#this movie is really bringing out all the wannabe main characters

[olive-garden-hoe]

“The fnaf movie was mid it should’ve been scarier-“

LITERALLY SHUT UP OF COURSE IT WASNT SCARY IT WASNT MADE TO BE SCARY IT WAS MADE FOR THE PEOPLE WHO POURED HOURS INTO MAKING FAN GAMES AND FAN THEORIES AND CRINGEY OCS AND SHIPPED THEMSELVES WITH PURPLE GUY AND WISHED THEY COULD BE IN THE FNAF UNIVERSE AND PPL WHO BOUGHT BUDGET MERCH BC THEY WERE TOO YOUNG TO PAY FOR IT.

IT WAS MADE FOR US NOT YOU

[unproduciblesmackdown]

some more summer stock info from an interview with the writer cheri steinkellner

Her first move was to rewatch “Summer Stock” to see what it looks like now, decades later. She got out her Judy Garland boxed set and viewed “Summer Stock” on DVD. “I already had my writer’s head on and my adapter’s head, so I was trying to figure what from this movie can we pull and expand to really tell these characters’ stories because the film was built around the talents of the MGM lot — ‘More stars than there are in heaven.’ … When you’ve got those stars and those personalities, then the shape of the films can in large part be dictated by the stars and their charisma and so forth,” she said. When creating a musical, she focused on the characters and their stories — where the characters start, where they mess up and complicate each other’s lives, how they try to make it better and end up making it worse, and then how they resolve everything.

[...]

As she was reworking “Summer Stock,” Steinkellner not only considered the main triangle; she also expanded the supporting stories. She liked the idea of the city mice — the show people — and the country mice — the farm people — being so different yet coming together to save both the farm and the show in one unified way. “Anyone who has ever put on a show, new or old, knows that feeling when it feels like it’s going to fall apart but it starts to gel. We as a community of differently talented people all work together to make this thing that’s going to make people feel. There’s nothing like it. It’s a really, really good feeling,” Steinkellner said. The film, though, didn’t have diverse characters. “So we wanted to find a good, strong reason to purposefully bring a cast of characters together that represent our world. We talked a lot about color conscious casting,” Steinkellner said. In the stage version, the band of wannabe Broadway actors are old Army buddies who played to the troops during World War II to great success. But they are having trouble pushing their show forward in the civilian world.

[...]

Steinkellner and musical supervisor/arranger/orchestrator Doug Besterman wanted to integrate the tunes into “Summer Stock” as seamlessly as possible. She said it’s about “helping the song sing in the character’s voice and tell the story that we need to tell. It’s really important to me that I’m never just waiting until we get on with the story, that I have an understanding, whether it’s spoken in lyric or conveyed in emotion, that life is always happening.” As “Summer Stock” was being developed the last few months, there were times the story shifted, and so Steinkellner went back to find a new song that would better fit the latest rewrite. “Somehow in this beautiful Great American Songbook, there’s always the perfect song that I didn’t know until the moment arose for it. And I go, ‘Oh, you, come with me. We’re putting you back on the stage,’” she said. She found an Irving Berlin composition she hadn’t heard that now serves as “Summer Stock’s” Lindy Hop number. “I’m so excited to find an Irving Berlin song that I hadn’t been aware of,” she said. And when looking for a tune to open the second act, she gave Besterman and director/choreographer Donna Feore a list of titles to consider. Steinkellner wanted a song that would serve as “A Real Nice Clambake” did in “Carousel,” indicating post-intermission, she said, that “we’re happy to be back, settle in your seats, hope you had a good intermission, we’re back on the farm, we’re having a good time.” Besterman said “June Night” sounded like a good second-act opener. Steinkellner went back and listened to the only recording she could find, by the Ray Conniff Singers. “As soon as I heard it, I went, ‘Oh, “June Night” is exactly the right idea. And what if while they’re singing this song, we have all these city kids sitting around in the countryside. What if they see their first firefly and they hear their first cricket and owls, things that you don’t hear or feel or see in the city?’ “So Doug takes that and makes it into a whole Pentatonix kind of thing where we’re now bringing in all the noises of a summer night in Connecticut in song. It’s such a delight,” she said.

[...]

Although there are many changes, Steinkellner thinks the hearts of the characters are the same in the Goodspeed version as in the film. Jane is still a very practical family farmer trying to make things work. But the stage adaptation builds up the backstory of how this farmgirl is also a major triple-threat performer who sings “Get Happy” in a fedora and stockings at the end of the show. As for Joe, Steinkellner said the motivation and character changed greatly going from Kelly to Bleu. Echoing her earlier comments, she said, “We really set out to create something that was going to be a color conscious new telling of this period story.” A diverse cast of talented people have come together under the directorship of Bleu’s Joe, who has held this group together for five years. He encourages them, saying they will entertain audiences in America the way they entertained troops during the war. The story is set in 1950, and, in reality, it wasn’t until nine years later that a Black man directed a Broadway show. So, realistically, Steinkellner said, “They’re not going to get this show to Broadway, but they are going to get this up and find a home where they can all play at the top of their game together. It saves the farm and the show — and creates this thing called summer stock, in the telling of our show.” She said the cast in “Summer Stock” at Goodspeed is “staggeringly good.” They are, she said, “thrilling me with their talent and the heart that they’re bringing to it.”

[azucanela]

Okay so i'm feeling pretty bad atm because my best friend replaced me and i need some fluffy rn. How about hcs for the reader being coldly abandoned by their previous best friend. Believing she is alone, she falls to her knees and cries outside in the middle of the rain. A moment later, she glances over to see Bakugou, Kirishima and Shinsou behind them trying their best to cover her from the rain with their jacket. Thank you♡

COMFORTING YOU AFTER A FRIENDSHIP ENDS HEADCANNONS + SCENARIOS

[ft. bakugo katuski, kirishima ejirou, shinsou hitoshi]

SUMMARY: In which you are abandoned by your closest friend and are found by the boys. 

WORD COUNT: 2.7k

WARNINGS: mentions of murder, mean friends, me being violent, y/n has those main character moments in the rain its nice, 

A/N: bb im so sorry that they did that,,, please know that im here if you need anything and i will fight this person :D with your permission of course.

BAKUGOU KATSUKI

your so called friend ended up ditching you

im going to throw hands literally 

you end up leaving the café you have been waiting for her in, near tears, and as if it can’t get any worse, you have no ride home, so naturally, you are now walking whilst trying to keep from crying

you’re about half a mile from UA, the hill is visible in the distance and you are very relieved because you just wanna cry in your bed

then it starts to rain

so yeah it did get worse

out of frustration and the built up sadness, you just kinda start crying, coming to a stop and falling to a seat at the side of the road

you felt so alone, the one person you thought would always be around he replaced you

clearly they didn’t feel the same

meanwhile, katuski is running with his jacket above his head, cursing out the skies

and then he spots someone crying in the rain, he initially thinks nothing of it, until he realizes its you

the girl who he “begrudgingly” helped study on weekends, the one who he was up until 2AM with, even though he slept like a grandpa

now he’s cursing for a different reason, he comes over to you

he is gonna wanna kill someone when he finds out and tbh you should let him but thats just me

in the past, people have abandoned him due to his personality, and though it hurt in the moment, he got over it pretty quickly 

and tbh, most of the time he had a little squad of jerks following him around so he didn’t really care abt anyone else.

Staring at the text she’d just recieved, Y/N let out a shaky breath, trying to compose herself. Her so called best friend wasn’t coming, and would never be coming again. Apparently she had better things to do than hangout with some wannabe hero. Blinking away the tears, Y/N stood making her way to the exit of the shop, she stepped outside. 

She was beginning to regret ever leaving the UA campus, because at this point she’d much rather be crying in bed rather than in public. Y/N was suddenly grateful that the café was relatively close as she speedily walked down the sidewalk.

The one person she thought would be there for her through everything, through all the pain and joy and anything in between, was gone. Great. 

At least it couldn’t get worse than this, she decided as she saw the UA Campus in the distance, relief flooding her as her pace quickened. 

Then she saw lightning in the distance, thunder rattling in the sky, Y/N couldn’t help but wince. As water began to poor over her she paused her steps, exhaling deeply as she looked up at the sky. 

Then the tears began to fall, a hand coming to her mouth to quiet the sobs escaping her as she fell to the ground, seating herself at the side of the road, Y/N felt her body shake as she tried to force herself to even out her breathing.

Meanwhile, Katsuki was cursing out the skies, he’ been on his way back from visiting his parents when it began to pour. Immediately bringing his jacket over his body to try and shield himself from the brunt of the rain as he ran through the now empty streets. Save for one shaking person on the side of the road, causing him to raise a brow at, it was pouring rain and they were just sitting there?

He slowed temporarily to try and get a better understanding of what was going on, only to realize he recognized the person. Y/N. His classmate, the one he begrudgingly tutored on the weekend, the one he cursed out when she forgot to eat, the one who kept him up until 2AM even though his bedtime was normally 9PM.

Katsuki grimaced, coming up behind her with his jacket overhead to try and shield her from the rain as he spoke, “what the hell are you doing out right now? You’re gonna get sick.” 

Y/N jumped at the sudden voice behind her, though she knew it was Katsuki, she turned to see he was holding his jacket over the two of them, the red of her eyes a dead giveaway that she’d been crying. She couldn’t bring herself to speak as she looked up at him in shock. What was he doing here?

Katsuki’s face fell as his eyes scanned her for injuries, “who did this to you?” He wasn’t the best when it came to comfort, and he feared that would show as he began to interrogate her. 

Blinking Y/N realized what she must’ve looked like, trying to shake off the feelings she was experiencing she spoke, “we should go.” Wiping the water from her face, she moved to stand, and Katuski moved with her, his eyes still on her face. 

“Hold this side of the jacket.” He ordered, and she did as she was told, bringing one hand up to the left side of the jacket, which was now soaked in water and doing little to help. This action provided Katsuki with a freehand to put on the small of her back and push her forward rather aggressively. He lead them to a small grocery store on the street, pushing the door open. 

They were dripping wet, and looking up at Katsuki, who had returned to interrogating her, Y/N couldn’t help it when more tears leaked out of her eyes and she lunged forwards to tackle him in a hug.

He quickly shut up, body stiffening momentarily before he allowed his hands to wrap around her waist and return the hug. “Thank you,” she mumbled, burying her head in his chest.

Brows furrowed, Katsuki scoffed, “yeah, yeah. Whatever.” He turned to the view the rest of the store, “pick out some food, I’ll cook you something when we get back.”

Looking up at him, her mouth gaped open, “are you serious?”

“Did I stutter, you idiot?”

kirishima ejirou 

okay so

kirishima definitely is gonna hound you with questions when he finds you crying

like he cannot allow his bb to cry

not that you know you are his bb but like

it would be unmanly of him to just leave you in such a state so he does his best to comfort you.

has likely never experienced something like this so he can’t really empathize with you but he’ll try

basically tries to make you smile and laugh the entire time you are upset

contemplates talking to the girls for help, but he doesn’t know if you want others involved

instead texts them how girls like to be treated when sad but in a very vague way and tries to pass it off as some obscure tik tok trend

they go along with it, thankfully, mina has a major obsesssion though so shes upset she didn’t know about this trend

thats how kirishima accidentally started a tik tok trend

will respectfully commit a murder

respectfully

i’ll help

least likely to acc go through with murder tho

he’s going to try his best

also goes the food route, based off his studies via the “tik tok trend” and he will gladly hold you

Exiting the convenience store with a plastic bag of candy in hand, Kirishima sighed. He’d been out longer than anticipated, and it was already getting dark. The grey clouds above signaling the possibility of rain, Kirishima grimaced, he needed to get back to UA quickly.

He’d intended to have a movie night with the rest of the Bakusquad that night, and maybe even invite Y/N. He’d been trying to work up the courage to finally ask her out, but it hadn’t been going well. He didn’t feel very manly each time he chickened out, and Kaminari’s teasing didn’t help at all, escaping him was the main reason Kirishima agreed to pick up the candy that day. 

Sighing, Kirishima continued to walk, though the rain came faster, pouring down onto him as he groaned in annoyance, hoping that it wouldn’t damage his snacks as he pulled his jacket off to provide himself with some cover. Though it wasn’t very helpful, it was better than nothing. 

He begins to speed up, jogging slightly when he notices someone on the curb, seated. Kirishima frowns, moving behind them and bringing his jacket over them, “hey, what are you doing?” Considering how much it was raining now, and the sound of the thunder overhead, he figured the storm that was coming would only get worse. Being outside was the worst idea. And as a hero in training, he simply couldn’t allow this action. 

The mysterious person turns around, and Kirishima suddenly realizes its his classmate, his frown only deepening when he sees her swollen eyes. “Kirishima? She says, confusion clear in her tone as she looks up at him, eyes wide. They knew each other fairly well, though he could be shy at times, he was fun, and nice. And of course, rather respectful during all their interactions, she liked him. 

Kirishima pauses before finding himself sitting beside her in the pouring rain and allowing the water to hit him as he lowered his jacket, pulling a candy bar from his bag. “What’s wrong?” He asked, extending the candy to her. Though it would likely react poorly should she open it and the candy came in contact with the rain, it was the thought that counted.

Y/N’s mouth gaped open as she smiled sadly at him, taking the candy bar from him, “thank you.” She whispered, “it doesn’t really matter anymore, though.” She looks up at the sky, water cascading down her face as she inahles deeply.

Suddenly, Kirishima’s hand is in hers, “it’s bothering you, so obviously it matters.” He tugs her hand to get her to stand up alongside him, “and it wouldn’t be very manly of me to leave a pretty lady out in the rain.” 

A laugh escaped Y/N at this, “and I could never force a handsome man like yourself to stay out in rain.” Comes her reply, “let’s go.”

She wasn’t alone. Not while she had him.

shinsou hitoshi

WELL

definitely the best at comforting someone especially with something like this

feeds you sweets because food makes everything better, will be affectionate just for this instance because he knows you just want some love during this time

the best to talk to about it tbh, he’s very good at giving advice and listening to your problems

i feel like shinsou has probably experienced something similar in the past and he’s gonna understand what you are feeling

won’t try to make you open up but you’ll want to, he has a comforting presence

very calm about it, gently speaks with you and guides your actions, makes sure you take care of yourself if you are in a really bad place

once you’ve stopped crying he’ll ask you what happened and should you tell him he’ll honestly be VERY mad

like why would someone do that to an ANGEL like YOU???

is genuinely confused and potentially in a murderous mood

and he has the quirk to get away with it

wants to go off on this person though, desperately, and should he ever run into them they are going to get a piece of his mind

a really really mean piece of his mind

Shinsou frowned as he felt a droplet of water fall onto his head, realizing that rain would likely come soon, he picked up the pace of his walk. He’d been out at the bookstore, and was suddenly grateful that he hadn’t bought anything as he watched everyone in the shopping center begin to retreat to their cars and into shops. 

He watched a lightning flashed in the distance, brows furrowing at the realization that a storm was coming when thunder accompanied the sight and pouring rain soon followed. UA wasn’t far, but he didn’t really want to have to run in the rain up the hill the school had been built upon.

Turning a corner, his eyes scanned the area in search of a shop he could wait out the storm in when they fell on the figure of someone seated in the rain, no umbrella or hood to protect them from the downfall, and their body shaking. 

Then he recognized the hoodie. It was his actually, and he knew exactly who he’d lent it to. 

Y/N L/N. The pretty girl in the hero course who’d threatened anyone who spoke poorly of him, defending his honor even though he never asked. She was always kind to him, even when they weren’t the closest of friends. Though that had changed, the pair now talking almost daily about a variety of things, something Shinsou was grateful for.

Questions flood his mind as he removes his jacket and brings it above him, going over to her, and when he’s close enough he can hear her small sobs, barely muffled by the palm of her hand. Shinsou can’t help but feel concerned as he brings his jacket above her to shield her from the rain, “hey, let’s go.” He mumbles gently. 

Y/N looks up at him, her eyes red and puffy, and if it weren’t pouring Shinsou would’ve hugged her right there. “What are you doing?” When she’d simply collapsed in the rain, her emotions overwhelming her, she hadn’t assumed Shinsou would randomly appear.

“Getting you out of the rain.” Came his response, “come on, we can wait out the storm in the café.” Shinsou would’ve extended a hand had he not be preoccupied by holding up his jacket, which was now soaking through.

Sniffing, she nodded, “yeah, you’re right.” She stands, and he follows her movements, jacket never leaving her figure as the pair makes their way to the door of the café. Y/N pushes the door open, and they both enter, allowing him to finally put the jacket above his head down, though it started soaking onto the floor. 

He threw it outside, much to Y/N’s shock, “I don’t wanna dirty the floor.” Shinsou explained nonchalantly, his purple hair sticking to his forehead. “Have you eaten?” 

“Sorry about your hoodie.” She mumbled, at they moved out of the way of the entrance. 

Raising a brow, he extended a hand, “that didn’t answer my question.” 

Y/N’s brows furrowed as she looked to his hand, tilting her head in confusion as she placed her hand into his, Shinsou gave her a small smile before leading her to the line of the café as she replied, “no. I didn’t.”

His brows draw together as she looks at her, she seems resigned, quieter than normal. “How about a muffin then? Or maybe a cupcake?” He peers into the display window, squinting at the variety of foods. “I say cupcakes,” In his experience, sugary foods always made things better, to an extent at least. 

