#this was supposed to be for an aesthetic set when i watched it many dramas ago

[tobiasdrake]

Fun Fact: Even in space, ACAB.

Let's talk about Jaco: The Galactic Patrolman, a somewhat more obscure manga compared to Dragon Ball that Akira Toriyama wrote in its setting.

For the most part, this is a short and fairly simple story. It's primarily a character drama, with the developing relationship between Jaco and the scientist Omori as its central focus.

The manga is surprisingly vague about its connections to Dragon Ball for nearly all of its length, until its final chapter. Jaco is here on Earth to thwart some vague threat sent to the planet from a world of hostile aliens. It's only at the end of the manga that we learn he's talking about Goku.

Galactic Patrol detected an Attack Ball leaving Planet Vegeta and making its way to Earth, so they sent Jaco to... assess the situation and then make a decision about whether or not to do anything.

In his defense, the Saiyans are the most powerful race in the universe. I can understand why he doesn't want to fuck with a full-grown Saiyan warrior. Nobody wants to fuck with a full-grown Saiyan warrior. The most that the finest police force in the universe can do against Saiyans is to try and nip them in the bud when they're babies.

It's interesting that Galactic Patrol doesn't have Scouter technology. I wonder if that proprietary? Frieza might have a patent.

But at the same time, I don't want to be too sympathetic to Jaco because. Well. He sucks.

Galactic Patrol sucks. That's kind of the bit. Jaco is a self-absorbed little shit, utterly devoid of empathy or compassion for the people he polices. He's stranded on Earth right now because he wasn't watching the road while driving.

Jaco's a prick, but what little we learn about Galactic Patrol as a whole doesn't make them sound much better.

This one time Jaco accidentally pressed the Extinction Bomb when he wasn't supposed to and wiped out a planet. Hoo boy, was his boss mad! Gave him a real talking to before giving him another Extinction Bomb and putting him back on patrol.

Universe isn't going to police itself, y'know. Someone's gotta be out there very occasionally trying to stop those real estate genocides.

For his part, Jaco's in it for the aesthetic. He likes the image of being a cop, and he spends his time practicing looking cool for when he presumably dispenses justice upon the criminal element.

But his interactions with the common people are filled with condescension and menace.

Like I said, this is the bit. Jaco is a self-important thug with a badge, with the initial conflict stemming as much from trying to keep him from doing something awful to the community under his jurisdiction as from trying to solve his problem.

Ostensibly here to protect Earth from the impending arrival of a Saiyan threat, he is as much a threat to this community as the invader he's here to assess. Without Omori there to guide him, he'd be killing people left and right.

He fits in pretty well with the cast of Dragon Ball, many of whom at least begin their tenure with a degree of amorality to them. Omori himself is a bitter misanthrope ironically thrust into the position of having to convince Jaco not to kill people.

And then there's the manga's biggest Dragon Ball connection: The introduction of Tights.

Any reader who's been picking up on the Dragon Ball-ness of this universe will know immediately where Tights came from. Her name pun gives the game away. Just like how the final chapter clarifies Jaco's target as the young Goku, we get to see the familiar faces of Tights's family as well.

Bulma basically solves the entire plot singlehandedly.

Even as a little kid, the universe's greatest heretic remains unparalleled in the field of game-breaking super-intelligence. Bulma OP do not nerf.

Again, this speaks to how little of the manga is actually about the plot. If this were a story-driven manga, having a character from another manga show up in the final issue and solve the plot in the span of two pages would be pretty disappointing. But since the plot is just an excuse to make these characters interact with one another, it doesn't really matter.

We aren't here for the story; We're here for the relationship between Jaco, Omori, and Tights. With that in mind, Baby Bulma waddling up and going "I fixed the spaceship; Are you stupid or something?" is hysterical.

For her part, Tights lives up to her family legacy of being super-brilliant.

She graduated from college at 16. She's a genius like the rest of the family. What she's not is interested in science and technology. Possibly as a justification for why we've never heard of her before, Tights goes against the mold for her family.

She honestly seems like something of a free spirit. She lives in East City when we meet her, famously the city that Nappa wiped off the map, while Capsule Corp and Bulma's family are out in West City. Rather than a scientist, she works as a body double for a famous pop idol.

As a publicity stunt, they're going to launch an idol into space. Tights's job is to impersonate the idol so she can die in the inevitable disaster instead. She is bizarrely chill with being paid a huge sum of money to get stupidly killed. Much like Bulma, Tights has a terrible sense of self-preservation and is willing to take on incredible risk for the sake of achieving a personal goal.

Tights is the best character in the manga. An aspiring sci-fi novelist who agreed to probably die in space for the sake of the experience. This family gives zero fucks.

And then there's Omori himself.

Despite its title, Omori is basically the main character of this manga. He's the one whose life situation is most heavily scrutinized. This is his status quo that Jaco and Tights enter. Similarly, Omori is the character who undergoes personal transformation as his experiences with Jaco and Tights help him find hope in connections with other people again.

The three characters click really well together. So well, in fact, that Dragon Ball would end up recycling the setup of Super Alien/Crotchety Old Man/Spunky Young Woman for one of the best dynamics they ever wrote.

This is not a copy/paste; Cheelai, Leemo, and Broly are all distinctly separate characters. but you can still feel the barebones aesthetic of Tights, Omori, and Jaco in their dynamic.

