions the constant and well-justified Dynasty fear of agents sent by Lolth to destabilize the Kryn out of sheer spite that they got away from her.

By the time Campaign 2 ended the latest clash between Empire and Dynasty had been settled and neither side seemed to want to stir it up again right away. The fact that both stolen beacons have been returned also bolsters the case for letting the matter lie. A confession from Essek clears up remaining doubt on the Bright Queen’s end - while he doesn’t know every Empire agent in the Dynasty, he can tell her exactly how the beacons were stolen and who else was involved, probably clearing the names of many currently under suspicion. Essek would have to resign as Shadowhand, of course, and leave the Dynasty (at least for a couple centuries), but he never seemed interested in being Shadowhand and he wants to go exploring anyway. Den Thelyss definitely wants the whole affair swept under the rug and would go along with whatever story made that happen. Other than Verin I don’t get the impression many people would miss Essek except as a lost opportunity. I hope they’d give him long enough before leaving Rosohna to pack up his cool leyline-weathervane though. He could totally mount that on Yussa’s tower. Or Allura’s!

And that concludes this particular train of thought re: Essek Thelyss in the context of IRL spies and espionage. Again, all of this is only as relevant to the campaign as the players decide it is, so don’t go giving people crap for being “unrealistic” about their versions of how the beacon trade went down. Frankly the last thing you should want here is realism, because “realistic” espionage is a callous world of deception, manipulation, and general human pettiness with no sense of narrative flow.

None of what I’ve talked about is an excuse for Essek’s actions. But it is a reason. It’s why and how a person entrusted with precious national assets could get into a headspace where it seems reasonable, even necessary, to trade them away to foreign enemies. It’s how a person of otherwise decent character & beliefs can end up committing terrible crimes. It’s why that person might sincerely regret what they’ve done, and not just because they fear punishment. The Warmind Rasputin paraphrases Octavia E. Butler saying, “Misdirected by accident or intent, intelligence can foster its own ecstasies of growth and decay.” In other words: sometimes you get too far into your own head. Without an anchor to reality, without perspective, your own mind gets twisted up. Sometimes you just need a friend (or seven) to grab your arm and say, “Breathe.”

(This accidentally turned into a series on Essek & IRL espionage: Parts 1, 2, 3, 4)

[ghinanotlinetti]

Squid Game (2021) is good, not the greatest, but better than anything in the dystopia genre produced in Engl*sh

Have you ever had a Netflix movie or series follow you around, it was almost impossible to get away from? You simply have no choice but to watch it to see what everyone’s on about? That was Squid Game (2021) for me. I already like watching shows and movies that are in the dystopia genre, so I was intrigued to watch this Korean show from Netflix. I knew enough about the premise to watch all surprises and twists unfold. In short, I was pleasantly satisfied with this one!

I believe in Asian cinema and TV supremacy!

This show is very intense, and had my heart racing! I got so into it, and felt like I was competing in the games. I’m somewhat of an adrenaline junkie when it comes to the things that I watch so I love thrillers, and I enjoyed watching Squid Game. The world-building in the plot really pulled me in, though I hate gore I can stomach it when it’s important to the logic set in the world-building. The creator, Hwang Dong Hyuk, did a great job in making a fantastic show, so praise-worthy, and I hate how people think it’s just a “Korean Hunger Games” when he invented this idea for a TV show before Suzanne Collins created HG. Hwang Dong Hyuk’s Squid Game is set in Seoul, and the plot works almost like a Narnia if Narnia were Hell, so the players each open the door to Hell but no one believes them when they try to explain that it’s real. Although there are elements of world-building, it’s very much is based on real life events and crises. The common enemy is Cap*talism. Everyone fights for themselves in this rat race, the VIPs have more than enough money to spare for each person to live a better life or pay off their debts, but they choose to pool all the money to give to one winner. It’s very clear here that characters like Deok-su and Sang-woo are not the real villains, because each character that’s playing the game has layered reasonings for the decisions they make, and it’s simply not that simple. Sure, gambling is bad, betraying someone who trusted you is bad, but it’s not as bad as hoarding wealth in the billions and resources which creates scarcity. Honestly, the worst part about seeing a good Asian TV or movie “go viral” in the West (derogatory) is seeing none of the Westerners get it. This isn’t the same like HG wherein that book and movie franchise is made in the US, and the Am*ricans saw that piece of fiction as what would happen if Communism took over the world - ??????????? - but everyone else saw it as a retelling of what’s currently being experienced by people in the Global South. SG, on the other hand, is an Asian-produced fiction that’s rooted in Asian storytelling and experiences, so it’s a completely different storytelling to HG which requires unlearning Eurocentric knowledge. Overall, I’m not taking any commentary from W*sterners on Squid Game seriously, and I expect Squid Game to be winning multiple Emmys.