Giving him a tight lipped smile, she nodded, “sure.” He was trying. It was better than nothing if she was honest. Considering the fact that her best friend had abandoned her today, it was a nice reminder, that she wasn’t alone. She had other people, regardless of what had happened.

Shinsou’s eyes met hers as he sighed, bringing his free hand to the back of his neck, “you wanna talk about it?” He knew they’d have to address it at some point, there was no denying that she had clearly been crying, something had upset her. 

Shaking her head, Y/N pulled him closer using their joined hands and brought him into a hug, “not right now.” It was an oddly intimate moment, despite the fact that they were in public.

Regardless, he pulls her tightly against him, wrapping his arms around her protectively as he responds, “alright. 

A/N: if anyone ever needs to talk or anything pls know im here! my dms are always open to anyone for anything :D

anyways, remember to sleep well, eat food, and drink water!

[ilikekidsshows]

Could you talk more about Adrien and Lila being foils?

Okey dokey.

So, I haven't seen the original dark mirror meta about these two, so I might end up treading some of the same ground, but hopefully I'll be able to bring some manner of new material to the table.

Lila and Adrien are constructs of similarity and opposition. I talked before about how similar they both are in their social goals and methods for reaching them. Adrien and Lila are both "beautiful people", not only attractive in looks, but compelling, interesting and charismatic in persona. They're the two characters most likely to be seen surrounded by others.

However, the people who surround them aren't really their friends-friends, and only get to see the parts of them that they deem socially acceptable. Lila constructs fanciful tales about her wild adventures and talks about how she's oh-so-helpful without ever actually helping anyone in any way. Meanwhile Adrien is the picture perfect gentleman, soft-spoken and kind, always willing to give someone his time. They both want to be liked, but Lila wants to be the center of attention while Adrien wants to fit in. Adrien also does genuinely do nice things for others even if not always for selfless reasons, while Lila never helps anyone out in the show ever. In fact, when she was trying to win Adrien over in ‘Volpina’, she stole and dumped the Grimoire. Lila actively harms people.

Their behavior also leads to them forming parasocial relationships. Adrien gets hounded by crazed fans when he wants to do nothing more than see the rare movie his mother starred in, because they're under the impression he's everyone's friend so of course they're entitled to his time and attention at any given moment. Everyone believes Lila's stories without a speck of scepticism even as they get increasingly wild, because they have the impression Lila is such a nice, helpful girl, she could never be a liar. Lila is very much like an online influencer, who also often exaggerate or even lie about their money or social situation to appear more interesting on camera but their audience never even thinks to question it because they have this cool online "friend" who always has such interestesting stories to tell.

The most important difference between these characters, as it is the reason they come into conflict, is in their relationships with Marinette and Ladybug. While the two would eventually come into conflict over Lila being a wannabe supervillain while Adrien is a superhero, the reason they have come into conflict in the show so far is over Marinette. Adrien adores Marinette, while Lila despises her. Adrien is the one who voiced exactly how much Marinette means to their entire class in the season two finale, while Lila makes it her mission to tear Marinette and her position down in 'Chameleon'. Similarly, Ladybug is the love of Adrien's life, while she's also the single person Lila hates more than Marinette.

This show does a lot of good vs bad contrasts, and Adrien and Lila are no exception with Adrien being a chosen protector or Paris while Lila is an aspiring supervillain. However, they are similar in this too. The similarity comes in how willing they are to take on these roles. Cat Noir is a lot more hyped about being a superhero than Ladybug, from the very beginning in 'Origins', and Lila is also a more willing villain than Hawk Moth. Gabriel became a villain to get his wife back, Lila wants to become one to get back at Ladybug.

Adrien also puts other people ahead of himself at all times even outside of his role as a superhero. This is because of his abuse background, so he's basically been trained to be selfless to a fault. He has to really want something and/or have Plagg egging him on to act selfishly. This trait is what gets him chosen as a hero, since Fu sees him put helping a random stranger over his own happiness (getting to go to school). Meanwhile, Lila's first priority is herself and she thinks kindness doesn't exists, labeling kind people as either "gullible" or "stupid" in 'Chameleon'.

Also, their rooms. Adrien's is wide and most often shown fully bright or with a half-bright-half-shadows dichotomy, while Lila's is almost claustrophobic in how it’s always shown in darkness, despite being a pretty regular size. There’s also other symbolism in how light is used to depict their rooms. Lila’s room has a single window with the blinds down but not closed: she’s shutting people out but always observing them for weaknesses. Meanwhile Adrien’s large windows create shadows that make the room resemble a prison, which it has the potential to turn into, so the threat of being locked up against his will constantly looms over Adrien like a shadow.

However, there are still similarities. Adrien and Lila are both collectors. Adrien's collection is one of video games while Lila has a collection of masks. These collections showcase important aspects of their characters: Adrien values having a good time and Lila values always keeping her true self hidden. Adrien just wants to have fun with other people and loves having other people in his room to play with ('Party Crasher' and 'Félix' showcase this). Lila places value on the different masks she wears themselves. Does she even remember why she wears them anymore?

This one is going fully into wild theories territory, but Lila's bracelet looks like a friendship bracelet. I've made a bunch of these at various camps as a kid by weaving different colored strings together. They're commonly traded between friends.

Did Lila have a friend and the bracelet is either a token from one of her more memorable victims, or was this hypothetical friend the one using Lila and served as Lila’s Cynicism Catalyst?

I'll also briefly cover why exactly the story would want to use these characters as foils. That's because, ultimately, Lila is Adrien's opponent.

An important aspect of Lila and Adrien's relationship is the power games they play with each other. Each step of the way, they have been trying to figure each other out, and every time Lila is a step behind Adrien. Adrien figured out Lila was a liar way back in 'Volpina', but Lila didn't figure out that Adrien was onto her before 'Chameleon', when Adrien also started to realize the potential danger that Lila poses, which was further enforced by what he saw in 'Oni-Chan'. Then, Adrien realizes she's an actual threat to Marinette specifically in 'Ladybug', while Lila realizes that Adrien is completely capable of playing the same games she does.

Lila lets her guard down much more easily than Adrien, we see this in how she repeatedly lets her mask slip to show just how nasty she really is for Marinette and Adrien in 'Chameleon', while Adrien has never slipped with anyone to show just how damaged he is (the number one thing he is hiding). Everything he's told others is pretty innocuous stuff (e.g. "my only friend was Chloé"). Because Lila is more sloppy, she also allows herself to be smug with Marinette, thinking she has the real Adrien figured out already. However, she doesn't realize that she still hasn't figured Adrien out completely. Adrien might be wily, but he's also kind, and Lila messed with the people he wants to protect.

As we've seen from their interactions so far, ever since Adrien knew what she was like, he's been a step ahead of her. He's the one who sabotaged her original plan to get rid of Marinette (which was just waiting for Marinette to attack her publically and turn everyone against her) and he also stepped in to make her give up her second plan (framing Marinette for misdemeanours). So, while they're now focused on each other, Marinette is still right in the middle of the battle. The fight is between Lila and Adrien, but it’s about Marinette, so Marinette is still technically the main consideration in this sub plot, so it doesn’t sideline our main character entirely.

[maxwell-grant]

Vincenzo: The Gentleman Villain Reborn

Long before there were loudmouth buff guys in spandex, there was the gentleman villain.

There once was a time when the gentleman villain, whether a gentleman thief in the Raffles or Lupin mold, or murderous arch-criminals like Fu Manchu and Fantomas, organizations like Les Vampires, and even in-between figures like Rocambole and Judex, was the coolest thing in the pop culture block. The figures right around the corner of Baker Street, when Nick Carter and Sexton Blake and any billion old serial detectives weren’t quite cutting it. Their time was not to last long in the spotlight, as the pulp heroes consolidated domain in the 30s and then the superheroes took over, but every now and then, they return in various forms, never fully gone. But I’d dare say I’d never seen a gentleman villain story quite so bold, so modern, so dynamic and so gloriously over-the-top in pride over it’s existence, until I began watching Vincenzo.

Vincenzo is BADASS and I don’t use the term lightly. Not just the titular character, but the show itself. It’s currently a couple episodes short of the finale and you should stop everything you’re doing or watching and go watch Vincenzo. It’s been an utterly glorious ride from beginning to end with no shortage of great characters, terrific writing, great relationships and jaw-dropping moments as every episode succeeds in topping each other in WOW HOLY SHIT factor. It’s a shot of adrenaline and storytelling excellence to the eyeballs and you don’t have anything better to be doing right now than watching this.

I mentioned a while ago that Black was a show that, besides being also terrific in quality, captured my interest as a Shadow fan specifically because I saw in Black what I believe is the heart of The Shadow as a character: an embodiment of evil, motivated and created and warped by social catastrophe and strife, set loose to punish true evil in order to protect humanity. In that regard, if Black is where I find the heart of The Shadow, Vincenzo is where I find the spirit of what I like about The Shadow as a series: Cathartic urban fairytales where an extraordinary agent of change, armed with incredible cunning, sleight-of-hand and combat skills, rises above a dark background to command a folk brigade of ordinary people who reveal themselves to be extraordinary through their newfound purpose, to right the wrongs of society’s predators, by being better at their tactics than they are and turning their tools against them. 

I’m gonna spoil it a bit under the cut but please go watch it. I cannot praise this show enough and I’ll do my best to try.

Vincenzo centers around the titular character, Vincenzo Cassano, an Italian lawyer who works for the mafia as a consigliere, adopted by it’s Don at the age of eight. After the death of the Don and an attempted betrayal by his son, Vincenzo flees to Seoul and ends up taking residence at a ramshackle building called Geumga Plaza. Geumga Plaza is the hiding place of a gigantic stash of gold hidden by one of Vincenzo’s former clients, and he intends to retrieve it to rebuild his life somewhere else. Naturally, not only is the hidden room completely impenetrable, but the building is occupied. by residents who are being forced out of it by criminals working for the Babel corporation, which intends to take possession of the building. And thus, Vincenzo has to put his skills into working out progressively bigger problems, as his efforts to uncover the gold turn into a fight against Babel and it’s lawyers, as the problems take on bigger and bigger proportions. 

Vincenzo’s got a lot of what you’d expect from a k-drama at first glance. The leading man is a dashing young man, the leading lady is headstrong and stubborn, you see their romance coming a mile away and they take their damn time getting there, there’s emotional backstories that take a long time to be revealed, lots of wacky side characters and comedy interspersed with the darkest moments, a focus on corporate corruption, and so on. But it’s got an intrusion of elements brought by Vincenzo’s inclusion, such as mob drama, tonal and cultural imbalance, and the gentleman villain tropes that Vincenzo brings, as the catalyst of change whose antics backflip through action hero, romantic hero, super hero and super villain, cunning puppetmaster and gun-toting warrior alike, and start to have an effect on the world around him. His allies become stronger, more determined and effective, and the villains grow smarter and more horrid as they desperately try to avoid their own downfalls.

On paper, Vincenzo is almost a textbook example of how to craft a villain protagonist. He’s a mysterious foreigner with a hidden past and incredible skills who shows up uninvited in “our” world, who starts terrorizing and manipulating people into doing his bidding. He’s got a hotheaded and foolish investigator chasing after his every move, and frequently employs misdirection and sleight-of-hand to fool the authorities. He commits crimes and employs underhanded methods in the service of stamping out people worse than himself. He never really makes any claim of being a hero and actively rejects the notion he’s fighting for justice, but instead states he’s doing it as a matter of principle. One of the characters early on even states he gives off the vibe of a movie villain, even Vincenzo himself tells Hong Cha-Young, the female lead, that he’s teaching her how to be a proper villain. In another series, Vincenzo would be the hypercompetent sidekick to the main villain, or secretly the main villain, the lone badass that the action hero would have a tough fight against before defeating and moving on. But Vincenzo does not allow himself to be dismissed so easily. 

On the first episode, when we’re introduced to him in Italy, he’s painted as the badass to end all badasses. But the minute he arrives in Seoul, he falls for a trick at the airport and is mugged by two cabbies, and has to walk around penniless and without dignity, shouting curses in Italian that nobody understands. He has to sleep in a broken down apartment, his “taking a steamy shower with classical music playing” fanservice scene keeps being interrupted because the shower doesn’t work, and a pigeon chattering outside his window keeps ruining his sleep. 

The tenants of the building are all introduced as varying levels of unsympathetic and useless, or downright creepy. The tailor screws up his favorite suit, the chef who claims to have studied in Italy is a total fraud, there’s tenants who scare us by passing as ghosts and zombies, and Hong Cha-Young is introduced as an unlikable stooge for Babel. Vincenzo is a villain protagonist who is forced out of his grand mafia epic film, where he conducts business around lavish manors while classical music plays, and stumbles onto a korean drama, a world that operates by different rules and where no one has any reason to take him seriously at first, and gradually finds out that the difference between both worlds is not as big as he’d imagined.

It’s only at the very end of the first episode, when the neighborhood gangsters show up to terrorize the tenants, that Vincenzo starts to kick ass again, and he has not stopped so far. In fact, not just him, ALL of the tenants have gradually started kicking ass with him. Hong Cha-Young severs all connections to Babel and proves to be, as his main partner in crime, just as cunning, twice as driven, and three times as batshit and kooky. The tailor who ruined his suit turns out to be an ex-gang member capable of fending off groups of thugs with only his scissors. The creepy piano girl reveals herself a hacking genius, the zombie impersonators become incredible actors, the failed wrestler and badass wannabe becomes his most active field agent along with his equally strong wife, the chef improves his cooking and lends his restaurant as a meeting center, all of the characters, EVERY SINGLE ONE OF THEM gradually become incredible, competent, resourceful people, really no different than they were before, it just took a little courage and pushing. 

The headstrong and foolish agent pursuing Vincenzo becomes 100% smitten with him and quickly becomes one of his greatest allies. Even the neighborhood gangsters, after being left to die by Babel and forced to start anew, quickly become some of his most loyal allies, and gradually redeem themselves in the eyes of the tenants to the point they become friends. In departing from his old family, Vincenzo forms a new one, even if never by his intention. They even all get matching suits.

This incredibly potent, human core surrounding the antics of an extraordinary figure of action is part of what used to make the Agents of The Shadow such a special, meaningful and beloved part of the series, and something every adaptation since then has been 100% poorer for neglecting. But Vincenzo does it, and does it right. I could watch a billion adventures with these people and never get sick of them. 

Vincenzo is a slick, modern take on the gentleman villain that takes many of it’s oldest conventions and provides blueprints for making them work in modern times. His plans often take a performance art-edge as he employs tactics both old-fashioned and modern, like using social media to stage an event in front of the Plaza so the bulldozers set to demolish it won’t be able to pass, or copying files and passing them to his police contact while keeping the real ones when said police contact inevitably betrays him. The tenants put all of their skills to use, no matter how unusual or seemingly useless. Every episode lays the groundwork for a smashing finale where all of the threads come together and we bare witness to a grand tapestry of karmic retribution.

The villains themselves are no slouch, and also have that modern edge that gradually ramps up. They stage discreet assassinations involving gas leaks and watches meant to burst into flames. They stack the deck impossibly against all characters. They employ masked goons by the dozens, armies of lawyers to smudge any connections between themselves and their actions, and every sector of society in covering them, from journalists publishing pro-Babel propaganda to police commissioners. The assistant of the main villain does zumba classes amidst ordering assassinations, and is often likened to a snake and a witch with her "Crystal Ball” (the name she uses for ordering assassin contacts by the phone), complete with a cowardly, scheming assistant she bullies at every turn. The CEO of Babel has a dual nature not out of place in a Jekyll & Hyde/Dorian Grey kind of story. 

The main villain is often painted as a slasher villain backed by massive corporate power, murdering people with hockey equipments and even outright named “Jason” at one point, with a tense string theme song accompanying his deeds. The show hides the villain at plain sight by using one of the most familiar set-ups of romantic dramas and the tension never stops even after he’s revealed. 

Mobster films tend to paint an idealized version of it’s protagonists, not necessarily because of a genuine love or interest with mobsters (I mean, it really goes without saying that real life mobsters are obviously not admirable figures), but out of a sense of displaying a “this is what it could be” fantasy, a fantasy where the mafioso is a dark hero who will still ultimately do the right thing and stick up for the little guy, in a similar way to how superheroes often function as police officers except, y’know, actually dedicated to protecting people. 

Vincenzo does go to great lengths to address the imbalance of putting such a dark figure as it’s hero, through showing how the situation can only be addressed by the intrusion of a figure such as Vincenzo. There’s a scene where Vincenzo and Hong proceed to explain extremely succintly to their cop ally why the “bad apples” argument is horseshit.  One of the show’s characters, someone who’s spent his entire life being the best person he could, and dedicating himself 110% percent to fighting evil even at the expense of connecting with his own family, someone who absolutely should be the hero to take down Babel, admits shortly before dying that it wasn’t enough, that it was never going to be enough, and that what the situation calls for isn’t a hero, but a monster. That monster being Vincenzo, who is not only powerful and monstrous, but commands the loyalty of people high and low class alike, criminals and law enforcement agents, to fight Babel. In his words, “the ultimate monster”, something even the world’s biggest badass cannot defeat by himself. 

On most other set-ups, Vincenzo would be pretty unmistakably the villain. But here, when he’s set up against a starkly realistic depiction of how corporations actually function in our world, depicts that Vincenzo’s ability to clear his way through goons John Wick-style is nowhere near enough, and to that end, he’s gonna have to fight impossible battles using his brains and his allies. And in the end, he defeats them, time and time again, and proves that they were not that impossible after all. 