So. Yeah. Overall, for what it is, it's a cute little short story about a group of characters just living lives in the world of Dragon Ball. It's the kind of thing that the franchise needs more of, and still does to this day: An opportunity to flesh out the universe a little but also just to let us live in it through the eyes of someone else.

[dresshistorynerd]

Ranking Men's Costumes in Period Dramas - Part II: The Good

Part I: The Bad

This is the second part to my ranking of men's costumes in Renaissance period dramas. I selected 10 shows and films which I think have great costuming for the female characters and ranked them according to their costumes for male characters. I have noticed that even when women's costuming is great, men's costuming might be absolutely dog shit. And that's very much what we saw in the first part, where I ranked the five worst entries. For some reason shows and movies are afraid to put men, especially the characters who are supposed to be cool, manly and hot, into historical costumes. And I'm not even asking for historical accuracy, I just don't want my male characters living in the actual 1500s in basically modern leather jackets and pants. Like I don't watch period dramas for vaguely historically inspired modern fashion, I watch it for the historical setting, which costumes help create. This time we will be looking some rare gems that actually imo have really good costuming even for the male characters. For the five best entries, we'll go from worst to best.

5. Eizabeth R (1971)

Elizabeth R is incredibly committed to historical accuracy in it's outfits, especially for queen Elizabeth herself, many of her costumes being directly recreated from her portraits. It covers the whole reign of Elizabeth, so this commitment is especially admirable as the timeline is more than 40 years, including a stark shift in fashion from less structured and more toned down Tudor fashion to the extremes of the highly structured Elizabethan fashion. It's not perfect, The hair is not always great and like many others they fail at French hoods, though they are not upward pointing or pseudo crowns detached from the hood, so could be much worse.

The men's costumes are also very good. They are faithful to history, they wear stockings, very short trunk hose, ruffs and even have some structuring in their doublets and jerkins. However, the reason this is not higher is that the men's costumes especially, but also many other costumes beside Elizabeth's are looking a little sloppy. There's some structure yes, but the men's silhouettes are just not bold enough and they end up looking a little costumy. Even the codpieces are shrunk so small I'm not even sure if they are the half the time. Cowardice. Here's two Robert Dudley's costumes and an actual portrait of him. I think the second costume is probably an attempt at recreation of that portrait, but it's just kinda halfway there.

4. Taming of the Shrew (1967)

This film is set in Renaissance Italy, the women's costumes fit well to 1520s-30s. They are honestly really great and cohesive. My only gripe is that their bodices have a very 1960s shape and the make-up is a little distractingly modern. But the costuming is not attempting to recreate historical accuracy, rather they took the historical silhouette and basic elements and crafted a very over the top but cohesive look. I honestly love these very much.

An interesting choice is made with the men's costuming, especially the main male lead, whose costume is based much more on the Renaissance German men's fashion of that period. His costumes resemble the over the top fashion of the German Landsknecht (first image below). In Italy (second image below) the doublets were also very voluminous and quite colourful but not to that extent as by the Landsknecht and literally no one, not even the other Germans, rocked that slashed style as hard.

This is not really criticism though. In fact I respect that choice a lot. His costumes are certainly not historically accurate, but they do fit the bombastic aesthetics of the overall costuming, they are loud, large and not afraid to fuck around. This man oozes sex-appeal much more than any character with some modern plain black pants and leather jacket. This is how you costume a Renaissance man who fucks.

3. Tulip Fever (2017)

I am stretching the definition or Renaissance here a bit, I admit. This movie is set during the 1630s tulip mania, by which point the remnants of Renaissance fashion had already been left to the previous decade. However, I do think most of the movies and tv set in Baroque era also struggle with the men's costumes. Though not as much, because black was fashionable for everyone, the cod piece was gone, trunk hose were replaced by more palatable Venetian hose, fashion was much more stripped down from embellishments, leather was not uncommon in jerkins and appeared even in doublets and hose and the Hollywoods beloved boots became as actual fashion items. The men's silhouette in this period is very silly in my opinion and people seem to agree because it's usually skipped in costuming, but overall the period seems to fit modern masculinity standards much more easily than Renaissance era.

But I just really wanted to include this because the costuming is absolutely stunning. I have not watched the movie and probably never will because the post production was an absolute mess and it apparently came out as just a bad movie, which is a shame, but the costumes are so good. The ruffs are perfectly crispy. The buttons are dense and look just right. The shoes, both boots and otherwise are exactly right. The fabrics are honestly perfect. The silhouettes are just as goofy as they are supposed to be. And the women too have perfect silhouettes. All the details are just simply perfect. You rarely find costuming this meticulously created with historical details and great construction.

Honestly these top three could all be the best one. This final order was decided purely on which costumes i like more. And while I love the women's fashion of this period, I think the men's fashion is kinda stupid and boring, so I don't like these costumes on aesthetic level as much as the top two.

2. Romeo and Juliet (1968)

This movie is a perfect counterpart to the movie with the worst men's costuming which I talked about in the first post, Rosaline. They are both set in Italy around very end of 15th century and retell Romeo and Juliet. Both have very good costuming for female characters but obviously I think differ greatly in the male character costuming department. Romeo and Juliet costuming takes some artistic liberties to create a heightened reality quite similar to Taming of the Shrew costuming, but follows history much more closely. The colors are bright, the hose are tight, the giorneas are voluminous, the sleeves are long and massive and the cod pieces are prominent. Even the hair is perfect, even for women, they even use hairnets. I imagine the hair was quite easy to get right as hairstyles in 60s and 70s were basically lifted directly from 1400s Italian hairstyles. The men are even wearing appropriate hats??? Amazing.