The Characters

careful for spoilers!

Let’s talk about the characters! The characters are probably my favourite part of the show, and that’s because they’re nuanced, layered, and played brilliantly by the actors. I even enjoyed hating the “bad” characters like Doek-su, and the actress who played Mi-nyeo did a fantastic job playing the “annoying” character, every time I saw those two onscreen I was like “oh god here we go again!” and that’s intention which they really nailed. My heart broke for the two purest characters in my eyes: Ali and Sae-byeok! Ali is a Pakistani migrant worker who just wants to get him and his family out of poverty, and Sae-byeok wants to take care of her little brother and bring her mother from North Korea to South Korea. I really rooted for those two, and each of their stories broke me in the best way. I know how it meant for the South Asian community to see Ali’s character onscreen, so I’m very happy for everyone, this is a big win for diversity in Korean TV! Asian cinema and TV has a colourism problem, known fact, so this was a very meaningful win for a lot of us. I couldn’t help but like Sang-woo’s character. He’s not bad like Deok-su, he has his moments and he’s intelligent so the way he thinks is very interesting, which is exciting to see because it’s a fresh take on the smart character with a dark side. I saw quite a lot of people not like Gi-hun, which is understandable, though I personally like him. I can’t say too much because that character archetype, the tragic hero, has been done before but I thought it was played very well by the actor, so I enjoyed it. I personally saw the cast as an ensemble, I think it would’ve worked really well as a fully fleshed ensemble instead of playing into the chosen one / main character energy. I get that they’re supposed to invest a lot in Gi-hun’s character, but there were some missed opportunities with other character plot lines, for example: Ha-joon, my king! I enjoyed Ha-joon’s character a lot, loved his plot line but hated how it ended. I thought the brother reveal was a cop-out (get it?) and felt kinda lame because they did the most without doing a whole lot. It was a lot of build-up but the pay-off wasn’t quite hitting; I have more questions that I did before: how is In-ho involved so heavily in this? how did he start being involved? why did he have to shoot his brother? where does his loyalty lie? From Ha-joon’s perspective, it looked like he had a loving relationship with his brother, so I couldn’t see In-ho shoot his brother, or at least make them have a proper dialogue before it happens. Ha-joon had a lot of potential, he could’ve formed an alliance within the red suits to overthrow Front Man, and Front Man didn’t have to be In-ho, I would’ve liked it if they introduced a head detective character who has Ha-joon’s trust and respect then let this character be revealed as the Front Man (or Woman?), and then In-ho could’ve been a red suit worker who feels conflicted between Front Man and Ha-joon. Il-nam was another character that I felt need more context even if it’s purposeful to hide as much of his character’s true intention’s for the big reveal, they didn’t really address that in the pay-off finale. I thought it was rushed and didn’t really add to what I already knew about him. Il-nam is an old man who’s dying, and he genuinely wants to play games but has no one play play with, until he finds the most insane way possible to get people to want to play children’s games with him.

The Plot

I enjoyed watching the first three-quarters of the show more than the last quarter. The build-up of the plot was very well done, but the pay-off was rushed, and the ending wasn’t as satisfying as it could’ve been. The ending wasn’t even bitter-sweet or frustratingly good, it was more like why though? I think this is part of the Netflix formula which is a shame that they followed because I would’ve loved if they came up with something else away from that particular formula. The Netflix formula to me is: work really well on the build-up, focus on the build-up but not the pay-off, add a splash of chaotic plot reveals, and that’s how you make people beg for another season! There’s at least two Netflix series that I haven’t continued watching after the first one or two seasons specifically because I fear they’ll get cancelled, and I don’t want to spend a lot of my time and energy on something that could potentially be pulled from the plug. That’s sad because I know they have enough resources to support all projects to see them through the end, but they choose to select the few that are profitable to them for investment. Although SG is a good show, it’s still a Netflix show, the McDonald’s of content providers. And that’s not to say it’s horrible, there’s a lot to like about the build-up of the plot, very intriguing, so exciting, and thrilling! My compliment’s to the creator!

Very happy to see a Korean director get the proper production funding that he deserves (which was way overdue!). Congratulations to everyone who put their all into creating this show 👏 10/10 production, 10/10 acting, 9/10 characters, 10/10 plot build-up, 4/10 plot reveals. Needs work, but good nonetheless 👍