One can only hope he’s on to something.

Oh yeah and THE PIGEON BY HIS WINDOW ALSO KICKS ASS and I will not explain how, just watch the show, I can’t do it justice no matter how much I talk about it.

[tsu9live]

Before I start, this is in no offence to anyone else’s opinion. You are all valid and probably make more sense than me. This is a bit of a rant and then a short character study.

Warning: This got too long.

I tend to come online for manga updates and ended up reading through opinion posts because I am a curious cat. Most of the time I come across really well-thought out posts, really valid points. But then MHA is also a soap opera/family drama where the main character is not supposed to have any progress in his story unless its to bolster or move along the other favs . But then they shouldn’t be bolstering his story either because why is a story about Deku’s journey all about Deku?

But then there are people who are happy Deku is finally edgy and they want him to wipe the floor with his classmates who love him and are willing to fight him if only to get through to him. So there are both extremes and honestly there is validity in all these thoughts because despite the writer’s intentions, a reader brings the story to life.

I personally hate making my own predictions because most of the time I feel it ruins the experience of reading a work for me. I go in with different expectations and when the story goes a different way I don’t enjoy it as much but I feel its more my fault.

So I do understand and respect the difference of opinion because there is no fandom without discourse.

In my opinion though, this Deku solo arc was a long time coming and I think Horikoshi has handled it really weird. I’m still trying to understand what he wants us to think about.

A story about heroes and putting your life on the line for someone else is controversial, but, I thought it was a given. Recklessness had been part of Deku’s character but an overly-cautious character would do nothing. Deku’s lack of self-preservation wasn’t unnatural for a hero, he rushed in to save Bakugo from the slime-villain when Pros stood by putting himself at risk but it spurred AM to act. Katsuki experienced it as well during the war arc, when his body moved to save Deku.

Going to Kamino to save Bakugo was suicidal, reckless and potentially flawed but story-wise it made sense. How is hero-work anything than risky? Kirishima and Todoroki initiated it.

Disclaimer: Deku, Bakugo, Uraraka, Momo, Toga and Shigaraki are characters that are very dear to me because they have had me extremely invested since the beginning of the story. This is my personal opinion, flaws, rant... basically me working through my feelings about this manga I had been obsessed with recently.

1) There is an opinion where Bakugo had a right to be upset/angry/bully Deku because he wanted to be a hero but did nothing for it. Firstly, I don’t understand the need to justify his behaviour when he himself has expressed regret on it. People want others to move on from the “go jump off the roof comment” but won’t stop talking about how everything about Bully Bakugo was justified. Deku was weaker, but he had the same dreams, dreams that were the basis of their friendship earlier on. Regardless of how Deku wanted to achieve them, Bakugo had no right to keep trying to stop him from doing so. No, 5, 10, 14 year old Bakugo did not do so because he had the brilliant foresight that Deku would be self-sacrificial and it was for his sake, he was an angry kid and Deku was a timid, wannabe that confused him, intimidated him even. Taking out his anger was a way of working through those feelings. He was in Deku’s words “a punching bag”. In a world where the powerful reign, Bakugo couldn’t understand how a quirk less, weak little boy could think he could stand shoulder to shoulder with someone as gifted as Bakugo. Yeah, society is very much to blame. The change and maturity Bakugo goes through where he is humbled by a cast of amazing hero students who are just as gifted yet with inspiring personalities and then traumatic consequences of being kidnapped, watching his hero use the last of his powers to hold back a great evil, having that fight with Deku where he bared himself open, failing the licensing exam, training with todoroki, the internship... the war has changed him in a way that has brought out his full potential as a hero and a person. There is a lot to admire about him yet I see so many people fixate on headcanons that glorify his every action/word instead of praising the amazing person he has become/how well written his growth has been.

2) “Deku wanted to be a hero and he did nothing for it”. “He could have been a quirkless hero like Batman.” Listen, the story is about AFO vs OFA first and foremost. Hori has done a good job of worldbuilding and adding a cast of interesting characters that its easy to forget what the main plot point of the story is. But it really is about a weak/timid boy who was born with a sort of handicap who dared to dream to be someone strong enough to have others rely on him instead. A lot of the times people want to become something they feel they needed, someone who gave people hope just by existing. Its natural for someone who is ‘considered useless’ to want to be the most useful person ever. His mother didn’t believe he could do it, Bakugo told him repeatedly he shouldn’t even try, everyone else made fun of him, and his hero gave him a wake-up call, no... you can’t be a hero without a quirk. Deku studied heroes and quirks all his life, hoping he’d find something that could work for his advantage. Not every hero relies on physical strength, their bodies are adapted to the nature of their quirks. Deku’s analysis, quick-thinking and impulsive nature is what helped him progress even after getting the quirk because he didn’t gain control until really late. People act like he was handed power, seem to forget he has just learned to use it without consequences. His studies of quirks also made him the best candidate to get new quirks, quirks that he has learned to utilise as tools quickly and efficiently. He was doing what he thought was going to help him become a hero without guidance, without backing and constant discouragements. Its admirable and relatable. If you don’t relate to him that’s fine, your life was different.

Batman was loaded. Deku is not an inventor. The Editors shot that idea down because it would not have survived in a genre where power fantasies are the main hooks. Aizawa, sure he’s training Shinso because he sees his potential now but he would have either expelled Deku/moved him to General studies on that first day for scoring the least in that test. He changed his mind not because of Deku’s quirk but because of Deku’s ingenuity.

When Deku did find his guidance, he tried to do years of work/training in a short period of time. He acknowledges how far behind he is, that the rest are leagues above him and all he wants is to be able to stand side by side with those incredible people and he would go to all lengths to do so. DEKU has never said he wants to be the number one hero. He always says he wants to be one so reliable he saves people with a smile and later on, he wants to be a hero that can save without having other people worry about him. Bakugo works hard, he’s not just exceptional he works hard for it, all of 1A do but saying Deku does nothing when he is constantly shown, studying, training his body, understanding his shortcomings and working on it is just petty. You don’t like him because of his saviour complex, newsflash, that is a hero thing. Hero course is about that, Deku’s is just highlighted because of how often he gets hurt. How can you be a Todoroki stan and hate Deku (although to be fair its your right, I’m just making a point), the kid saw Shouto and decided that it was more important for Shouto to stop hurting and gave him a hell of a fight. I still remember Shouto’s smile, it gave me goose bumps.

Deku’s lack of self-preservation is a part of his programming so much that he hasn’t noticed it yet. Deku broke his bones, but he didn’t realise the permanent damage. When Deku got injured with Muscular, he was never intending to fight him alone. He wanted backup, his phone was broken and he wanted to get Kouta out and tried but Muscular gave him no opening. He was driven into a corner and fought his way out. Like Aizawa said, “He got that injured because he has no intention of dying.” Before rushing to find Bakugo, he informed his superior first, knowing she can spread the message.

The fight with Stain, he messaged his location to all his classmates, didn’t intend to fight Stain alone, just defend Iida long enough for help to come along. Fight with overhaul, he just wanted to get Eri away and when he understood Eri’s power, he gave her the opportunity to fight back against her oppressor by teaming up with him, keeping her secure with the cape made out of Lemillion’s hair. During the whole fight he was present-minded enough to take the fight away from civilians and managed to prevent damage and casualties. During Natsuo’s rescue he played support.

During the war arc, he realised with despair that Shigaraki was coming in all his destructive glory for him and tried to stop him before but he didn’t object to Bakugo joining him. In the movie Heroes Rising (the initially planned ending) he willingly gave OFA to Bakugo, because he trusts him with his life, and was willing to be quirkless again if that’s what it took to keep the kids safe, and himself and Bakugo alive. Its mostly been good decisions on his part.

Its the war arc that’s been his downfall. Watching his childhood friend/rival almost die, his best friend, his mentors almost die while he could barely hold Shigaraki back set off a fight or flight response in him. The seriousness of how Shigaraki came for him and left such death and destruction in his wake because he was not strong enough and AFO is a monster and the sight of Shigaraki and the reality of his situation pushed him down the current path. His solo arc started well because constantly training in the field has helped him master his quirk, and he had the backup of the vestiges who trained and guided him in learning to use it as a toolset instead of a one-punch solution. Then coming face to face with the flaws of hero society and the power, manipulative nature and destructive intentions of AFO has prepared him emotionally. He is not acting like AM, he hasn’t in a while. He is acting like NANA and i don’t blame him because she’s in his head. No adult stopped him from doing this, instead using him as bait to lure out the league.

When they started realising he’s spiralling out of control, that’s when they realised they messed up.

He’s running on adrenaline/fumes alone and I think he’s actually terrified.

“AFO is OFA’s responsibility” “Tell the world I am here” “You’re not as strong as me yet,” “You are not a worthy successor”

Deku isn’t self-centered and but I agree with the screw loose comment (its years of “you are useless, not good enough, not worthy and I bet a dozen or so concussions, bloodloss, dehydration lol). I know Bakugo means well and that’s how he talks. At the moment, he’s probably the only one whose sole goal is Deku’s survival. Deku’s like a wild animal, terrified, lost and as always backed into a corner. AFO has him where he wants him and I am curious to see how class 1 A are going to get through to him. I don’t want them to fight, all those fanarts of Bakugo reaching his hand out to Deku and then maybe punching him in the face would have been a lot better then the mocking (the slow clap was a little triggering for me) but again maybe it just bothers me and Deku needs it. I’ll just have to wait and see. Deku and his class together would be an unstopabble force and I am waiting for that to finally happen.

P.S. Class 1 A looks so mature, everyone going crazy about Bakugo and his tie and I’m here like, look at baby Kirishima and his roots <3

I’m sorry if I gave anyone a headache lol.

[axemetaphor]

im definitely not ripping off my friend by making a list of au ideas i have no siree //gonna slap this under a readmore cause i. well i say a lot. all of the time. i tried so hard to format this Good but tumblr fucked me up i am so sorry

so first-off i know i already have one WIP AU (Auckland) on ao3 so i wont talk about That one cause like. spoilers. i actualyl have it like 80% created so its likely gonna truly get finished for once and i dont wanna ruin shit

the other one ive posted about is something me and ben (catgirlrepublic) have worked on together its not at all close to done or anything but it's. a fun little crossover. Between jdate and my fuckinuhm. Original characters story “Untitled Villains Project”. the sketches of the comic version ive started is actually my pinned post 👉👈 its like the first chunk of the story, i think half of part 1? yea.

Tldr john fucking Somehow is able t oget into contact with a certain curious scientist from another reality who’d just love to study the Soy Sauce, most certainly not for her own nefarious purposes

John and Dave meet up with the scientist, her name is Boss, and her lab assistant, Toxic, and after a bit of a preliminary Vibe Check where john determines her trustworthy (which Dave doesnt agree with,) the two agree to be taken to the world UVP is set in. from there they stay in Boss’s lab (big old fucking abandoned military lab). John and Toxic are fast friends due to mutual love-of-chaos. John n Dave get to fuckin, camp out on an air mattress.

The day after they arrive, the two get split up, not exactly intentionally; big plot points of UVP are liek. Fueled by Boss sending Toxic to go fetch her “research materials,” which are usually important artifacts

Fuckin side note i guess i have to explain my dumb bullshit: Boss’s, uh, field of expertise so to speak is actually fckin, basically the scientific study of magic and superpowers n shit like that. This shit’s all real in that world. Toxic’s got fuckin superpowers, so do 4 other main characters, whatever. It’s got a bit to do with spirituality, iss Boss’s hypothesis. So she has Toxic fetch important artifacts that might have “energies” to them. The thing is actually way more fuckin complictated than that, this is just Boss’s initial hypothesis.

Motherfucking anyways. So Boss gives Toxic a job to do, and John get excited about how Cool that sounds, and ends up going with Toxic, leaving Boss and Dave alone. Neither is thrilled about this. But Dave and Boss get to have a bit of conversation (while Toxic and John are off bonding and having a good time) and come to a… mutual grudging understanding of some kind. They still dont like each other though lmao

Theres gonna be deeper shit going on but we havent sorted it out yet/tbh havent like Written For It in a while but i still like thinking about it a lot lol

Also pretty sure our endgame is john and dave steal toxic and bring them back with em lmao boss is kind of not nice and toxic would most certainly be better off in Undisclosed. Actually theyd fucking love it. Theyd become a local cryptid im sure. Undisclosed’s mothman is a teleporting spike baby.

I have. Another crossover AU that i might. Post something about for halloween? Maybe? If i have it finished?

Crosses over into, you guessed it, another one of my original-character projects. God, am i vain or something?

I promise this is just because i think blue and dave should get to team up to beat up some monsters

Quick briefing on my fuckinuh. Original character story, this one doesnt have a name (yet? Idk lol my work never actually goes anywhere sso who gives a shit). It centers around two grim reapers, Red (26, bi woman) and Blue (22, aroace agender asshole). In this reality or whatever, grim reapers function kind of like low-level office workers. They get told who’s going to die + when by some middle-management types, and upper management only involve themselves when punishment needs to be doled out. These Higher-Ups can be seen as analogous to Korrok; they’re decidedly not human, never were, and fucking terrifyingly powerful. Additionally, grim reapers are sort of .. designed to be “background noise” people. In reality theyre supernatural beings and, uh, look Real Fuckin Weird (the whole deal has a neon aesthetic im terrible at drawing uwu) but most humans just perceive them like extras in a movie. A body’s there but the camera’s not focused on it.

To the narrative: the shit starts when Red n Blue get relocated to Undisclosed. Relocation is something that just happens every now and then to reapers; they usually work in teams, but they get split up into different cities to avoid any strong bonds forming (a counter-union strategy from the Higher-Ups).

Red, Blue, John and Dave end up running into each other for the first time in a McDonalds where John n Dave are getting some 4am “hey, we just survived another horrific monster fight” celebration burgers. John and Dave are the only two people who can see how… strange Red and Blue are. Nobody else notices.

John unintentionally pisses Blue off, leading to Blue whacking him upside the head with a dildo bat. They all four get kicked out of McDonald’s. Dave and Red both are less than thrilled

Blue and John end up resolving their differences, somehow. Red and Dave briefly bond over their dumbass best friends being, well, dumbasses. They all part ways amicably.

somehow-or-other (idk yet) they end up running into each other a few more times, and eventually john invites them over to his place, and the four (plus Amy now!) get to know each other a little better

while there, Blue gets a text about some guy who's gonna die and John offers to drive them to where that's gonna go down. they take him up on the offer and get to have a bit of one-on-one conversation

after that ordeal though Blue has had Enough of people and bails, leaving John to head home alone

theres a sort of mirror-development going on with the five of em. Red, John, and Amy would all like everyone to get along, though theyre a bit tentative about it (John moreso than the other two, actually, jsut cause. well Red n Blue could still be Sauce Monsters). Dave and Blue on the other hand do Not like people enough for this shit, and Dave's not unconvinced theyre Sauce Monsters. he will not trust them until proven he should

the story's kinda nebulous but i got an idea for some Shit going down that involves both Sauce Monsters and also the Higher-Ups to have some fuckin absolute chaos go down.

Oops! All Trans

Everybody is transgender. Everyone

Ive actually workshopped this one both with ben (catgirlrepublic) and ghost (ghost-wannabe) lmao its a fun lil concept ive had from the get-go cause i mean. What’s an internet tran gonna do other than hit all their favourite media with the Everyone’s Trans beam

Dave transitioned post-high school and faked his death for it. People go missing in Undisclosed all the damned time, after all. He moved to the next city over, transitioned fully, then came back as a completely new man. Yes i know this doesnt exactly fit with the “everyone knows David from high school” thing alright, hush.

Anytime anyone brings up John’s old best friend (pre-transition Dave) John throws an entire fit like an overdramatic grieving widow. Full-on sobbing “why would you bring her up?! I miss her so much—” to the point that people just stop bringing up because Jesus Christ That Sure Is Uncomfortable KJHGFDS.

This is a scheme he and Dave came up with prior to Dave leaving, though Dave hadnt exactly anticipated John putting on this much of a performance about it— but it’s stopped Dave from ever having tto hear his deadname again, so hey.

Amy transitioned sometime in middle school/early high school. Her family was super supportive and loved her a ton and most people just know her as Amy. she was super shy her whole life really so. Yeah. people just dont think to bring it up lmao also i Feel Like big jim would absolutely wallop anyone who gave her trouble of any kind

John’s nonbinary (genderfluid specifically) and not exactly Interested in transitioning ? like hes fine with how he is. mostly.

he came out to Dave in high school but hes not out to anyone else exactly. Maybe his bandmates. Probably any other trans person in Undisclosed knows, too, cause theyre safe to tell lmao. Johns mostly a “he/him out of convenience” kinda nb who’s cool with any pronouns but does prefer they/them most. Dave and Amy use they/them when the trio are alone

Also this is a totally self-indulgent caveat that i think would be great, Dave’s actually agender but because he's transmasc and transitioned when he thought there were really only two options, and being Boy at least felt less weird than being Girl, he just kind of assumed he was a dude. It’s only through a lot of (like fucking years and years hes probably in his 30s/40s when he puts 2 and 2 together on this one) talks about gender with John that he realizes he actually feels like No Gender. Masc aesthetic with none gender.