The costuming perfectly captures the era, but they still clearly had fun with the costumes too. Honestly even though I appreciate the meticulously recreated historically accurate costuming, like in Tulip Fever, I tend to like more costuming that does take some artistic liberties to create a distinct look and atmosphere for the movie or tv show. There's some small things they don't get quite right, like having standard lacing instead of ladder lacing, metal eyelets (which would become a thing as late as in 1830s) and most egregiously Juliet in one scene has this very dumb supportive undergarment without even shift under it (first picture below)?? The outer garments were supportive during this era, there was no such thing as supportive undergarment. Shift was the only undergarment. But I will forgive these errors because the costuming is overall so fun and gorgeous. And they did get some details so so right, like look at Romeo's arming doublet (second picture below)! It has Lombardian sleeves!! This was a very specific style of arming doublet for this era and place. However those errors does prevent it from taking the first place. Which leads us to...

1. Orlando (1992)

This movie has Tilda Swinton in flamboyant Elizabethan men's clothing. That's all.

Okay, I that is all that needs to be said, but I will say more. This movie spans centuries and shows excellent costumes from several different periods, but I will focus on the Elizabethan costumes only for the sake of this post. The costuming is not super historically accurate in all the detailing, and clearly not trying to be, but it is always impeccable. Even while it takes artistic liberties and the story has an immortality fantastical element it still captures the men's fashion's silhouette much better than any other movie or tv show I know of set in this period. It does that better than the "we recreated these portraits" Elizabeth R. But what really makes this the best in my humble opinion, is that the movie is not afraid of the effeminate and emasculated modern perception of Renaissance men's fashion, no, it leans into it. The thole story is very much about gender and gender fuckery. Tilda Swinton plays the titular Orlando who is a cis man in Elizabethan era, becomes inexplicably immortal and later inexplicably turns into a woman for the rest of their several centuries. He is the embodiment of "I'm not sure if they are a butch or a twink" and as a bisexual I can only be grateful. But in all seriousness I think the costuming and the casting (queen Elizabeth is also played by a male actor) are so perfectly utilized to highlight the arbitrary construction of gender without needing to say it explicitly.

Conclusion

I have some closing thoughts. I took on this task as a way to show a point, which is that for some reason in Renaissance shows and film especially men's costuming is piss-poor, even when women's costuming is great. Male characters tend to have very bad costuming in Medieval media too, though this is also an issue for female characters. I don't think I have ever seen a Medieval show or movie with truly excellent costuming for anyone. In Renaissance media the issue is clearly not lack of skill or knowledge, they choose to do so. My thesis was that the producers think that the Renaissance men's fashion is too effeminate and too unsexy for the hot male very heterosexual lead, who the mostly female audience are supposed fawn over like the female characters. I still think it's very true.

Though there's an interesting trend I only noticed while doing this ranking; every entry (except the least bad) in the worst five list are from 21th century, and every entry (except Tulip Fever which is a little bit cheating anyway) in this best five list are from 20th century. I have some theories on why it turned out this way. First is that the studios have become increasingly more concerned with growing profits so they don't take risks and they put pressure on movies and tv shows to be as broadly appealing as possible. This means they can't just make period dramas for the core audience of period dramas, aka mostly women who are history nerds, so they pander to the modern sensibilities in costuming and not to the people who love to see actual historical costuming. Secondly, I think this might also tie to the broader conservative backlash against loosening of gender roles and broader queer acceptance. Among the core audiences of period dramas there are two distinct groups, queer nerds and conservative/centrist women, who don't want politics in their media, which is why they love historical stories because obviously queerness wasn't invented yet and people of colour didn't exist yet (they were and did). (They are not always this extreme, but you get the point.) As men wearing dresses has become a culture war issue, I think the studio executives are afraid that anything not masculine enough in modern standards might cause the more conservative audiences to turn on them. Even if they knew about the queer nerds, they wouldn't care about them.

This bears repeating: cowards.

As a thank you for reading all the way to the end I will leave you with the image of Tilda Swinton in mid 1600s men's clothing. You are welcome.

Part I: The Bad

[miyomiikonran]

As always, I reemerge from the void to write about smth I just watched.

Honestly I didn't expect myself to enjoy Helluva Boss as much as I did! And once again, I have to thank the fanbase for it, as I decided to watch it after seeing endless cool arts and analyses of certain characters that made me give it a chance, despite not being all that convinced, mainly due to main character(s) and designs. But about this later!

You see, I happened to know Vivzie's art style and some of her early YouTube animations that I stumbled across accidentally as an older teen, so when I saw Hazbin Hotel pilot, I knew I would love to watch it even if just to see what that one artist I recognize is up to lately. Overall theme was pretty appealing to me too, as I enjoy this kind of reversed dynamic where sinners aren't as bad as one would assume and can do good if they want, while the good ones, often portrayed as religious side and/or heaven is called out for their mistakes. Sorry not sorry, childhood religious trauma here 🤷 Later I just grew to like certain characters (mainly Angel Dust, Alastor and Husk) so I knew I would watch it just to see what's gonna happen with them.