I Just Think It’d Be Neat Is All Okay

Also Amy came out to Dave about being trans early on in them seeing each other and his response was to get very nervous before blurting out “me too” and then just being too embarrassed to talk about it for the rest of the day. Hes got a lot of hangups on talking about it actually it takes years for him to get comfortable in that

by contrast when Amy comes out to John about it his response is to yell “EYYY ME TOO” and give her a big ol hug lmao

I think itd be neatt if Amy ran a like. Transfem help/advice blog on tumblr. Kind of helped-with by John who can give her transfem nb insight for certain asks. I also just think that would be neat.

Cowboy AU - i put this one last cause its got drawings to it actually. Theyll be at the bottom

Basically just. Hey you ever watched a western. I think they look neat

This is another one me n ben have come up with lol

The soy sauce and all that shit still exist, im not sure where korrok fits in yet but ill figure it out

Theres no real like solid narrative yet ? but heres the barebones of everybody’s arcs.

John

Johns an absolute troublemaker, Of Course. Hes wanted in several towns for absolutely stupid shit. Hes a loner who shows up, causes chaos, gets drunk, does some drugs, runs away if people get too mad at him

He definitely had the same kind of deal with the soy sauce as in canon— he was at some kind of party, somebody offered it, he took it cause why the fuck wouldnt he, now he can see monsters and shit

Hes kind of a mooch also. Like. dont let him stay in your barn man he’ll never fucking leave and drink all your booze.

He runs into Dave when they happen to just, cross paths in the same town. the bullshit John stirs up ends up involving Dave in a way that makes it seem like it's his fault too, and they both get run out of town

after that he just tags along after Dave. hes decided this guy's Cool he wants to stick around. Dave is pissed at first, but not enough to shoot him or anything, and eventually, John grows on him

Dave

Dave also is a loner but unlike John hes simply so fucking awkward and bad with people. He doesnt feel like he belongs anywhere so he just travels

He’s the stereotypical Lone Ranger tbh. He wanders from town to town, solving their problems, though hed deny its out of any moral obligation (it kinda is, a little bit, tbh. He does like feeling useful). He shows up, fixes things, leaves. He's kind of a legend but most people think he's hiding something dark. other people jsut know him as that guy who farted real loud in the middle of the saloon and promptly skipped town out of sheer embarrassment. you know how it goes with Dave

He ends up involved with the Soy Sauce when a snake (not Actually a snake,) bites him. The snake’s more like the wig-monsters, really. Anyway, it injects him with the soy sauce, he fucking trips balls in the middle of the desert, he can see monsters now

He runs into John and shit goes tits-up, as said, but they become traveling buddies after that. he'd never say so, but he's glad for the company, actually. it's nice. hes not used to companionship but he feels a strange kind of easiness hanging out with John....

not sure how the Monster Dave concept will like fit in to this reality but like. trust me i want it in here. I'll Figure It Out.

Amy

Amy’s been living in a town John and Dave end up passing through and she is very curious about these two new Handsome Strangers who claim to fight monsters and just kinda. Persistently tags along til they let her join for real

Her family’s all dead, unfortunately, just like in canon, and she’s been living alone for a few years before meeting John n Dave. she had nothing left in that town to stay for, she'd been fantasizing about escaping on wild adventures for a long time and this felt a little like a dream come true. (Dave still gives her a spiel about how Difficult it is, but really, her fantasies were pretty grounded-in-reality already. i jsut think thats how she is, yknow?)

Shes the first person to react to the whole “we see monsters” shit with a kind of “oh, okay. neat” kind of response lmao

John and Dave fix whatever the fuck is up with her town (maybe that’s where the Korrok shit can fit, who knows) and Amy ends up being integral to that. After, she insists they take her with them because “they need her now” and Dave just cant really say no. John too is very much "the more the merrier!" and hes actually glad to have another person along he loves people lmao

At the start she has long hair but after she joins them she chops it short with a knife for convenience

also she still is an amputee. justt. idk. it was a wagon/stagecoach accident rather than a car accident lmao. just to clarify since i hadnt mentioned it, i wouldnt rob her of her ghost hand or yknow. all of the significance to her character that Missing A Hand has. although also now im going to have to research what was used as painkillers way-back-when, but im betting shes still got, like, her pain pills, they probably had those, maybe i wouldnt have to try too hard there. old timey medicine could be WACK though,

Shitload

Yeah hes in tthis shit mostly cause i liked designing his cowboy self lmao

Hes a kid (like 16, 17, technically i think in those days that was more Young Man than Kid but whatever. Hes Young i mean.) who got possessed by the Worms out in the desert and, by his family’s perception, just went missing!

Hes also a wanderer, but he ended up at the same town john and dave met in, at that same time, and starts following them after, already aware of who/what they are.

He keeps his face covered 24/7. actually he covers a Majority of his self for reasons. kinda want him to be a slightly more horrifying Worm Entity rather than human idk,

I kinda dont have much for this boy yet sorry Shitload

images !

with some editing notes for me cause im doing a very specific aesthetic with this lmao. i might change some lil details/colours though ...... idk

im also kinda 🤔 about shitload's colour palette. i want things assoicated w the sauce to be black'n'red predominantly but i think his palette might mirror dave's too closely. also im working on a korrok design i jsut am too busy to draw it now

[twentiethcenturymoviesandtv]

The Princess Bride: The Characters, Part 2: The Sicilian Crowd, the Villains, and Conclusion

When we are first introduced to Inigo, he’s not exactly a glowing example of heroism.  A former alcoholic, Inigo is a Master Swordsman, working as a mercenary, he is one of the trio who first kidnaps Buttercup (under Humperdinck’s orders).  He’s fine with the abduction itself, but shows a few of his true colors when he objects to murdering her, already proving himself a little more decent than Vizzini, the leader of the band.

A little later, during the duel with Westley, much is revealed about Inigo, more in fact than you ever learn about the backstories of either Westley or Buttercup: the story of his father’s murder and his own desire for revenge, so strong that it has encouraged him to dedicate his life to mastering the art of fencing.  The duel, exciting enough from an action and comedy standpoint, also clues the audience in on a few other key details: Inigo isn’t really all that bad of a guy, just a man on a Roaring Rampage of Revenge, again demonstrating the same duality (just reversed) that Westley does.

Despite not having as much screen time and focus as Buttercup and Westley, Inigo is the Breakout Character of The Princess Bride, a Determinator, the Lancer of the film.  As I mentioned, he’s also the character we receive the most information about, learning that he is a man of honor, good hearted, and loyal through his interactions with other characters, notably Westley and Fezzik.  Thanks to his sympathetic backstory and one-track mind, he’s understandable to the audience: we know everything about him and why he is doing everything.  He’s totally transparent in the best way, he makes sense, and the audience roots for him.  They care about him, even when he’s initially introduced as a more villainous character (albeit one with truly hilarious lines).  The audience arguably has a stronger attachment to him than they do to Westley and Buttercup, which is very unusual, especially when Inigo disappears for a while after Westley defeats him in battle.

In a way, Inigo would seem to have the qualities very necessary to carry a film: tragic backstory, sympathetic motivation, understandable actions rooted in very clear character traits, and indeed, a lot of elements that put him in the Hero camp.  And yet, like Buttercup and Westley, while some things fit him into this mold, others don’t.

Although he doesn’t have a connection to Humperdinck (aside from him being a distant employer), he does have a very strong tie to the main villains of the story in Count Rugen.

Rugen is, of course, the six-fingered man who murdered Inigo’s father so many years ago, and scarred Inigo himself.  It is he that Inigo is out to get throughout the entire film (and his entire life), a much stronger tie to an individual character in a personal way than Westley’s nemesis: Humperdinck.  Rugen is much more of an arch-nemesis, representing a very personal loss to Inigo, something that cuts much deeper, even, than true love.  While Westley never seems particularly worried about himself or Buttercup because he just knows that True Love will keep them together, Inigo reacts very strongly to Rugen and his own emotional journey, traits more typically associated with a protagonist than a cool confidence in how everything will turn out.

As a direct result to this personal stake in the story, Inigo, being at full strength and in full health, is the one who is given the final climactic battle at the end of the movie.

Where Westley has a rather anticlimactic confrontation with Humperdinck, Inigo gets a huge duel with Rugen, the climax centerpiece, the scene most memorable and most quoted in the entire film, ending in Inigo actually achieving his goal: getting revenge.  Afterwards, he even muses that after having gotten his revenge, now he no longer knows what to do with his life, with the film implying that he will become the next Dread Pirate Roberts in Westley’s place.  

Unlike Westley, and even unlike Buttercup, Inigo has an arc, pursuing what he wants actively, achieving it, and moving on.  He makes choices that have huge consequences in the plot: pursuing revenge, leaving Vizzini, finding Westley and bringing him to Miracle Max.  In a way, a huge part of the story is Inigo’s, just as much as it is Buttercup and Westley’s.  

Westley has the Heroic qualities, Buttercup has most of the focus (and her title in the movie’s name), and Inigo has the dramatic arc and climactic battle.  On their own, no one character manages to pull off the full requirements for being a fantasy protagonist, or even a protagonist at all, but together, they manage to make one complete protagonist between them.  While the story of The Princess Bride, in plot beats and story elements, seems very much like your very traditional fairy-tale story, in terms of protagonist, the execution is actually very complex.  By taking the traits of a protagonist and dividing them equally between three characters with varying levels of screen-time and activism within a story (not always at the same time), the story manages to get the audience’s interest invested in not one, but three characters equally, weaving the major threads for each of their stories in amongst each other to keep it all tied together.  And in the end, both the characters and the audience (even the Grandson!) feel closure and satisfaction.

But Inigo, Westley and Buttercup aren’t the only characters in the film.  Every story needs their supporting cast, and none are quite as supportive as Fezzik.

Fezzik is a Gentle Giant.  He’s big and strong, for sure, but he’s also very kind, the Big Guy with a heart of gold who, while not exactly being a pushover, isn’t out to hurt anybody who doesn’t deserve it.  He’s the Brute of Vizzini’s Beauty, Brains, and Brawn trio, and manages to subvert the Dumb Muscle stereotype.  He’s not terribly clever, but he does have a wit and intelligence to him that isn’t typical of most fairy-tale giants.

He and Inigo are borderline inseparable, and much like Inigo, Fezzik is somewhat okay with kidnapping Buttercup for money, but he’s considerably less approving of killing her.  Like Inigo, he is a man of honor, preferring to fight Westley in a ‘sportsmanlike’ way instead of clubbing him over the head with a rock like Vizzini first suggests.  He’s a good, loyal friend, rescuing Inigo from the palace guards, sobering him up, and then accompanying him throughout the rest of the story in finding and reviving Westley and then storming the castle.

Unlike Inigo, Westley and Buttercup, Fezzik has no stake in this story.  He has no goal to achieve here, no personal mission.  After Vizzini, his ‘boss’, is killed, there’s nothing keeping Fezzik in the story except his own will, like the Chewbacca to Inigo’s Han Solo.  He’s here because of his loyalty and concern for his friends.  He just wants to help, and help he does, turning his back on his mercenary ways pretty easily and without any real convincing.  He’s along for the ride, a supporting character that manages to be more than just ‘the comic relief’.  (In a way, one of the smartest things The Princess Bride did in terms of its characters was to make everyone funny, so no one is relegated to ‘just’ the comic relief.)

With that said, Fezzik still remains an active character in the story, helping with the storming of the castle and providing the Muscle (and the heart!) for the mission, and providing the escape by finding Humperdinck’s four white horses in his stable.

Starting out as a Minion with an F in Evil, Fezzik ends The Princess Bride as one of its most memorable and loved heroes, a kindly figure of support who’s anything but minor.

Which is more than we can say for the deceased leader of the trio of kidnappers: Vizzini.

Vizzini is the smartest of the trio sent to abduct Buttercup, but despite his bragging, he demonstrates hints that he’s not half as smart as he thinks he is.  The brains to Inigo’s beauty and Fezzik’s brawn, Vizzini is merely a Big Bad Wannabe, the final obstacle for Westley’s initial reunion with Buttercup, a Disk One Final Boss before the plot kicks off with portraying Humperdinck as the real villain.  However, while the film points out that Fezzik and Inigo fight Westley with honor, and he leaves them respectful of their talents (defeating them in the process), Westley shows no such respect for Vizzini’s ‘talents’, and simply Out-Gambits him, despite Vizzini’s Poisoned Chalice Switcheroo.  In the end, Vizzini is Too Clever by Half, and is the only one of the Sicilian Crowd to be killed, most likely due to his arrogance.

Despite his death being one of the most memorable scenes in the entire film, Vizzini doesn’t receive much screen time, or even narrative weight, in comparison to the true villains of the movie.  After all, Vizzini is only a hired stooge, a pawn in Humperdinck’s evil plan.

Humperdinck, as far as fairy-tale villains go, isn’t terribly impressive.  He’s no great dragon or emperor, or evil wizard.  He’s just a prince, a man with a lot of power who’s used to getting his own way.  He does plenty of rotten things along the way (torture Westley and kill him, order Buttercup’s kidnapping, attempt to kill her) but in the end, his goal isn’t world-domination, or wealth, or anything like that: he’s just after an excuse to go to war with the neighboring country.  He’s not after Buttercup for her beauty, like many other fairy-tale villains before him, he’s just after her to use as a political figure, aiming to kill her after their wedding night and pin it on Guilder.

Arguably, this makes him worse.

There’s no great, over-the-top explanation for his villany.  He’s not cartoonish or after traditional fairy-tale things, he’s actually after something that we’d see in the real world.  He is the true Big Bad, the Chessmaster, The Evil Prince obsessed with war, who, ironically, happens to be a Dirty Coward.

Oddly enough, throughout the film, although Humperdinck is presented as the Archenemy of Westley, there’s no real personal connection between them.  This isn’t like Beauty and the Beast, where both men are vying (in their own way) for Buttercup’s affection.  Humperdinck honestly couldn’t care less about Buttercup, viewing her as a tool to get what he really wants.  In the end, he rushes through a marriage ceremony in order to murder Buttercup after the wedding, again, nothing personal, just business.  His only connection to Westley is happening to choose the wrong girl to murder.

As such, as opposed to Count Rugen’s thematically resonant demise, Humperdinck is actually allowed to live, and go free at the end of the story, which seems to be a big-time rule-breaker in terms of fairy-tale storytelling.  The Grandson himself expresses irritation and disbelief at this fact, after all, villains should be punished, not sternly talked-down by a paralyzed hero.

Yet, that’s what happens.  Considering that the most Humperdinck managed to do was temporarily kill Westley, he gets very little ‘revenge’ in return.  Like I said in the Story article:

Westley couldn’t care less about Humperdinck other than the fact that he’s getting in the way of his and Buttercup’s storybook love.  Humperdinck is an obstacle to his true goal and drive, and he’s not worth the killing.  Once he’s out of the way and Westley and Buttercup are reunited, Humperdinck ceases to matter to Westley.  If the story had been from Miracle Max’s point of view, Humperdinck would have died or at least, have something more horrible happen to him, but since Humperdinck never really succeeded in doing much of anything throughout the story, he’s actually so pathetic that he’s not worth Westley’s time.

So, yeah, Humperdinck is left to live with his cowardice because his death wouldn’t have provided the characters anything except maybe catharsis, and honestly, that’s not really a good enough reason to off your villain

He’s such a coward, he doesn’t even have a chance to take part in a climatic duel.  He’s so unimpressive as a fantasy villain that he even strips the audience of their chance to see another sword fight, without diminishing his hatefulness and narrative weight as a villain.

Thankfully, the audience does get their climactic battle: thanks to Count Rugen.

Rugen is Inigo’s archenemy, rather than Westley’s, and unlike the rivalry between the main protagonist and antagonist, Rugen’s relationship with Inigo is very personal indeed.  Rugen, the six-fingered man that Inigo wants to hunt down and kill so badly, is the man who killed Inigo’s father, and left him scarred as a little boy.  Rugen is the Dragon, a Soft-Spoken Sadist who serves as Humperdinck’s Right Hand Man and Torture Technician.  He is the inventor of the torture machine that ends up taking Westley’s life, and throughout the film, serves as co-conspirator to Humperdinck.

He’s pretty rotten, and just like Humperdinck, proves himself to be a Dirty Coward too.

However, while Westley let Humperdinck live with that knowledge, Inigo offers Rugen no such mercy.

The final duel between Inigo and Rugen is one of the show-stopping setpieces of the film, paying off a considerable amount of buildup foreshadowed with much of Inigo’s dialogue and character.  Like I said in the ‘Story’ article:

On the other hand, Inigo’s villain, Count Rugen, is killed, for a very simple reason: that’s the logical end to fulfill Inigo’s story.

In order for Inigo to feel fulfilled and gain satisfaction, to lay his father’s spirit to rest, Rugen has to die, knowing why he’s dying, and who it is who killed him.  In a sense, the antagonists fit the ‘antagonist’ bill much the same way the protagonists do: by splitting the roles, from Humperdinck having the main plot being responsible for most of the obstacles, where Rugen fills in for the emotional punch instead.

There are other characters too, of course: Miracle Max and his wife Valerie, offering a comedic look at a few other residents of Florin, The Albino, Rugen’s assistant, The Impressive Clergyman, and even Yellin, the captain of the guard, but for the most part, these characters (aside from Miracle Max and Valerie being responsible for resurrecting Westley) serve as comedic filler, without much actual narrative weight.

As fairy-tale archetypes with surprising amounts of dimension, the characters of The Princess Bride all do their jobs with ease, falling into natural roles in an organic fashion, despite the unconventional structuring of the characters’ parts to play.

The beauty of all of these characters is that none of them are in the slightest bit realistic.  These are very clearly ‘fairy-tale’ characters, who don’t think about things in the way that we do, and yet, the audience still relates to them, is entertained by them, is concerned for them.  Even though characters don’t act in terribly realistic ways, they are motivated by things that we understand: love, revenge, etc.  The audience feels and understands their emotions, and therefore understands where characters are coming from, even if the actions taken by the characters are primarily ‘fantasy based’, superhuman, incredibly skilled and heroic or villainous in the context of the story that the Grandfather is reading to the Grandson.  

The Princess Bride’s characters are not portrayed as ‘people’, instead being played as simple characters typical of traditional ‘fairy-tale’ stories.  Each character, whether hero or villain, behaves almost as though they know what part they inhabit, playing the ‘fairy-tale’ aspect straight, with a comedic edge to the archetypes found in a book, a familiar-feeling, simple, but emotional story that people have loved and laughed with for decades.

The characters of The Princess Bride serve their purpose incredibly well: making the audience care about what happens to them.  Every role is memorable, unique, distinct, with plenty of quotes and character tics to be referenced and replicated decades later.  They perfectly match the film they belong to: a fantasy classic that has finally been Vindicated by History, gaining it’s rightful place among fantasy greats.  

Thank you guys so much for reading!  If you have something you’d like to add or say, don’t forget that the ask box is always open!  I hope to see you all in the next article.

[cybrfang]

Random Lost Boy Headcanons

Paul's favorite movies are Scream and Legally Blonde. He likes Legally Blonde due to the fact that the main character brings up blonde discrimination and he's all about dismantling that. There also was a time he thought maybe he could become a lawyer -after watching the movie for the first time- but Star had to remind him that you normally need to get your picture taken at least once, and he wouldn't show up on film. Sad to say, he was bummed out for 3 weeks. So to make up for it, the rest of the gang let him act like a mini lawyer for them. Turns out, he didn't know what the hell he was doing and promptly quit. He likes Scream because Sydney doesn't mess around when it comes to telling the killer to fuck right off. Though he does get sad in the beginning of the movie when Casey dies. Which is pretty weird due to the fact that he's been much more brutal in a killing. He just doesn't think the motives we're good enough. Paul needs to kill to survive. Billy killed because of something his father made a conscious effort to do. Stu was just batshit though, so he could respect that.

David's favorite movies are Die Hard and Fantasia. I don't particularly have to explain Die Hard really. It's just the idea that they dropped Alan Rickman without actually getting to the end of the countdown and Alan's face kills David every single time. With Fantasia it's more like he just likes music that blends well with colors. He loves when people try and guess his favorite part.

Star actually has no patience for booth games. She hates how long they take and how most of them are rigged. The worst part about it all is booth attendees trying to convince you to play. She's heard all the gimmicks. The only reason she'll wait around is because Dwayne always wins her a prize. He always promises to give her the biggest stuffed animal the booth will have. Safe to say there is a corner in the cave where all of Star's stuffed animals hang out. It's a fun place for her to cuddle up with Laddie and tell him stories. She just has to watch out for David stealing some.

Dwayne has a mini gag reflex when he's not getting busy. It's always something stupid like when someone's trying to flirt with him on the boardwalk, or the look of oatmeal. He can't watch you pour any type of syrup either. That's always a good way to make him audibly gag. He thinks it stems from licking glue...or was it the aloe vera… or maybe the homemade slime… or was it the goddamn bloonies??

Marko has a written and edited script hidden somewhere in the cave. He started writing it when he was on a hell of a binger. When he came down, he realized he actually had a pretty good movie idea. He hasn't told anyone about it yet, it doesn't have the perfect ending yet. It's about two wannabe rockstars who really need to pass history class. So somehow they end up going back in time and pick up a bunch of old history peo- ya know what… you'll see it when it gets released. All he needs to do is find the main stars. He already has a pretty good idea on who he wants.

[ordinaryschmuck]

Top 20 BEST Animated Series of the 2010s-4th Place

To anyone who plans on making a reboot of their favorite show in the future, you might want to take notes on this next pick. Because if you ask me, this next series that I'm going to talk about is the best example of how to do a reboot properly.

#4-Ducktales (2017-2021)

The Plot: Scrooge McDuck is the richest duck in the world, who made it big by also being one of the greatest adventurers of all time...ten years ago. Sadly, after an unfortunate accident with the family, Scrooge is forced to live the life of a normal businessman-er-duck. Up until Donald Duck asks Scrooge to watch over his nephews: Huey, Dewey, and Louie. What starts off as a single day of babysitting soon turns into a life of adventure as Scrooge gets back into the adventuring spirit to show his new family what the world really has to offer.

Now I want to make one thing clear: As of the moment of me writing this review, I have seen a total of zero episodes of the original Ducktales. That being said, despite my limited knowledge of the series, I still think it’s fair of me to point out how this is hands down the best reboot as of late (and I’ll explain more as to why that is later). And besides, from what I’ve heard from fans who have watched the original, Ducktales (2017) is a pretty faithful adaptation of the beloved franchise. The reason is that I believe this show remembers the two most important rules of making a reboot.

The first rule of a reboot is to try something new while still being faithful to the source material. Doing something like that is simple as a writer just needs to keep what the fans love and change what they hated. And trust me when I say that the writers of Ducktales (2017) knows how to do just that. For the most part, the show is about a family going on crazy globe-trotting adventures while still learning that family is the best adventure of all, much like the original. As for the characters, most of them keep their fun personalities. Scrooge is still a stingy miser with the heart for adventure, Launchpad is still the lovable idiot who can’t fly a plane, and Donald Duck still remains the one who gets stuck with all the bad luck. Then some characters have their personalities/roles revamped into something that improves upon the original. The best example is Fenton, who is still the wannabe superhero but is now a scientist in this show, wherein the old one was just Scrooge’s accountant. This way, both the hero and the man-DUCK-who’s behind the mask are equally capable of saving the day. There’s also Mrs. Beakley, who was originally a nanny that nagged Scrooge’s ear off for putting the kids in danger. In the reboot, she’s treated more as the anchor of reality to the more oddball characters, who also used to be a kick-butt super spy in her younger years. It is still the same role, but a different interpretation.

Now, some characters receive grand changes to their original personalities. But from what I’ve heard, those changes are made for the better. And there are no characters that need it more than the children. More specifically, Huey, Dewey, and Louie. This show does something that I’m eternally grateful for, and that’s giving each of these three their own distinct personalities and quirks. For years I couldn’t for the life of me tell the triplets apart. They had the same design, the same voice, the same personality, and the only difference people had to go off of are their different colors (which really didn’t do much to help). Here, they have different designs, voices, and now defining character traits for each of them. Huey is the smart and responsible boy scout, Dewey is the annoying attention seeker, and Louie is the best character in the entire show, and I WILL FREAKING FIGHT YOU ON THAT! And let us not forget the most appreciated change: Webby. From what I’ve heard, fans hated the original Webby, as she was nothing more than just the stereotypical girl of the group. Here, she’s given an actual personality and a fun one to boot. Webby is the ecstatic thrill-seeking adventurer who is skilled in combat training (thanks to her grandma) and is (of course) a socially awkward girl who wants to make friends. Like I said, this show took the idea that the fans hated and changed it into something that they’ll love. Which makes sense why the writers mastered this because they themselves are real fans of the show.

It is clear how much the writers are fans of the Ducktales franchise as they filled Ducktales (2017) with many references. And not just references to the original series but also references to the classic comics by Carl Barks and even the NES video game from the 1980s (seriously, this show will make you feel things about the “Moon Theme” you wouldn’t think was possible!). Even the show’s animation seems to be a homage to both the cartoon and comics. Not only do the characters and backgrounds have a more comic book style to them, but the characters also work on a mix of realistic and cartoony logic. And let me just say, it is refreshing to see characters in a Disney show have cartoon logic to them since Wander Over Yonder got canceled. And it’s not just Ducktales that the series reference, but even classic Disney movies (of course) and other shows in the Disney Afternoon lineup. And when it comes to these references, it’s more than just a subtle wink to the fans. The writers actually go out of their way to write a story around these beloved characters, so people who don’t get the joke won’t be one-hundred percent lost. For instance, without giving anything away, the writers found a brilliant way to reintroduce Darkwing Duck in this universe that feels right for this famous character. And if you ask me personally, these are the best ways to handle references for a reboot. Make them work within the story, even if you don’t fully get the joke.

This brings me to the second most important rule of a reboot: Make a quality product even though it is based on something else. Let us pretend that the original never existed. Would Ducktales (2017) still be as good as it is now? Personally, as a person who has never seen the original, I think it is.

This is another show that mixes slice of life episodes with adventure ones, similar to My Little Pony: Friendship is Magic. And just like Friendship is Magic, both are equally interesting because the characters themselves make them so. No matter what situation the Duck Family are in, the audience will care about it because the characters care about it. In fact, I think Ducktales (2017) handles the mix of slice of life and adventure much better than Friendship is Magic. In MLP: FiM, the adventure-based episodes force the characters to stick to their simple personality traits to move the story forward, and character-based ones help them grow. In Ducktales (2017), because the characters regularly go on adventures, they grow as characters no matter the situation. For example, my favorite episode is “The Great Dime Chase” where the main plot is Louie finding Scrooge’s #1 dime after accidentally spending it. While in that same episode, Dewey and Webby try to solve a mystery around the boys’ mom. We get a great lesson about the importance of hard work and a fascinating plot of an overarching mystery within the season, all taking place within the same episode. Both are interesting, neither feels as though it overshadows the other, and the characters develop along the way.

Another thing this show mixes well is comedy and drama. A lot of shows recently tried way too hard to find that perfect mix. Ducktales (2017) is one of the few examples that nails it. The comedy is hilarious, the drama is endearing, and neither feels like it’s prioritized over the other. The show starts off with this mix as well, where others that I’ve talked about seem to start off as purely comedic only to take themselves more seriously later on. That isn’t entirely a bad thing, but I feel as though Ducktales (2017) is the best way to go about the method. That way, fans won’t be complaining about how much “better” the show used to be in its first batch of episodes, much like Star V.S. the Forces of Evil.

Unfortunately, while I recommend this show, it’s not without its fair share of issues. Or rather, issue, as there really is only one problem I have with it. And that problem can be summed up with one name: Dewey Duck. For the most part, I dislike Dewy. Because he’s nothing more than a Ben Schwarts character. No disrespect to Ben Schwarts himself, but lately, it feels as though he only plays the one character from time to time: The egotistical attention seeker slowly and surely learning to be a better person who realizes that not everything is about him. That’s the character he plays in both Rise of the Teenage Mutant Ninja Turtles and Sonic the Hedgehog (2020), and it’s the character he plays here. And the thing about these characters is that they’re not as lovable as Ben Schwarts thinks they sound. In fact (and, again, I mean no disrespect to the actor. I’m sure he’s a lovely person in real life), every single one of these characters comes off as kind of annoying rather than as the lovable rapscallions I’m sure they’re meant to be. However, there is one thing worth mentioning about Dewey. While he’s portrayed as annoying when used for comedy, Dewey is surprisingly a compelling character when used for drama. The thing is, he’s rarely used for dramatic moments and is meant as a source of comedy. Hence why I said I disliked him for the most part.

Other than that, there aren’t really that many problems with the show. Well, there are, but they’re mostly nitpicks that the series more than makes up for. Is it weird that the kids are voiced by adults? Yes, but the actors do a great job at being sincere and have great comedic timing than any kid could have. Are there changes to characters that fans might not enjoy? Probably, but I have yet to have seen anyone that has annoyed me as much as Dewey has. Are the villains just evil for the sake of being evil? Yes, but that’s not really a big deal. In fact, a villain doesn’t need a heartbreaking backstory as to why they’ve become so evil. They just need to have a great personality that’s fun to watch, which every villain in the show has (aside from season two’s antagonist who’s basically a Disney surprise villain. And I hate them with a fiery passion). Does it feel as though the show suffers from “too many characters” syndrome? It sometimes does, but each character has such a fun and unique personality that I find it hard to forget most of them.

So really, Ducktales (2017) is the best reboot in recent memory. This is crazy, seeing as how lately it feels as though Disney doesn’t even know how to properly reboot their own movies to save their lives. This is why I feel as though people should take notes on what Ducktales (2017) does if they ever feel like rebooting something they loved as a kid. Because this is more than just a retelling of the same story that people know by heart. This is a fantastic show with even better characters, stories, and tone. Whether you’ve been a fan since the beginning, or a part of the new generation of viewers, odds are you’ll be screaming Whoo-Ooo with every episode.

(Also, a word of warning to those who haven’t watched the show yet: Beware the theme song. Trust me when I say it’ll be stuck in your head until the day you die)

[starwarsnonsense]

Top 10 Most Anticipated Films of 2020

Now I’ve got my embarrassingly late ‘Best of 2019′ list out of the way, I can finally proceed to the list that’s probably more exciting - my most anticipated films of 2020!

This list excludes films that have already been screened at festivals (otherwise, stuff like Saint Maud would be here). It’s also somewhat analogous to groping about for a light switch in the dark - these lists very rarely accurately predict my ultimate favourites for the year, so it’s more of a fun speculative exercise. Hopefully this puts some intriguing-looking films on your radar for the year ahead! 

1. Dune (dir. Denis Villeneuve)

Plot: The story of Paul Atreides (Timothée Chalamet), a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people.

Why be excited? The reasons to be excited about Dune should be pretty self-evident - it’s directed by one of the greatest filmmakers working today (Villeneuve’s Incendies and Blade Runner 2049 are all-timers for me), and is based on one of the best science-fiction novels ever written. The cast -  Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Javier Bardem, Charlotte Rampling, and more - is absolutely stacked with talent. There’s every reason to believe that this will be something special, and I couldn’t be more pleased that Villeneuve is the man responsible for filling that Star Wars-shaped hole in the December release schedule.

2. Annette (dir. Leos Carax)

Plot: A stand-up comedian (Adam Driver), and his opera singer wife (Marion Cotillard), have a two-year-old daughter with a surprising gift.

Why be excited? You may not have heard of him, but Leos Carax is one of the most exciting directors working - he only makes around one film a decade, but the films he does make tend to be very special. I’ve only seen one film of his - Lovers on the Bridge - but that was filled with such ecstatic romance and wondrous visuals that it made me tremendously excited for Annette. Annette is a top-to-bottom musical with songs by American duo Sparks (if you know them for anything, it will be ‘This Town Ain’t Big Enough for the Both of Us’), and said songs will be delivered by Adam Driver and Marion Cotillard. It goes without saying that both actors are extremely talented performers with great voices (see Driver in Marriage Story and Cotillard in Nine for evidence), and I’m looking forward to seeing how they demonstrate their talents here.

3. Last Night in Solo (dir. Edgar Wright)

Plot: A young girl (Thomasin McKenzie), passionate in fashion design, is mysteriously able to enter the 1960s where she encounters her idol, a dazzling wannabe singer (Anya Taylor-Joy). But 1960s London is not what it seems, and time seems to fall apart with shady consequences.

Why be excited? I’m not the biggest Edgar Wright fan, but I admire him greatly and the premise of Last Night in Soho is like cat-nip to me. Speaking to Empire, Wright explained the story as follows: “I’m taking a premise whereby you have a character who, in a sort of abstract way, gets to travel in time. And the reality of the decade is maybe not what she imagines. It has an element of ‘be careful what you wish for’.” I’m a sucker for a good, old-fashioned high concept, especially when said films play with genre and really challenge the viewer. The two female leads - Thomasin McKenzie (JoJo Rabbit, Leave No Trace) and Anya Taylor-Joy (The Witch, Emma) - are among the very best young actors working today, and the supporting cast features absolute legends such as Diana Rigg and Terence Stamp. Whether it’s successful or not, this film feels like a genuinely original prospect and I’m eager to see how it turns out.

4. The Green Knight (dir. David Lowery)

Plot: A fantasy re-telling of the medieval tale of Sir Gawain and the Green Knight.

Why be excited? There has been a sad lack of films based on mythology in recent years - or, to be more accurate, there has been a sad lack of films that attempt to honour what the myths were actually trying to convey. The stunning trailer for Green Knight promises a film that genuinely engages with its source material, and is just as interested in the psychological truths of the tale as the spectacle of its fantastical scenarios. Dev Patel is an extremely talented actor coming off another great movie in The Personal History of David Copperfield, and the supporting cast (Alicia Vikander!) appear to be fully committed to their parts. I’m excited to see a true myth on the big screen again, and David Lowery (A Ghost Story, The Old Man & The Gun) can be trusted to give an old tale a new sense of vitality. 

5. The French Dispatch (dir. Wes Anderson)

Plot: The staff of a European publication decides to publish a memorial edition highlighting the three best stories from the last decade: an artist sentenced to life imprisonment, student riots, and a kidnapping resolved by a chef.