However, with Helluva Boss... Sadly, main characters at the first glance didn't seem like my kind of thing, overall aesthetic with more animalistic designs weren't my thing as well, so I just intended to skip it. Well, I did for a long time as you could see! But fandom did what the fandom does the best, hyping about their favourite characters of the show both in art and writing, which always is such a hook for me, as I love to hype and hyperfocus on things I love too. In particular, I saw multiple people talking about Stolas and Fizzarolli, both of which were the closest to my liking kinds of characters. They ended up being my two favourites after watching the whole show uwu Other than them, I absolutely adored every moment of Moxxie and Millie being two sweethearts against all odds! Can't count how many times those two dorks made me laugh!

What's funny, both shows did exactly the same impression on me with their main characters though, I couldn't care all that much if it wasn't for others around them >u>" Charlie just isn't all that appealing due to her trying to be picture-perfect, almost like a Disney princess, so I'm gonna wait for some more drama and action around her. I really liked the moment when her and Alastor made a deal, I saw it as her finally leaving the peaceful way behind when faced with ignorance, so I'm interested to see how that goes and if I will change my mind about her.

With Blitz... I suppose the reason why I don't like him very much on his own is that his actions and words are very exaggerated (duh, it's set in hell, obviously they will be awful) but at the same time it didn't seem like he suffers the consequences for what he does and how he treats others (at least all the way till now when it finally started to bite his ass) and even when he sees he hurts people (like when rekindling his relationship with Fizzarolli) he still doesn't change his approach towards others. I'm pretty sure we might dive a bit deeper into his past and reasoning since for now it was just briefly mentioned and shown in flashbacks, not directly through his eyes, so maybe my judgement will change as well. He gives me mixed feelings, especially his struggles with self-worth and pushing people away hit close to home, but his violent reactions and absolutely horrible word choices push me away a bit. However, if I would have to choose between him and Charlie, Blitz wins me over so far cus his struggles are much more complex and messy, it's intriguing even if it makes me mad lol. And Charlie is just *shrug* here I suppose. No offense to the fans of either of those characters, not my cup of tea and that's all.

In the end, once again, thank you to the artists for their fanart and to everyone who takes their time to analyze and make threads about what they liked about these shows! It really can convince others to watch even if they didn't plan to at first! I'm glad I gave Helluva Boss a chance in the end!

[mikkeneko]

11, 16, 23!

11. if you're a writer or artist, what fic or piece of art are you proud of making?

many, lots! at the moment I might have to say that I'm proud of So You Accidentally Kidnapped a Qilin, if only because I could use the reminder that I can actually finish big bang projects. *cry*

16. a tiny detail in canon that you want more people to appreciate

This is an extremely stupid thing to pick, but it's the first thing that came to mind, so... The fact that (in the drama version,) the show makes a point of the fact that the characters do not take their shoes off when they enter a home. Like, there were shots that specifically focused on this happening, when there didn't need to be, so it can't be anything other than a deliberate choice.

I'm familiar enough with EA shoe etiquitte that this surprised me, and after doing some reading up on historical Chinese shoe etiquitte, it seems as though shoes-off is a custom that was followed on and off throughout Chinese history. Thus, the best reasoning I can think of for why the showrunners made this choice is to evoke a historic or fantastic feel for their setting -- sort of like a Western fantasy show putting their female characters in hennins or wimples with veils. These garments were only ever worn in specific times and cultures that the show isn't actually set in (is Galavant supposed to actually be set in 15th century Burgundy? I doubt it,) but it's more about evoking an atmosphere than being historically accurate. IDK, I could be wrong about this. But if that's the case, it really is just a fascinating glimpse into aesthetic and storytelling shorthands from cultures other than my own.

23. the fandom you're curious about because of a mutual

At the time I starting writing this reply, it was Dungeon Meshi, but since then I have read the entire manga and watched the first half of the anime, so I don't know if this one really qualifies as 'curious' any more, lol.

love your fandom asks

[argumate]

so I finally watched Dune (Villeneuve's) and it was entertaining, pretty much what I expected, I'm glad I watched it.

it has some good visuals, some decent actors, a dramatic score, possibly over-dramatic but that's appropriate.

the space scenes were excellent, cold and inhuman like 2001, vast geometric shapes moving in unnerving ways.

I liked the blocky solidity of the palaces, the theatrical effect of the empty spaces and the subtle decoration in the rooms.

that damn bull though -- they kept cutting back to it but what did it really signify? it represents the cruelty and capriciousness of the Old Duke, a trace of which should be visible in Duke Leto, but I don't think we see that at all in this film, perhaps it just represents another bold gamble taken and lost.

I imagined the fief on Caladan as being more like the Mediterranean, Aegean, or Indian Ocean in character, more suited to the Greco-Roman, Byzantine, and Persian influences that you imagine would describe the Atreides, but somehow it ended up more... Scottish?? the Atreides legions fight like a (distressingly undisciplined) hoplite phalanx but march out to bagpipes, maybe it's supposed to be an example of traditional Greek bagpipes, I don't know

at any rate the cliffs over the sea are dramatic and it's fun watching Paul stalk about dressed like a goth Victorian schoolboy as his father comfortingly tells him that he doesn't need to take on the burden of the family legacy if he doesn't want to (while the tombs of a dozen generations of his ancestors watch on in silent reproach)

I felt that the drama and pageantry of the introduction faltered a little when they reached the city of Arrakeen, which was a disappointing muddle of generic computer generated dusty metal that seemed very slapdash and poorly thought out compared to all the other settings, undermining the battle over it which was to come.

(and the battle was uninspiring, watching the feared Atreides legions run out in their pyjamas in disarray to face foes they didn't even notice were coming until after they arrived)

I'm quite familiar with the Dune books so it was interesting watching the movie and seeing how the sheer number of characters made it impossible to give many of them any meaningful characterisation or emotional development.

I was very pleased to see Chang Chen playing Doctor Yueh, but he is given no time to demonstrate his affection for Paul and Jessica nor the helpless compulsion that drives him to betray them, while Gurney and Duncan chew the scenery as best they can but can't quite convince you that they actually serve any purpose in the story (Paul's son is going to bring back a thousand clones of Aquaman?) and the Reverend Mother does a good job but has lost the nuances she had in the book ("I must have wanted you to fail").

"the Beast" Rabban portrayed by Dave Bautista (love that guy!) was one stand out I thought, mostly because this brute of a man comes across as nothing but a scared child next to his uncle, providing an excellent contrast for the nihilistic menace of the slug-like baron.

the baron is-- absurd of course, I mean he's even more absurd in the book, a corpulent flamboyant cackling caricature of a man, you could say this take is boringly toned down or you could say it's ludicrously over the top (he bathes in black sludge? seriously? you have to admire his commitment to the aesthetic, even if that's a Shrek move) but it's basically impossible to film a guy like this in a believable way and you just have to go for it.

the scene that sold the baron for me is when he's tucking into a solo banquet with his semi-conscious cousin Leto draped naked over a chair at the other side of the crazy long table, then when Yueh is brought in he activates his suspensors and silently rises into the air like a squid and drifts across the table towards us in a ghostly blur, all while the camera stays fixed on Leto's frozen rictus; the lack of focus echoes what Leto must be experiencing and is devastatingly effective.

the Fremen and Atreides and Harkonnen and Sardaukar have their own languages which is very cool (and Yueh speaks some Mandarin!) but why do the bad guys sound like they're using bad voice filters, they're being portrayed like literal orcs to the point that it begins to feel weird.

ornithopters are stupid but you have to admit these dragonfly contraptions do look pretty cool.

the worms get a lot of build up -- and I was surprised they preserved the harvester scene from the book almost verbatim, it felt like it consumed a lot of time -- but it's very satisfying when you finally see them rippling through the dune sea, it brings home the shifting danger of the desert sands in a way I wasn't expecting.

Paul has visions of the jihad but he never says the word "jihad".

splitting the movie in two is obviously necessary but the split is awkward, and it's really not helped by clunky lines like "this is only the beginning".

Chani gets a lot of vision time but what can you even say when you meet the teenager with whom you can precognitively remember several decades of future marriage?

still, bookending the movie with Chani is consistent with the book, that begins and ends with the women in Paul's life: Chani, Irulan, Jessica, something that always seemed like an interesting choice.

there is a lot more I would say about Dune but it would mostly be about the book rather than movie; this was a decent adaptation given the constraints of the medium, hopefully it won't be the last.

[jeremys-blogs]

Figured I’d try and do something different for once and actually set a question to any who come across this post. What, in your eyes, is a show that you would qualify as S-Tier? A show that you’d hail as being one of, if not the, best of the best? A gold standard for other works of television?

And just to make things interesting, I’m actually going to make it something of a challenge by adding some rules and criteria to the question, which can be found below.

#1: It has to be finished. Even if a show is great, it can often be undermined, or have its viewing experienced frustrated, by the simple fact that it might not be completed. Maybe the creators decided to leave things open-ended, or perhaps the show was cancelled before they finally got the chance to put a proper conclusion to it. Whatever the case, for a show to be S-Tier, the main meat of its story has to have been resolved. Sequels or supplementary material that expand on the world or the events afterwards are acceptable, but the show itself needs to be done and dusted.

#2: No adaptations. This will likely be the most controversial rule of them all, since a lot of people’s favourite shows will be adaptations of other works, and believe me when I say that I’m no different. I love shows like Batman TAS or Hilda or Arcane, but the problem with those shows, as magnificent as they are, is the same problem that plagues all adaptive works. That being the question of whether the greatness we’re watching is inherent in the adaptation specifically or if it’s simply a result of greatness being transferred to the small screen from whatever its original medium was. So, to guarantee that the show’s quality is all its own, it needs to be wholly original.

#3: No stories based on true events. Similar to the last one, but for different reasons, if a show is meant to be a telling of things that actually occurred in real life, it does not qualify as S-Tier. And again, I know many people love shows and movies based on things that actually happened. They’re beloved for good reason, as many are often well acted or well presented to do justice to the fact that these aren’t characters being dealt with, but real people having gone through real events. However, as with adaptations, the question arises on whether the things in the TV show that intrigues us is something the show itself is doing or if the interest lay in the real thing it’s presenting. Also, and this probably goes without saying, but many shows that try to deal with historic stories have the reputation of exaggeration or even outright fabrication for the sake of stakes or drama, and to me, that’s just outright disrespectful for the real people they’re supposed to be about.

#4: It needs to do something different. Kind of a no-brainer, but if a show is going to be held as some kind of gold standard, then it needs to be doing something that other shows of its ilk simply aren’t. Something that makes it stand out from the crowd. Even if that something isn’t completely unique to the show itself, it needs to be a quality that’s rare enough for it to be noticeable when it happens. And to clarify, if that something is as simple and surface-level as an interesting aesthetic, it will still qualify.

#5: It needs rewatch value. The truly great works of television are able to stand the test of time. Something you can go back to years later and enjoy just as much (if not more) than when you first saw it, yielding something that, perhaps, you didn’t notice the first time around. If you watch a show, enjoy it, but then never feel any real desire to go back and look at it a second time, then it probably isn’t top quality. Likewise, if you feel nostalgia for a show you enjoyed when you were younger, but then discover upon revisiting that your enjoyment just isn't what it used to be, then that too probably means it doesn’t count.