Why be excited? It’s a Wes Anderson movie! Of course I’m excited! In all seriousness, the trailer was all I needed to get hyped about this. It’s clearly Anderson’s quintessential style, but it also shows flashes of some very bold and striking compositions (yes, I’m thinking of Chalamet on the back of that motorcycle) that you wouldn’t necessarily think of in relation to him. I’m intrigued by the prospect of there being stories nested within a story, which feels like the perfect choice for the structure of a film about a newspaper. The cast features all of Anderson’s old favourites (Swinton! Murray! McDormand!), as well as some exciting new additions (Timothée Chalamet, Elisabeth Moss, Christoph Waltz, among others) that feel so well-suited to his style it’s surprising they haven’t worked together before. Bring on all those immaculately composed shots and exquisite colour palettes.

6. Tenet (dir. Christopher Nolan)

Plot: Unknown. The project is described as an action epic revolving around international espionage.

Why be excited? I hate to sound repetitive, but ... it’s a Christopher Nolan movie. That alone is enough to be hyped about this. Details of the plot are vague for now, but the teaser suggests the sort of intelligent, high-concept film-making we’ve come to expect from Nolan. John David Washington - who impressed in BlacKkKlansman - is a great choice for the lead, and I also love that Tenet will feature Robert Pattinson and Elizabeth Debicki (among my favourite actors) in prominent roles. There’s not much else to say given how little we know about this, but suffice to say I’ll be there on day one!

7. Wonder Woman 1984 (dir. Patty Jenkins)

Plot: Wonder Woman (Gal Gadot) comes into conflict with the Soviet Union during the Cold War in the 1980s and finds a formidable foe by the name of the Cheetah (Kristen Wiig).

Why be excited? The original Wonder Woman was an absolute delight, and I couldn’t be more pleased that Patty Jenkins is back to continue Diana’s story. The decision to pick up with Diana in the 1980s is most intriguing (and paves the way for all kinds of exciting choices when it comes to the music and the fashions), especially since it looks like the film is actually going to explore the implications of being an immortal being in a mortal world. 

8. Raya and the Last Dragon (dir. Paul Briggs and Dean Wellins)

Plot: A lone warrior from the fantasy kingdom of Kumandra teams up with a crew of misfits in her quest to find the Last Dragon and bring light and unity back to their world.

Why be excited? The animation scene in 2020 looks kind of ... blah at the moment, with the notable exception of Raya and the Last Dragon. The setting was described by the film’s producer as  "a reimagined Earth inhabited by an ancient civilization that venerated the mythical dragons for their power and their wisdom”, and that alone is enough to fire up my imagination. Off the back of Moana and the Frozen films (which I all unabashedly love), I trust Disney Animation to instil this with plenty of colour and verve.

9. I’m Thinking of Ending Things (dir. Charlie Kaufman)

Plot: An unexpected detour turns a couple’s road trip into a terrifying journey through their fragile psyches.

Why be excited? Directed by Charlie Kaufman (writer of Eternal Sunshine of the Spotless Mind), I’m Thinking of Ending Things is based on a prize-winning novel. However, despite the pedigree the main reason I’m looking forward to this is Jessie Buckley. Buckley gave a star-making performance in Beast a few years ago, and has since proven herself an actor of immense talent and skill (see Wild Rose for proof of what a powerhouse she is). I’m excited to see her career continue to go from strength to strength, and I’m Thinking of Ending Things seems poised to be a great showcase for her.

10. The Last Duel (dir. Ridley Scott)

Plot: King Charles VI declares that Knight Jean de Carrouges (Matt Damon) settle his dispute with his squire (Adam Driver) by challenging him to a duel.

Why be excited? Ridley Scott is a bit of a mixed bag for me, and has never come close to reaching the heights of Alien and Blade Runner with his recent work. Nonetheless, against my better judgement I can’t help but be excited by the prospect of a medieval epic with Scott at the helm. The acting talent attached to The Last Duel is top-notch, and I’m particularly fond of Jodie Comer (of Killing Eve fame) and Adam Driver (do you really need me to say more?). There’s a very real danger of the highly sensitive plot (the ‘dispute’ at the heart of the story concerns an accusation of rape, the truth of which is to be determined with a duel) being mishandled by Scott, but the involvement of screenwriter Nicole Holofcener gives me some hope. This could turn out to be a misfire, but my hope is that it will, at the very least, be interesting.

[maxparkhurst]

How did you create your characters? What was your process?

TMI Tuesday:  How did you create your characters? What was your process?

// <offers out a chair> You’re going to want to sit for this. It’s going to be a LONG story. For those who’re looking for a short answer: I’m actually in the middle of creating these two. Edits and tweaks are always being made to make them appear real and true. And it’s thanks to everyone on here and in-game that they’ve progressed so much. 

Now for the long version. 

<buckles seat belt> 

Evolving as an Author:

Maxinora and Augustine Parkhurst are a culmination of ideas inspired by a myriad of things. The process of creating them isn’t linear. It has a lot of pit falls, unexpected twists and turns, and a ton of hills. To understand how we got the current versions of these two, we need to go back a couple years ago. 

It’s the summer of 2012. In efforts to get me off of his account, my Dad gifted me my own. This was when I made my first ever serious roleplay character- a hunter named Evelon Holmwood. Well, at the time I spelled it like Evavllyn but...Yeah. We’re going to gloss over that fact. Now, Eve was my pride and joy for the last several years. I played this character nonstop, refusing to play or write about anyone else. In retrospect, I used this character more as therapy than anything of creative merit. 

Eve’s story was basic at best. But I got better with story-telling the older I got. Unfortunately, her story got so convoluted that I had hard time salvaging anything from it. Now, you’re probably asking: How does this relate to Max? Fear not. I’m getting there. It was around this existential crisis that a mutual friend of my boyfriend and I convinced us to leave WoW and hop on SWTOR. My boyfriend was more than eager to make the switch but I was skeptical. Leaving WoW meant leaving Eve. And was I ready for that? 

He assured me I was and helped me make a character on SWTOR. This was the first iteration of Max. A bounty hunter from Nar’Shadda named Maxinora Fenrik. My intentions was to make her a lowkey copy of Eve. At this time, I wasn’t very confident in my writing abilities and liked to stay in my lane. But, the more I roleplayed this character the more she took on a life of her own. She evolved past Eve and exceeded my expectations. Playing a new character bolstered my confidence and while I no longer play SWTOR -due to OOC reasons- I still have fond memories with this character. I enjoyed this character so much that I reused several components of her design when making Max. Some which include her name and being blind in one eye. 

I flipped between the MMOs when Legion dropped. Expenses started to pile up and between the two subscriptions I didn’t have the time to play both. In the end, WoW won my affection and I made a Blood Elf because I had friends on Horde Side. Rorien Hawkthorne was her name. A drunk artist and master assassin. She’d be the second iteration of Max. She had an older sister complex, an affinity for being melancholy, and it was my first experience with playing a character who could kept secrets- or tried to at least. Another new character under the belt and I was feeling a little more confident in my story telling abilities. I’d probably would’ve kept playing that character if not for OOC drama happening in a guild I was in. The fallout had me jump back to the Alliance where I indulged in creature comforts. It was back to Eve. 

Tumblr made an entrance in my life around then as I ventured forth with a refreshed look on my hunter. I salvaged what I could and made a half-decent story. A lot of her misadventures are still posted up on her blog @evelonholmwood​ On the side I made the third iteration of Max. A fire mage and blacksmith combo by the name of Rowan Celwick with her younger brother Thomas Celwick.  They were just two orphaned kids trying to make a life in Stormwind. Rowan was an arcane drop-out and blacksmith wannabe and Thomas...Was...Well? Thomas? A glorified side-piece? A way to garner pity for Rowan. I didn’t place a lot of emphasis on them or their characters. My main focus was Eve. But these two would be the underlying foundation of Max and Auggie’s characters. 

I eventually took a hiatus from WoW and focused on more personal writing. The details are boring so I’ll gloss over it by saying that creating a character completely from scratch was the final push in the right direction for me. Fast forward several months to a year aaaaaand BOOM! Pandemic. 

Writing is an escape for me. It’s one of my best coping mechanisms during trying times. And when nothing else works, I over indulge in some Warcraft. So, I resubbed. There was hesitance when re-entering the RP scene. I didn’t leave Eve’s story off on an convenient note. For lack of better phrasing, I wrote myself into a hole I couldn’t get out of. So, with the help of my boyfriend, I decided it was time to give Eve her happy ending and shelf her for good. 

Which put me in a dilemma! Who was I going to RP? Well, you remember the Celwicks? They became my newest project. 

The Creative Process: 

I knew the Celwick story was weak and read much like a middle-school fanfiction. Revising was a must. But there were integral pieces to their story which I enjoyed: 

Familial Sacrifice 

Juxtaposing concepts

Intertwined Fates

These were themes I could work with and evolve. Keeping these in mind, I started to deconstruct the Celwick story line. They were no longer Gilnean but Kul’tiran. This prompted a name change from Celwick to Parkhurst. And I won’t lie, I like the sound of Parkhurst better than Celwick. Thomas became Augustine and Rowan became Maxinora (Mainly because I actually HAD the name Maxinora and not Rowan). The little changes got me hyped for the characters. 

Next, I started to trim away the unnecessary details that bogged down the narrative. Things that either didn’t fit or made the timeline too convoluted were replaced. Pyromancy was a great example. The age I wanted Max to be wouldn’t yield to her understanding of Pyromancy. At least, not to the level I WANTED it to be. SO, I turned it into lament’s magic. Alchemy. (I also always wanted to play an alchemist since watching FMA) 

A girl with two professions seemed excessive as well. I had to look at why I wanted her to be both an Alchemist and a Blacksmith. The answer was simple. I just liked the juxtaposition of an intelligent woman being rough and tumble. Which made me ask: Was Blacksmithing necessary to achieve that imagine? The answer was no. To pay respect to her previous iteration, I made their parents blacksmiths. It also let me keep themes of fire in her concept. The change in profession brought on a change in her appearance. I made her a little more slender to fit with the alchemist appeal. 

Max’s aesthetic was brought on by my previous characters.  Rorien inspired more internal facets of Max while Fenrik inspired outward appearances. Max’s auburn was strictly a decision made on the fact that I had one too many character’s with black hair. There wasn’t any other reason for it. 

Designing Max was easy. The real challenge was with Augustine. Up until that point, all I had to go on for his character was Tommy Celwick and...Well. There wasn’t a lot there. He wasn’t much more than a poorly used trope and I considered doing away with him all together. But I realized that I REALLY liked the trope and I liked what he did for Max’s character.  So, I buckled down and made myself think through all the reasons why Thomas Celwick -AKA Augustine Parkhust- needed to exist. 

I decided that I needed him in order to present themes in Max’s story. He was the foil to her character. Cynic older sister? Meet optimistic brother. He also appealed to not only the three themes listed above, but also the newest one I wanted to explore: two sides of the same coin. Max and Augustine are simultaneously the same, having similar traumas, and yet different. If for nothing else, Augustine could help propel Max in the right direction. Be her moral compass, you know? With a bit of half-assing here and there, I managed to get a decent character out of Augustine. Took the cliche nerdy brother idea, physical design and all, and ran with it. Shortly after I  made their Tumblr account. In no way did I expect this BOY to take on a life of his own. Like, Auggie knocked on my brain’s door and was like, “Yeah. No. I’m not a side character. Give me my own story...” 

Which will bring me into my final point! 

The Characters Write Their Own Story: 

I’ve never been able to sit down and plan a story. My mind doesn’t work in such a structured fashion. It wanders and explores. When I’m creating, I’m watching. Watching the scenes play out before my eyes as these characters take what I’ve given them and grow into something almost independent of me. The basic pieces of Max and Auggie’s back story, along with character design, were purposeful. Yes. But everything that came after was THEM.

It’s cliche, I know, but I can’t describe this experience any other way. These two grew outside of my influence and now dominate a space in my brain. They talk, work, and interact without me. I mean...Not REALLY. But...It feels like that. It feels I’m watching through a keyhole and just recording what I see as their story plays out. 

I guess a better analogy is me being the director. I’m watching the movie in the stands as two actors improv. On good days, I’m in control and rework scenes until I’m satisfied with the results. Try this. Move here. Say this. On bad days, I don’t see anything. My actors went home. The lights are off. Show’s cancelled for the day. These days make me sad...But they’re worth it because on the BEST days...The best days Max and Auggie run the whole show, and I am watching through the keyhole as their story unfolds little by little. 

It’s truly magical. 

The last part of their creation was the voice. Character voice, for me, is like building muscle. You need to work out. Start small and work your way up in weight. Every little piece I wrote made their voices stronger; and that’s including asks and threads. Interacting with other characters helped to flesh them out as people. And while it was hard and intimidating at first, it’s started to become easier. 

Wrap-Up

My method is messy and untrained. I don’t claim to have any secrets. My knowledge of writing is mediocre at best. But I’m having fun. And that’s were the real magic of any character comes in. Fun. Because if you aren’t writing about something that sparks your soul- either with love, happiness, hatred, etc- then it’s nothing more than a forced, hollow husk. Writing is meant to evoke emotion. At least in mind. And want to express complex emotions and share them. In a perfect world? My characters -any of my characters- resonates with someone. They become the escape someone needed. That’s the ultimate goal. 

It’s thanks to all of you that Max and Auggie have come this far. It’s from their interactions with others that they’ve managed to evolve into something incredible- especially Augustine. He just kept shining brighter and brighter until I felt obligated to make him an in-game character. So, you all are just as much a part in the creative process as me. Thank you! 

And a special thanks to my boyfriend for always being a sound board for my rambling ass <3 

THANK YOU FOR THE ASK, ANON! Sorry I posted an essay...<3 

[faraway-wanderer]

QUEER YA READS happy pride month here’s a list of lots of queer YA books!!

-          The Henna Wars- Abida Jaigirdar When Nishat comes out to her parents, they say she can be anyone she wants—as long as she isn’t herself. Because Muslim girls aren’t lesbians. Nishat doesn’t want to hide who she is, but she also doesn’t want to lose her relationship with her family. And her life only gets harder once a childhood friend walks back into her life. Flávia is beautiful and charismatic and Nishat falls for her instantly. Amidst sabotage and school stress, their lives get more tangled—but Nishat can’t quite get rid of her crush on Flávia, and realizes there might be more to her than she realized

-          Red, White and Royal Blue- Casey Mcquinston   First Son Alex Claremont-Diaz is the closest thing to a prince this side of the Atlantic. With his intrepid sister and the Veep’s genius granddaughter, they’re the White House Trio, a beautiful millennial marketing strategy for his mother, President Ellen Claremont. International socialite duties do have downsides—namely, when photos of a confrontation with his longtime nemesis Prince Henry at a royal wedding leak to the tabloids and threaten American/British relations.

-          You should see me in a crown- Leah Johnson Liz Lighty has always believed she's too black, too poor, too awkward to shine in her small, rich, prom-obsessed midwestern town. But it's okay -- Liz has a plan that will get her out of Campbell, Indiana, forever: attend the uber-elite Pennington College, play in their world-famous orchestra, and become a doctor.But when the financial aid she was counting on unexpectedly falls through, Liz's plans come crashing down . . . until she's reminded of her school's scholarship for prom king and queen

-          Tell me How you Really Feel- Aminah Mae Safi Sana Khan is a cheerleader and a straight A student. She's the classic (somewhat obnoxious) overachiever determined to win.Rachel Recht is a wannabe director who's obsesssed with movies and ready to make her own masterpiece. As she's casting her senior film project, she knows she's found the perfect lead - Sana.There's only one problem. Rachel hates Sana. Rachel was the first girl Sana ever asked out, but Rachel thought it was a cruel prank and has detested Sana ever since.

-          Like a love story- Abdi Nazemian It's 1989 in New York City, and for three teens, the world is changing.

-          I Wish You All the Best- Mason Deaver At turns heartbreaking and joyous, I Wish You All the Best is both a celebration of life, friendship, and love, and a shining example of hope in the face of adversity.

-          The Falling in Love Montage- Ciara Smyth Saoirse doesn’t believe in love at first sight or happy endings. If they were real, her mother would still be able to remember her name and not in a care home with early onset dementia. A condition that Saoirse may one day turn out to have inherited. So she’s not looking for a relationship. She doesn’t see the point in igniting any romantic sparks if she’s bound to burn out. But after a chance encounter at an end-of-term house party, Saoirse is about to break her own rules. For a girl with one blue freckle, an irresistible sense of mischief, and a passion for rom-coms.

-          The Fascinators- Andrew Eliopulos Living in a small town where magic is frowned upon, Sam needs his friends James and Delia—and their time together in their school's magic club—to see him through to graduation.But as soon as senior year starts, little cracks in their group begin to show. Sam may or may not be in love with James. Delia is growing more frustrated with their amateur magic club. And James reveals that he got mixed up with some sketchy magickers over the summer, putting a target on all their backs.

-          The Dark Tide- Alicia Jaskina The Wicked Deep meets A Curse So Dark and Lonely in this gripping, dark fairy-tale fantasy about two girls who must choose between saving themselves, each other, or their sinking island city

-          Summer of Salt – Katrina Leno Georgina Fernweh waits with growing impatience for the tingle of magic in her fingers—magic that has been passed down through every woman in her family. Her twin sister, Mary, already shows an ability to defy gravity. But with their eighteenth birthday looming at the end of this summer, Georgina fears her gift will never come.

-          Sawkill Girls- Claire Legrand Marion: the new girl. Awkward and plain, steady and dependable. Weighed down by tragedy and hungry for love she’s sure she’ll never find. Zoey: the pariah. Luckless and lonely, hurting but hiding it. Aching with grief and dreaming of vanished girls. Maybe she’s broken—or maybe everyone else is. Val: the queen bee. Gorgeous and privileged, ruthless and regal. Words like silk and eyes like knives, a heart made of secrets and a mouth full of lies.