Well, those are my five main rules for this challenge. So go ahead and pick something. I’m interested to see what you come up with 😊

[watching-pictures-move]

Movie Review | Fast Company (Cronenberg, 1979)

From a David Cronenberg auteurist perspective, Fast Company offers something of a challenge. On the surface, it seems totally out of place in his filmography. So many of his movies are cold and weird and scary and maybe a little sexy. But a B-movie racing drama? Where nobody turns into a car? Or attempts coitus with one? That ain't right, I tell ya what. But apparently Cronenberg holds a great amount of affection for this, as he's a bit of a car lover in real life, and I think that shows on screen. The cars in this movie, weird looking things referred to as "funny cars" that stand up on their hind wheels and run on a mixture of nitro and methanol, are shot lovingly, the camera turning its gaze to every little mechanical part so we can almost reach out and touch them. And when they start burning rubber, we're often inside with the driver, knocked about by the vibrations. But this isn't the eroticism of Kenneth Anger's Kustom Kar Kommandos. Cronenberg's love for these machines feels totally guileless and unironic, surprisingly absent of the kinkier dimensions of his better known work.

But most jarring compared to his other films is the amount of warmth present. Cronenberg doesn't just like his cars, he likes his characters too, relishing the chemistry between the drivers and crewmembers. Some of the actors, like William Smith, Nicholas Campbell*, Judy Foster** and Cedric Smith, bring a nice level of texture to their performances, so it feels more like a hangout piece than the B-movie thrills I was led to expect. Although said thrills are still there, through the regular occurrence of fiery accidents and a salacious scene involving two female hitchhikers. (The latter scene offers a certain amount of tension as a character puts down a lit doobie and opens an oil can while in a moving vehicle, which seems like a disaster waiting to happen.) And the movie benefits from the lower budget, the fact that all the tracks seems to be set on sparsely populated fields (shot attractively by Mark Irwin, the first of several fruitful collaborations) helps the characters stand taller, heightening the drama.

And there is an antagonistic figure with the presence of a subtly sleazy and very good John Saxon, as the manipulative money man from the titular oil company who makes sure these characters know their place. While I have no interest in racing, I've always liked the aesthetics of racing uniforms, with their clean primary colours and bold logos, but I suppose if you have enough of those logos on you, they might have a greater hold on you than you'd like to admit, and this movie, while not exactly anticapitalist agitprop, is aware of that tension.

*I'd known Campbell from his role on Da Vinci's Inquest, which was a constant presence on TV as I was growing up even if I may never have watched any single episode all the way through. What I'm getting at is that I'm used to seeing him look kind of old, and that age suits him, and that he looks kind of weird here, possibly because of the clashing shapes of his face and his hair.

**Apparently the Finnish home video release claimed that Jodie Foster was in the movie. As far as I'm aware, there is no relation.

[storge]

[bicth-and-in-that-order]

Genuine review of high guardian spice

Unfortunately due to the admittedly poor marketing, most of the reviews for HGS are gonna be in bad faith, just the typical “woke bad” nonsense arguments, but this one will be my attempt at a mostly balanced review. Might be a bit all over the place but I’ll try and cover everything.

Characters

One thing about HGS is that it’s very by the numbers. If you’ve watched little witch academia you’ve already watched this. HGS didn’t do anything new frl, at least with the main characters, which is fine as long as the writing is strong but the writing was pretty so-so. The mc is Rosemary, or Rose and she’s the typical happy go lucky protagonist, the most interesting thing about her was that her mom was a famous magical girl warrior named lavender who disappeared years before the story begins. Her mom also has supreme character design, she looks like a cross between spop she ra and utena

Anyways there’s not much to say about Rose or any of her friends. They all fulfill a pretty standard role, Sage is the insecure childhood bsf, Parsley is the brash, forward one, and Thyme is the stoic, quiet one, she’s also best girl. Your enjoyment of these characters will largely depend on if you enjoy the character writing and their interactions bc you’ve probably seen these archetypes before and they go through the same character arc.

So yeah the mcs were run of the mill, but the side characters were honestly really fun. Some of them were archetypical, you got the snobbish bully girl but she ends up calling her mom a thot and that was hilarious, but you also got underused archetypes. There’s a character who’s trans and one who’s in the closet and you don’t ever see those types of characters in these types of shows so it was nice seeing a positive storyline develop about gender identity that kept me far more intrigued than whatever parsley was going through.

Story

HGS is a magical school story not a magical girl story despite what the name suggests. The girls learn more about themselves through a setting of a school rather than have a monster of the week to fight. There’s an overarching plot about the mysterious disappearance of lavender, the rot, and some evil Organization that’s in the background but it’s mostly about the interpersonal relationship and drama between the characters. Which is fair game, it’s the first season so they’re establishing all the characters and their arcs. The plot doesn’t really start until a little more than halfway through the season and it’s not bad. The tonal shift, which I will get into later, is kind of jarring bc it goes from 0 to 100 very suddenly and a more even tone would’ve helped the shift from lighthearted to serious but a lot of western cartoons do the exact same thing these days. It’s hard not to compare this to little witch academia but it takes so many cues and plot points from that show it’s kind of crazy. It’s not a bad thing ig I just wish I didn’t have to see almost the exact same story play out when there’s so much more you can do with the magical school story.