-          The Priory of the Orange Tree- Samantha Shannon A world divided. A queendom without an heir. An ancient enemy awakens. The House of Berethnet has ruled Inys for a thousand years. Still unwed, Queen Sabran the Ninth must conceive a daughter to protect her realm from destruction – but assassins are getting closer to her door. Ead Duryan is an outsider at court. Though she has risen to the position of lady-in-waiting, she is loyal to a hidden society of mages. Ead keeps a watchful eye on Sabran, secretly protecting her with forbidden magic. Across the dark sea, Tané has trained to be a dragonrider since she was a child, but is forced to make a choice that could see her life unravel.

-          I was Born for this- Alice Oseman For Angel Rahimi, life is only about one thing: The Ark – a pop-rock trio of teenage boys who are currently taking the world by storm. Being part of The Ark’s fandom has given her everything – her friendships, her dreams, her place in the world. Jimmy Kaga-Ricci owes everything to The Ark too. He’s their frontman – and playing in a band is all he’s ever dreamed of doing. It’s just a shame that recently everything in his life seems to have turned into a bit of a nightmare.

-          Summer Bird Blue  Akemi Dawn Bowman- Bowman’s sophomore novel follows Rumi, a young musician plagued with grief and survivor’s guilt after her younger sister is killed in a car crash. Her mother sends her to liver with her aunt in Hawaii, and is also now mourning the loss of the music she would create with her sister and is unable to recapture her passion. As she navigates her loss, and feelings of abandonment from her mother, Rumi is also starting new relationships with neighbors, one a cute, easygoing surfer boy, and the other a irascible 80-year-old crankypants, while also becoming comfortable with her aromantic and asexual feelings.An immersive aromantic, asexual journey through grief and understanding.

-          Felix Ever after- Kacen Callender   a novel about a transgender teen grappling with identity and self-discovery while falling in love for the first time.

-          The Stars and The Blackness Between Them - Junauda Petrus Audre and Mabel, Black girls who find romance just in time for everything to fall even further apart.

-          By any means necessary- Candice Montgomery By Any Means Neccesary dives into the intersection of race and sexuality through the lens of its main character, Torrey, a gay Black college student.

-          Her Royal Highness -Rachel Hawkins- When Millie Quint discovers her best friend-turned-girlfriend has been kissing someone else, she decides to get as far away from her as possible – by going to boarding school on the opposite side of the globe. The only issue? Millie’s new roomate is the actual princess of Scotland.

-          Tash Hearts Tolstoy - Kathryn Omsbee, Natasha Zelenka (Tash), is a serious fangirl of Leo Tolstoy and a rising YouTube star with her webseries Unhappy Families, a modern-day adaptation of Tolstoy’s Anna Karenina, and Vlog, Tea with Tash. When a famous vlogger gives a shout out to the series, it goes viral. Now she, along with the cast and crew, are finding what it means to be a hit sensation and are managing the adoration, and the trolls, coming their way. Tash, a romantic asexual, has had a long time crush on the hit vlogger star Thom, who, as her online popular grows, so does Thom’s attention. Amidst the fame and romance, Tash is also dealing with her older sister creating distance, her parents announcing a new sibling on the way, college applications, the impending end of the series, and the big “What’s next.”An asexual romantic comedy coming of age.

-          Full Disclosure- Camryn Garratt Camryn Garrett’s debut novel follows a Black, HIV-positive teen as she explores her first romantic relationship. There are few books that discuss what it’s like to live with HIV, especially those that are light, relatable, and told through the lens of a young Black girl.

-          The Black Flamingo- Dean Atta Atta pens a coming-of-age story about a boy accepting his identity as a mixed-race gay teen, but then finds a place where he belongs as a drag artist named The Black Flamingo.

-          Juniper Leaves- Jaz Joyner   Kinky-haired  Juniper Bray used to believe in magic, until she lost her best friend: her grandmother. Now this 15-year-old shy girl is headed to her father's research trip on a farm hundreds of miles away, with a family she barely knows and the opposite of a best friend, her new arch nemesis, Bree Mckinney. As if she wasn't miserable enough. Little does she know the next few months Juniper will discover magical powers she never knew she had, get a crush on a girl she never knew she'd like and well, quite frankly, save the world.

-          Crier’s War - Nina Varela ‘In a world where humans are dominated by superior Automae, one human girl called Ayla takes the role of handmaiden to the Automae Lady Crier in order to help the human rebellion. But to Ayla’s horror, she finds herself falling for Crier.’

-          Queen of Coin and Whispers  Helen Corcoran -When a teenage queen inherits her uncle’s bankrupt kingdom, she brings with her a new spymaster – a girl who only accepted the role to avenge her murdered father. But faced with enemies at every turn, the two learn to rely on no one but each other . . . though it may bring their downfall.

-          Huntress- Malinda Lo – Ill fortune has befallen the land, and two girls have been tasked with the mission of setting things right. As Kaede and Taisin journey to the city of the Fairy Queen, adventure and romance awaits.

-          This Song Is (Not) for You - Laura Nowlin- This is not your usual love triangle. Ramona has been in love with her best friend and bandmate Sam for a long time, Sam has also been in love Ramona. When Tom joins the band, he completes them. Now Ramona is starting to have feelings for Tom, and those feelings are reciprocated. Tom is a romantic asexual, whose asexuality is fully explored

-          Seven Tears at High Tide-  C.B. Lee – After Kevin Luong drops, yup, seven tears into the sea, he ends up rescuing a boy from the waters. It’s love at first sight for Morgan who, unknown to Kevin, is a Selkie.

-          Loveless -Alice Oseman- (out on the 9th July!!) Georgia has never been in love, never kissed anyone, never even had a crush – but as a fanfic-obsessed romantic she’s sure she’ll find her person one day.As she starts university with her best friends, Pip and Jason, in a whole new town far from home, Georgia’s ready to find romance, and with her outgoing roommate on her side and a place in the Shakespeare Society, her ‘teenage dream’ is in sight. But when her romance plan wreaks havoc amongst her friends, Georgia ends up in her own comedy of errors, and she starts to question why love seems so easy for other people but not for her. With new terms thrown at her – asexual, aromantic – Georgia is more uncertain about her feelings than ever.

-          The Last Beginning- Lauren James-  (you probably need to read the next together first which I HIGHLY recommend) Sixteen years ago, after a scandal that rocked the world, teenagers Katherine and Matthew vanished without a trace. Now Clove Sutcliffe is determined to find her long lost relatives.But where do you start looking for a couple who seem to have been reincarnated at every key moment in history? Who were Kate and Matt? Why were they born again and again? And who is the mysterious Ella, who keeps appearing at every turn in Clove's investigation? For Clove, there is a mystery to solve in the past and a love to find in the future, and failure could cost the world everything.

[hello-robin-goodfellow]

My Sugestions of Seven Feel Good Movies

1º The Castle of Cagliostro.

The first animated long feature film of Hayao Miyazaki. Combining exciting action, energetical phisical comedy and bittersweet fairy tale romance with a likable and charismatic cast of characters, it shows how promising Miyazaki and his team were to the world of animation, and tells a story that combines several genres of fiction i really, really envyyyyy not have writen!

2º O Auto da Compadecida (2001).

O Auto da Compadecida (also known, among English viewers, as A Dog's Will) is a 1999 brazilian movie, based on a play of the same name by Ariano Suassuna. The story takes place the in impoverished, dry deserted region of Northeast Brazil and follows two friends trying to get by using their wits and silver tongue: the lively Jack (played by Matheus Nachtergaele) and the cowardly Chicó (played by Selton Mello). The two men work as assistants to the local baker and get wrapped up in several misadventures, including: tricking a priest to deliver the last rites to a dog as part of its will, trying to marry a landowner's daughter or risk loosing a lump of flesh as the price and an fatal encounter with a bloodthirsty bandit. That last misadventure lands Jack on a trial ministered by the Devil, Jesus and the Virgin Mary. The movie is ostensibly a comedy, and it was also released as a 4-part minisseries for TV.

I was born in Pernambuco, the state in wich the play that served as a base for the filme was first performed, and were it was the concentration of the artistic and literary Armorial Movement, of wich this story is one of the representants. It is one of the movies i watch and rewatch the most, i laugh of the same jokes over and over, and quote a lot of the lines. It was one of the first examples of archetypical character writing and social denounce comedy, tackling dark subject matters like death, that i came contact with, influencing the kind of writing i want to make. And i personally saw the original author of the play, Ariano Suassuna, do public speaking, when i was fifteen years old :)!

3º The Incredible Army of Brancaleone (1966).

L'Armata Brancaleone, known to the english-speakers as The Incredible Army of Brancaleone and For Love and Gold is an Italian comedy movie released in 1966, written by the  duo Age & Scarpelli and directed by Mario Monicelli, featuring Vittorio Gassman in the main role. It was entered into the 1966 Cannes Film Festival. The film is set in the tragically realistic Italy during the Middle Ages. After mugging a valiant but wounded German Knight, some raiders find out that he was going to inherit the fief of Aurocastro. The bandits manage to persuade the fallen knight Brancaleone of Norcia to go to the fief in lieu of the German Knight and take possession of it, sharing the goods with the others, of course. So the Ragtag Bunch of Misfits (or Armata Brancaleone) start its long journey towards the fief, meeting up with various characters on their way, including a princess, a fanatical priest who want to force them to join the crusade, a fallen byzantine prince and many others.

This and Roberto Benigni’s Life is Beautyfull were my first contact with Italian Cinema. At first, The Incredible Army of Brancaleone scared me away as a child, because, as part of presenting a image of the Middle Ages more distant of fairy tales, it opened with a very gory scene of pillage, where a man have his arm cutted. But then, a few years later (when i was eight to nine years old), i gave it a second chance, watching it from beggining to end. And, oh my stars, is just so colorful (so much so that Brancaleone’s horse, Aquilante, is somehow yellow), and funny. Brancaleone (who aparently was inspired on Don Quixote) and his man are some of the most likable morans ever putted on screen. For me, this movie is proof that you still can present a grimm dark world balanced with an idealist, tough not very competent, group of likable characters, thus avoiding coming out as cynical and/or gratuitous darkness induced apathy, making a more profound point about society and human contradictions.

4º Amélie (2005).

This movie follows the story of Amélie Poulain, a lonely young parisian waitress with simple pleasures, as she decides to become a sort of guardian angel to those around her: reuniting a stranger with a box of his childhood treasures, gently prompting her retired father to follow his dreams of world travel, matchmaking café regulars, playing practical jokes on a greengrocer who's being cruel to his assistant, writing love letters to a woman whose husband left her, etc. During her adventures, she meets an odd young man called Nino, who we quickly realize is her soulmate — but she is too shy to make direct contact. She must find the courage to fix her own life as she's been fixing those of others.

How to start guching about this movie? The work with the green and red colors are a wonder to the eyes, we want to hear over and over again the memorable soundtrack, the inteligent script managed to make everyday life into a great adventure, the theme of sex receives a funny, yet natural, treatment, and i came to consider Audrey Tautou one of my favorite actressess for her performance as Amélie Poulain, a character whose curiosity, imagination, shiness, loneliness and buried sadness is very relatable.

5º Chicken Run (2000).

A ginger chicken named "Ginger" is the ringleader in the attempts of the chickens to escape from Mr. and Mrs. Tweedy's Chicken Farm, a prison where any chicken who fails to lay eggs risks being beheaded and cooked for dinner. Ginger is at her wits' end trying to talk the others into any new escape attempts, (all of which fail and earn her a trip to solitary confinement in a coal bunker). Then a rooster named Rocky, who can apparently fly, falls from the sky and agrees to teach the chickens how to fly like him, in return for Ginger keeping mum on his presence. However Mrs. Tweedy, tiring of the low profits selling eggs brings her, decides to convert her business into chicken pot pies. Needless to say, things get drastic in a hurry and Ginger must get the whole coop into the air before they all become mincemeat. 

This movie was my first contact with british animation, and one of my first memories of stop motion animation. And, ho boy, that animation still aged so well. My favorite scene is of the first flying trainging. Mrs. Tweedy is a very intimidating villain, Ginger is a brave and intelligent leader i would follow, the military style rooster Fowler is hilarious, Babs is adorkable with her needles and I AM MAC, THE NERDY CHICKEN! And plus: the soundtrack, oh, the soundtrack. Just, amazing.

6º The Ray Harryhausen Sinbad Movie Trilogy (1958, 1974, 1977).

Speaking of stop-motion animation, i decided to honour with a spot here the three movies staring the legendary Arabian Nights sailor Sinbad, The SEventh Voyage of Sinbad (1958), The Golden Voyage of Sinbad (1974) and Sinbad and The Eye of The Tiger (1977), with storyboards and monster animation made by the team of master of stop-motion himself, Ray Harrihausen. Taking the viewer into aventures to save a princess and a prince from malefic and spels and searching for the pieces of a map to the fountain of youth, this movies present us with a rich fantasy world influenced by the Arabian Nights and the Greek Mithology, two of my personal favorites pantheons of fantastic mithologies. The second one of the trilogie, 1974′s The Golden Voyage of Sinbad, is probably the best crafted, specially with his variety of animated creatures and the writing of his main villain, the wizard Koura, played by Tom Baker. But i highly recomend all three for a great ride into the evolution of Harryhausen’s stop motion animation and storytelling.

7º The SpongeBob SquarePants Movie (2004).

One world: nostalgia.

This movie is the best episode, and the finally of the series. Period.

I wannabe best friends with Princess Mindy. And i want a Goofy Goober Icecream.

‘I’m a Goofy Goober. Yeah! You are a Goofy Goober. Yeah! We are Goofy Goober. Yeah! Goofy, Goofy, Goofy Goober, yeah’!

I TAG: @giuliettaluce​, @princesssarisa, @anne-white-star​, @thedyingtimelady​, @witches-ofcolor​, @jasminesa73, @tipsywench​

[all-brown-everything]

My favourite Indian films of 2018

Sorry for the wait this year. 2018 in the movies mirrored my own life a lot; the films on the list are films to love, make you feel something human, and they force you to take their characters and hold them close to your chest as if they were your own. While the most interesting mainstream movies from South Asia over previous years on this blog have excelled when they chose to experiment with the language of cinema itself, the 10 I’ve written about here have, similar to great literature, embraced pain, longing, love and everything else that comes with being alive.

10. Theevandi

I’ve seen this film being described as an “anti-smoking movie.” I couldn’t disagree more. It’s a story about the nature of habit (rather than the disease of ‘addiction’), of locating the source of your personality, your soul, and trying to change it against the will of nature. During my time in India this year, nothing brought more joy than an ice burst and cutting tea at the side of the road, perching on the side of the pavement and watching life carry on around you. And while this is a film with a main character who wants to quit smoking, it isn’t about cancer. It isn’t about that horrible sooty smell at the end of your fingers, or yellowing teeth or a decreased sperm count. It’s about how something as innocuous as a tube of rolled up tobacco hanging out of your mouth can act as a fragile crutch for the entire weight of the world.

9. Laila Majnu

Like many of my favourites this year (and every year), this re-telling of one of South Asia’s most important romances wants to know what love is. Here, we see love not as a generous, giving emotion, but as pure greed. With one of Bollywood’s most gorgeous soundtracks, that bleeds furiously out of every frame, and a constant sparkling gleam of glamour over these gorgeous young actors and the Kashmiri hills they prance around in, I enjoyed this enough just based on the commercial tropes it toys with for fun. But its real beauty lies in its brave and painful final declaration; that the most divine love may connect you to God and remove your soul from your body, but it will destroy you and your connections to the Earth, as the cruelest form of asceticism.

8. Cake

I’m including a Pakistani movie (again) because our film industries were birthed under one national identity, and I don’t see the studios of Karachi as any more culturally distant from Mumbai’s Film City than Kodambakkam. Moving to Cake, this stunning portrait of a dysfunctional family surprised me against all my instincts that it was a Western-facing production clearly aimed at piercing its way into festivals and a patronising ‘World Cinema’ bracket. It is in fact, a study of shifting societal politics in an increasingly extreme and polarised World, of figuring out where your values stand in the midst of religion, feudalism and globalisation, and accepting that when these heavy, abstract concepts weigh down on your shoulders, it is the human beings around you who will feel the strain first.

7. Golak, Bugni, Bank Te Batua

I really love Punjabi cinema. Seeing it come into its own and reclaim its cultural narratives and aesthetics from bastardizing Bollywood (where now even a film set in rural Gujarat will feature a Punjabi language song) has brought a lot of joy. Now here comes a  happy little film not set on preaching the glory of Sikkhi or telling an epic tale of brave warriors or earnest farmers, but on bringing us into the lives of a middle class Hindu Punjabi family in a small mohalla of a tier 2 city. And these aren’t the Hindu “Punjabis” of a Bollywood movie set in Chandni Chowk, who might throw in a “tussi” or “tuadi” here and there at the most. These are real people with a real culture, as intertwined with Punjab and their Sikh neighbours as they are separate. The film doesn’t patronise them by drawing humour from their novel identity; the situational character-based slapstick and witty back-and-forth theatrical dialogues exist in a warm parallel with the “World” of the movie. And then the lives of these people change in one instant as demonetisation hits, and we are hilariously reminded that whether you’re Hindu or Sikh, Northern or Southern, you are (unfortunately) still in India.