Tone

Aside what I mentioned prior , I think one of the biggest things holding the show back is its tonal inconsistency and I honestly think if it was upfront about the type of show it was from the jump it would’ve been much better for it. I wouldn’t say the show is dark but it’s also not for kids bc of the occasional swearing and light gore moments. The show tries very hard to appeal to children and then a character will randomly say shit or asshole and it’s like huh? If this show is supposed to be for teenagers then a more evenly dark/edgy tone would’ve suited it far better. Be up front that this is the type of show where the characters will swear and bleed from episode one bc it felt super jarring and out of place to hear them swear, even if it was occasionally.

Aesthetics

Not really equipped to talk about the animation so correct me if I’m wrong but from a viewers stand point it was alright. You can obviously tell where they took short cuts, especially in certain action scenes but other action scenes looked pretty good. Ig that’s typical anime budget. The ost was actually really good, I loved the background theme they used, I thought it was super charming and fit with the theme of the show. The opening and ending themes were awful tho and I skipped them everytime 😅 The art style was also decent, some of the characters looked good like lavender, Thyme, the demon teacher, and that trans masc teacher I forgot the name of. Some of them looked like extras from spop, and others looked like they were from how to draw anime books. It was kind of generic looking save for a few stand out characters. Forgot to mention the voice acting and dialogue so I’ll just put it here, it’s the definition of hit or miss. Sometimes the dialogue is good but the VA sucks, sometimes the dialogue is awful but the VAs carry it, usually it’s just okay so I’d say it’s like early RWBY quality. It doesn’t touch the funi dubs in any capacity.

Diversity

HGS has a so-so diverse cast of characters but the actual quality of representation was lacking. Way too many white characters and way too little lgbt+ characters for what is supposed to be “diverse”. Give me more than ONE black mc and lgbt+ characters that aren’t in the supporting cast, kipo and the owl house have set the bar high, anything below that isn’t good enough if you want to claim diversity brownie points. Trans rep was amazing tho I’ll give them that.

Overall

Most of the hate surrounding HGS is an overreaction from maladjusted weebs. It was not a dumpster fire nor was it the next madoka magica it was just average. Worst sin it committed was being boring and dialogue heavy. Otherwise an even tone and less generic characters would’ve worked wonders and probably could’ve reached a decent fanbase if it were marketed probably. If you plan to watch it, go in expecting something average and you might be surprised here or there.

Score: 6/10

[goodegrrrl]

Random TV Shows

that I love and have rewatched because I’m stuck in a hospital 🥲 (in no specific order)

1. Ratched

This will forever be my favorite show. Sarah Paulson as Mildred Ratched just made me so, so happy. And the aesthetic just blew me away. THE COLORS.

2. Castle

I loved this show so much until all the drama with Nathan Fillion happened. That just ruined the show for me. But let me just say - Stana Katic is phenomenal. I actually got to meet her on set and she was the sweetest soul.

3. Bones

Such a comfort show. I love them all. I didn’t like the whole pregnancy and running away stuff but well.. you win some, you lose some.

4. Desperate Housewives

Absolutely amazing. I love this show (and the hot women!)

5. Modern Family

I started watching this one because we had a class on tv in college. I was hooked after one episode. Such a sweet show with so many important messages.

6. Rizzoli & Isles

In my head they’re together.

7. Grey’s Anatomy

This show is my home base. The first show I was ever obsessed with and now watching it feels like a warm home cooked meal.

8. Orange is the new Black

I LOVED this show when it first came out. So much that I dyed my hair black because I thought that it’d make me as hot as Alex.

9. Parks & Rec

Leslie Knope will forever be my spirit animal. This show makes me feel like I’m being wrapped in a warm blanket.

10. American Horror Story & American Crime Story Impeachment

I mean my whole tumblr is filled with that show. Coven will forever be my safe place!

And I know it’s two shows but I just had to mention ACS because of how good Lady Paulson was in it!

OTHERS

11. Jack & Jill

I remember my mom watching that show when I was supposed to be in bed. I was allowed to stay with my parents downstairs but only if I didn’t face the TV and actually tried to sleep. Which I never did. Loved Sarah Paulson ever since.

12. Body of Proof

Honestly I just watched that one because it has Dana Delany and she’s super hot.

13. Suits

It still hurts my soul to even think about that show. It’s just so good and the only show with a heterosexual couple that I absolutely love and adore. I miss this show every single day.

14. Sex and the City

A childhood favorite and I am actually embarrassed about how many times I’ve rewatched it.

15. Friends

I have rewatched this one a million times. Probably every single year since it first aired.

I tag @chl0writes & @paulsonsratched

[kimmyyang]

210408 Zhang Zhehan's interview with Elle Magazine

"I want to be like Ah-Xu, be a gentle yet strong person."

On the day of the photoshoot, it was a rare windy day in Bei Hai. The weather forecast reported it will rain, which made everyone slightly heart-stricken. "Can we still take photos by the seaside?", "how about changing the location?", we were worrying, but fortunately it didn’t rain, only left with steer drop in temperature and roaring wind.

On the way to the photoshoot location, Zhang Zhehan recorded the sound of wind outside of the window. To be able to use the last bit of daylight before the sun sets completely, after filming, he only had one hour and a bit to go back to the hotel, have dinner, change clothes, and get his makeup done. And now, when we have done everything, he uses the time in the car to chat with the long-waited fans in the drama interactive zone.