6. C/o Kancharapalem

I won't say this film stood out as a "Telugu movie", as such slight, subtle films are an anomaly no matter what language they're made in or how brash those other films produced in the same mother tongue may be. These small and quiet tales, with their shy characters who live at the fringes of society, whether that mean they are Muslim prostitutes or simple middle class teachers carving out a living in a small village, are special because they manage to transmit such humanity without stirring from the dark alleyways or shaded courtyards where they take place. Not every film needs to stand tall like an intimdsting Tolstoy tome; some can be as unassuming as an RK Narayan novella and still make us feel like they're an epic.

5. Pyaar Prema Kaadhal

Let's be honest. Casting two leads from a reality show, putting heart shaped balloons in your posters and deciding on the title "Love, Love, Love" pretty much screams "trash" doesn't it? But here was a humbling reminder that Indian popular culture can surprise you in the most pleasant of ways. These two good-looking young wannabe-stars and their social media followings represent so much about the "new India", a steadfastly singular culture (or cultures) whizzing through the fiery hoops of globalisation at breakneck speed, coming to terms with a mixed up value system, raging sexual frustration and an ever widening class gap, all of which have left a generation feeling more connected yet more alienated than ever before. This is 'Pyaar, Prema, Kaadhal', a flawed and horny love story, sweating with tension and all the repulsive angst of human emotion, yet with the glamorous musical heart of Indian cinema still beating loudly underneath.

4. Manmarziyaan

There was as much to love about 'Manmarziyaan' as there was to hate. The age-old filmi love triangle rears its head again, only this time with characters who are more manipulative and frustrating than any you've seen in a "mainstream" movie before. But while the film never forces you to judge (at times leaving you confused about whether you're actually supposed to like any of these people) it demands that you engage. It's encouraged some of the finest writing on cinema I've seen in recent years, and such an unashamedly "Bollywood" film inspiring this thrilling thought and analysis from our finest critics (whether their judgement is kind or not) warrants its inclusion on this list alone. Then there's the way its incredible soundtrack weaves in and out of scenes like the characters own breaths, the way life changing moments are obscured from the script by deafening silences and acutely observed minutiae, and of course THAT lead performance. I'm not sure if I "liked" it or not, but I sure as hell can't wait to watch it again.

3. Pari

The better the film, the harder it is to write about. 'Pari' is rich with metaphor. While being a ghost story (and a damn good one) merely on the surface, it has plenty to say about the way our society treats women, poses the question of if we can truly be born evil, and even critiques our savage treatment of "the other" in a global society where more of us are on the run than settled in our homes. But I think its biggest strength is that while it challenges you to reach into the very centre of your being and take a look at yourself and the World around you, its craft and screenwriting is so good that not at any moment does it give you a second to realise that's what you're doing.

2. Rangasthalam

'Rangasthalam' is so great. Like really really great. Once an innocuous muscle man, Ram Charan has channelled his inner Dhanush and located his physicality, writhing and slanging his way into the mind and body of the quintessential South Indian rural hero, hoisting his lungi and flicking his beedi into one of the most visceral and truly cinematic masala movies in living memory. The thumping pace and kinetic choreography (both of the rousing song sequences and the busy, lived-in frames of the rest of the movie) evoke a dusty, violent world with the same panache of Ameer in 'Paruthiveeran' or Sasikumar in 'Subramaniyapuram', while the moustache twirling dialogues and meticulous emotional beats offer as much pure fun as a "Dabangg" or a "Khakee" or any classic Hindi masala movie. I've read pieces linking the cinema of 'Rangasthalam' to film noir traditions, but to me it simply proved that the masala genre still has as much excitement to offer as any other.

1. Mukkabaaz

I'll remember 2018 as the year that Anurag Kashyap, previously India's frontrunner in the realm of "interesting" (but more often headscatching) cinema, stopped thinking with his very big brain and instead used his even bigger heart. His most straightforward film is undoubtedly his best, Hollywood-esque in its writing but firmly Indian in its sentiment. The scale is small - empty boxing arenas, bleak winding village paths and a cast plucked from the TV screen - but its emotions are pure opera. This is a timeless film, and though it laughs at the ridiculousness of modern India, poking a nasty smug finger at caste oppression, petty politics and the bureaucratic nightmare of simply trying to stay alive, it defies analysis. Much like the song at the centre of the story, the violently stunning 'Paintra', it only asks that you feel. And what more could we want from cinema?

I've had so much fun at the movies this year. From dancing to Dilbar in the cheap seats of G7 in Bandra to reciting Dhanush's Maari 2 dialogues at the bus stop outside Ilford Cineworld, Indian movies have continued to punctuate my life and bring me more joy than they have any right to. I can't wait to do this all again this year. What were the films that stirred you over the last 12 months? Let me know. Xx

[golden-van-fleet]

I’ll Cover You

Summary: You and Joe met during a revival of Rent on Broadway.

Word Count: 2833

A/N: This was entirely based on a conversation I had with @starfleet-wannabe last night. We really love Joe, it’s almost unhealthy. This is easily readable if you haven’t seen Rent! Enjoy! 

Warnings: Swearing

You’d seen him before, tucked away into corners or in the middle of a crowd of people dancing in unison. You knew his name, and that he was no stranger to the stage. You didn’t know how you’d managed to find yourself on stage with him, sharing the spotlight in a revival of Rent on Broadway.

Joe Mazzello was Mark, the nerdy and shy filmmaker, engrossed in documenting the life of his fellow broke New Yorkers during the HIV/AIDS crisis. Joe fit right in with the East Village cast, his own passion for filmmaking playing a heavy role in his interest in his character. It was what made his character so like him, but Mark’s timidness was what made Joe so lovable, on and off stage.

You were Maureen Johnson. Loud. Passionate. Mark’s ex, current lover of Joanne. It was so unlike you, you couldn’t help but think during the casting process. Maureen was hellbent on getting her production to a stage, so dramatic and yet, not as unlike you as you’d once thought. She had ambition, a drive about her that mirrored your own. You’d fought hard to get to where you were, a feat you were inexplicably proud of.

For someone who claimed they couldn’t dance very well, Joe couldn’t help but watch you during rehearsals for “Tango: Maureen”. The song highlighted the tension in Maureen’s relationships as she flirted shamelessly with men and women alike. Mark and Joanne were furious, but Joe was captivated. Maureen was sexy, confident, and fierce, and it all but oozed from you as you sauntered across the stage, commanding the attention of all men and women- on stage and off.

In between rehearsals, Joe made a point to talk to you about whatever he could. You were fascinating to him, so like him and yet so different. You appreciated his efforts, his warm and inviting nature drawing you closer to him. Every day you woke up excited to work with him, and every night you went home and couldn’t wait to do it all over again.

As opening night drew nearer, you noticed that your relationship with Joe got more and more personal. Strictly professional, of course, but friendly nonetheless. He’d complimented you after a grueling dress rehearsal, leaving out the part about how long he’d wanted to say something about your performance. The director had been particularly harsh that day, which was expected, but so unnecessarily frustrating it made you wonder if the show was worth it. Joe was always there to cheer you up after a difficult day and was the one person you were most thankful for during the run of the show.

“You were absolutely phenomenal in that last run. I mean, you always are,” he corrected himself quickly, his nerves overcoming him. He was talking to you, not Maureen. He didn’t need to be nervous, but you looked so good in your costume, he wasn’t sure he could contain himself. It wasn’t anything spectacular by your standards, but to him, it was everything.

“Really? Thank you,” you said, smiling warmly at the man who was sweating bullets. “I was a bit nervous about the changes they made yesterday. Totally thought I was going to blow straight through them,” you admitted, leading the two of you off the stage and into the wings.

“If you did, I couldn’t tell,” Joe whispered, forced to lean closer to you to be heard. You weren’t supposed to talk in the wings, but with someone as captivating as Joe, you were willing to make a few exceptions. “That whole cow bit is fantastic. It’s my favorite part of the show.” Ah, yes, the bit where you mime drinking Diet Coke straight from the… cow.

You rolled your eyes, nudging him playfully. The director called for the main cast to come out on stage, halting your conversation momentarily. You had every intention of continuing it the second you were given the opportunity.

“Seasons of Love, everybody! Places!”

Joe was stuck on the end, and you were almost dead center. Despite the row of people between you, lined up in a straight line across the front of the stage, Joe still managed to catch you out of the corner of his eye.

Your emotion was raw. “Seasons of Love” was the most emotionally moving song you’d ever performed, and it took almost too much out of you each performance. A year felt so long and so short at the same time, and the past year had been so difficult for you. You’d lost a lot, loved a lot, and learned a lot in the process. Tears welled in your eyes and streamed down your face from the second the song started until the lights faded at the end of the song.

“Y/N! That was incredible!” The director cheered, the entire cast facing you, sheepishly wiping tears off your cheeks. You hadn’t had a solo, those were for Joanne and Collins, so your best guess pointed to your reaction to the song. It moved the director to tears, something you hadn’t noticed until you met his eyes. “I think we can call that a wrap for today. Rest up tomorrow, and I’ll see you back on Monday!”

Joe was the first person you saw when you turned back towards the dressing rooms.

“How do you do it?”

“Do what?”

“Make it all seem so effortless,” he said, almost exasperated.

“I channel as much pain into it as I can manage for the day and cry the rest into a glass of wine when I get home,” you deadpanned, picking up your bag. You couldn’t help but laugh when you saw Joe’s expression, concerned and helpless. “I’m kidding. This past year was so difficult for me, and I use that for this song. The rest of the show is just stepping out of my comfort zone and hoping I’ll make Idina Menzel proud.”

“I’m sure you already make her proud. I heard she’s coming opening night,” Joe shrugged, packing up his own things.

“Really?” You tried to curb your enthusiasm. Honestly. And to anyone else, knowing that the original actress both in the original cast on Broadway and in the film adaption of your current role would be in attendance would probably scare them shitless. But you were so excited, you knew that each Maureen would bring something different to the role, and you tried to avoid comparing yourself to her and the other actresses that came before you.

“Yeah, I think so, anyway. Hey, are you doing anything after this?” Joe asked, holding the door open for you as you left the theatre. His heart pounded in his chest as he awaited your answer.

“I was planning on going home and running through “Over the Moon” one more time, but that can hold off until later. What’d you have in mind?”

It was dark out, but both of you were illuminated by the lights so characteristically New York City that you couldn’t tell if his cheeks were pink because you were interested in his offer or because of the lights surrounding you.

“I was going to order takeout, but would you want to go get dinner with me? Not as a date,” he added quickly. Too quickly. It stung a little bit, hearing him shoot it down almost immediately. Your heart sank a little, but you put on a brave face before agreeing.

“Sure, I don’t see why not. Where did you have in mind?”

A couple blocks and about ten minutes later, you found yourself sat in front of Joe in an obnoxiously red leather booth in a tiny diner. It was so endearing it was sickening. It was like you dove headfirst into the setting of Grease. Which, by the way, Joe quickly found out was one of your favorite movies.

Joe sat with his chin in his hand, watching you speak with unwavering attention. Everything you said had such a passion behind it, your hands unconsciously gesticulating as you got more and more excited when you spoke. It was adorable.

It was then you realized that you really, really liked Joe. It was akin to a schoolgirl crush, the way his smile made your heart rate increase and when he spoke your name it was like only the two of you existed at that moment. You were crossing into the danger zone, and you knew it. Relationships between actors in the same show felt wrong, what with the cast being such a family, and they were advised against to avoid animosity when it came to breakups. But what would it hurt if you were just testing the waters?

Unbeknownst to you, Joe had already fallen into said waters headfirst. Hell, he’d drowned at this point. He knew it was a bad idea, he knew better, he knew to keep it professional. And he did the best he could, given the circumstances.

He tried to attribute the softness in your eyes to you being friendly. You tried to attribute his attentiveness to you to the way he was raised. You both tried your hardest to ignore the ache in your chest when you saw the other with someone else, sitting just slightly too close or smiling just a little too wide. It was a dirty little secret, sneaking glances when the other person wasn’t looking and returning them because, in reality, the other person was looking right back at them. It was flushed cheeks hidden under stage makeup, an appropriate metaphor for your relationship if you could call it that.

Opening night came and went off without a hitch. The cast met up for dinner following the show, a celebration to kick off the eight-month run with this same cast. Joe was glued to your hip the entire night, and you to his. Eight months felt like such a long time with the rest of the cast but didn’t feel like nearly enough time with Joe.

Mark and Maureen had the strained relationship of ex-lovers, while behind the scenes you and Joe had the strained relationship of something that was meant to come to fruition. Joe wished you good luck with a sincere “break a leg,” and a kiss to your cheek every night. You returned it, and you were the first person to congratulate him on a show well done in the wings with a tight hug, your arms thrown around his neck.

One night, one random Thursday night, the whole dynamic changed. Instead of his kiss landing on your cheek, you’d turned your head in surprise and his lips landed on the corner of your mouth. Instead of recoiling, as a best friend should have, you took his face in your hands and placed the gentlest of kisses to his lips.

“If you’re going to kiss someone good luck, you have to do it properly,” you mused, before making your way to the wings to start the show.

The entirety of the show that night was a blur, and although his performance was spectacular to everyone else in attendance, you knew why he was in the headspace he was in. You cursed yourself for it, retreating to your dressing room as quickly as you could before he could find you. Of course, he found you.

Three soft knocks on your dressing room door had your palms sweating and your heart rate rising. God, you’d outdone yourself this time. You’d really had to go and screw it all up, huh?

“Joe.”

“Y/N, what the fuck was that?” He was fuming. He’d fought so hard to keep himself from holding onto you too long, to keep himself from kissing you, to keep himself from daydreaming about you being his for too long to allow you to ruin his progress. He dreamt of waking up next to you and calling you his, it was all he wanted, but he knew he couldn’t have it. And that infuriated him.

“I’m sorry, I shouldn’t have kissed you, it was stupid and I wasn’t thinking, and I know it bothered you because I know you and I know how you act and you weren’t you tonight, you were just Mark, and, I’m sorry,” you rambled, tears starting to form. “I was selfish and didn’t take your feelings into consideration.”

“This is our job, Y/N.” He closed the door behind himself, closing off the world from your conversation. It reminded you of that night in the diner, now ages ago, and the stark contrast to it made you sick. “I had to tell myself that our relationship is strictly professional every night for the better half of a year now. I’ve wanted you since I saw you at the first rehearsals, and I want nothing more for you to be mine, but we can’t sacrifice our professionalism for it.”

“And you don’t think I’ve been telling myself the same thing? I know how you look at me because I look at you the same way. Every time you think I can’t see you staring? I feel you looking at me. So forgive me for compromising our professionalism when you’ve been right in front of me this whole time, sending me signals like a fifteen-year-old.” You seethed, angrily scrubbing what was left of your makeup off with a makeup wipe before turning back to face him.

He was stuck. Here you were, laying your heart on the line for something so taboo that you’d worked so hard to earn. You wanted him just as desperately as he wanted you.

“Fuck it,” he whispered, grabbing your face and pulling your lips to his. It wasn’t pretty. The first couple of seconds were all teeth and tongue before both of you relaxed into each other, finding a rhythm between you. You were the first to pull away, your forehead resting against his. “I’m sorry.”

“I’m sorry, too,” you mumbled, your thumb brushing against his bottom lip. “Looks like the rest of the world is just gonna have to get over it, huh?” You teased, as Joe cracked a small smile.

“Yeah, I guess they are.”

The cast saw it coming from the first day. You and Joe were inseparable from the start of dance rehearsals, as you’d had a number of scenes together and had to tango together in “Tango: Maureen”.

“Are they ever gonna admit to each other that they’re hopelessly in love with the other?” Claire, who played Joanne, whispered to Adam, who played Angel.

“Not until they admit it to themselves,” he snickered back, the two of them watching the two of you watch each other with the human equivalent of heart eyes. So when you finally came clean and admitted to being a couple, the rest of the cast told you it was about time.

You ended up being nominated for a Tony for your role in Rent. Joe assured you that you deserved the award, that you would walk away with it that night. He was right, of course.

“I found a lot of myself in Maureen,” you started, feeling like a fish out of water. You found Joe in the audience, his eyes shining with admiration. In him, you found your composure. “And I did everything I could to channel myself into her. To understand her. Everything I’ve done up until now has led me to this. This is beyond my wildest dreams, and I want to thank my wonderful director and co-stars for creating such a nurturing and loving environment from which we could all grow. And to Joe, this award is just as much mine as it is yours. I have you to thank for the motivation to continue on. I love you.”

You walked off stage before realizing what you said. It was your first “I love you” that just so happened to be broadcast around the world. Joe welcomed you back to your seat with open arms.

“I love you, too, congratulations,” he whispered into your ear before letting you go to sit back down.

While you waited and prayed to every god you could think of to bring Joe into your life, you never imagined it would end up like this. All of the heartaches were worth it as you looked at the man who brought you nothing but joy. He meant the world to you, and despite playing bitter exes during the show, something deep down told you your relationship wouldn’t end like theirs.

I think they meant it when they said you can’t buy love,

Now I know you can rent it, a new lease you are my love.

“I’ll cover you,” he whispered, a smile playing at his lips at his song reference, pulling you into a sweet kiss. You smiled against his lips, relaxing back into your seat when you parted. Rent taught you to make the best out of your situation, and judging by the look on Joe’s face, you did just that.