Busy is an expected state. But when we saw him at the location, you can’t tell any trace of being busy from his face. The strong wind blew the gravels on the beach in the sky. During the interval of the photoshoot, everyone couldn’t help but complained about the cold wind and getting sand all over their faces. Only Zhang Zhehan looked more relaxed as if he came back from a different beach as us.

When we moved to the coffee shop, we finally had time to sit down and talk. He asked the staff to give him a cushion for his back, at that moment, it was probably the first time that made us realize that he is actually very tired. "It’s tough and tiring to be an actor, right?" we haven’t even finished the sentence, and he disagreed, "it’s all the same, every job is tough and tiring."

It seems that he has a big heart.

He chose to ride to Tibet with his friend for his graduation trip. Like his mum said he always has the spirit of seeking out suffering. Speaking of this journey, he said: "we’re living too happily, most families don’t have to worry about clothes and food, don’t need to go through a lot of hardships. I like what Huang Lei teacher once said, ‘people will only have faith after suffering, people will understand kindness after suffering.’ I think after seeing the suffering in the world and feel the suffering yourself - you will be kind to others."

After hearing what he said, you will realize that ‘big heart’ could have been a misunderstanding. He can’t dilute ‘sufferings’ more than others, instead, in the moments of ‘seeking out sufferings’, his feeling towards ‘sufferings’ is stronger and more abundant compared to most people.

He has a very meticulous side, he feels, understands, and hides his ‘sufferings’. Then, those experiences and feelings related to sufferings become something that is hard for others to spot on him.

He said, "when we’re going through a hardship, we can only see the hardship itself, you don’t realize that it’s actually reminding you something and teaching you something else." This is also his understanding of being mature – you can see the many sides of one thing.

‘Bruce Almighty’， ‘The Pursuit of Happyness’， ‘The Bucket List’ are his favorite movies. He said, "there’s a line from Bruce Almighty that left a deep impression – do you really hope God will give you happiness? Maybe everyone’s interpretation of happiness is different, but in the movie, the protagonist only realized it at the end, God was giving him happiness, but not the so-called happiness, God taught him the ability to gain happiness." He pressed his thumb again his chin, slightly looking down, earnestly sharing his impression of the movie.

He added, "you’re actually changing your perspective of the problem." Like what he wrote before, "being mature is being able to see the things that you couldn’t see before."

Maybe if the settling time is long enough, you will be able to stay calm in the change of tides and guard yourself in the quicksand under your feet. Speaking of popularity, he was calmer than we expected.

He said, "popularity is very important for an actor. I think it’s complementary, when you’re popular, you will receive more attention. You will be able to carry some things on your shoulders, first, it can prove that you have the ability, second, it can prove you’re acknowledged by the market."

He continued, "as actors, we also need to be acknowledged by the market. I have seen some amazing actors, they put so much effort into every character but maybe haven’t been acknowledged by the market yet, so they remain unknown. Therefore, a lot of great characters won’t fall into their hands.” It sounds cruel but it’s an undeniable fact. He added, “if you’re not popular, good scripts won’t even land in your hands."

The success of ‘Word of Honor’, to Zhang Zhehan, is like winning the lottery.

He said, "the success of a drama depends on timing, geographical and social conditions, none of these is dispensable. There are hundreds and thousands of dramas filmed each year, but in the end, there will only be one or two that everyone would love. That kind of feels like winning the lottery."

Working hard is very common, it’s nothing special, he thinks it’s unreasonable if you just use ‘working hard’ and ask why you are ‘under appreciated’. Just like how everyone praises him for being an experiential actor and praises his immersive acting. But he thinks, this is the passing line to be an actor, this is what actors are supposed to do.

He said, "if you’re an actor and you don’t experience the character, how could you portray it well, if you don’t get into the character, how could you make the character come to life?"

Working hard, experiencing, and immersing… he views them as a refined definition of actor, these are the preconditions of the lottery ticket. As for whether you can win the lottery in the end, no one can predict it. At least in his experience, he waited for 11 years for that winning lottery ticket.

After the filming ended, he wrote ‘jianghu, goodbye’ on Weibo, when the last episode aired, it was exactly 6 months after the last day of filming. His Weibo is on the setting of showing only the recent 6 months’ posts, as if it was a ‘long been destined’ farewell.

Perhaps the character Zhou Zi Shu is destined to be his. During the four months of filming, he had to gradually reveal Zhou Zi Shu’s two thousand layers of gray, he had to find him, become him, and lastly live the rest of his life for him.

Actors are probably all like this, they always must pour in their own life, emotions, and experience to make the character come to life. The process of making the character come to life means the actors get to experience life and emotions once again.

"Life is experience, you need to put some of your experiences into your characters."

Hegel mentioned in ‘Lectures on Aesthetics’ - 艺术通过供观照的形象可以缓和最酷烈的悲剧命运, 使它成为欣赏的对象。(thank you @sixteenthshen for providing the original quote!)

the specific lines zzh mentioned is bolded: If we are in a general way permitted to regard human activity in the realm of the beautiful as a liberation of the soul, as a release from constraint and restriction, in short, to consider that art does actually alleviate the most overpowering and tragic catastrophes by means of the creations it offers to our contemplation and enjoyment, it is the art of music which conducts us to the final summit of that ascent to freedom.

The reason why those so-called pains are endowed with aesthetic tension may lie in ‘being watched with pleasure’. Those most beautiful things aren’t been torn in our real lives, they become one ‘tearing performance’ after another, being shown on the stage, shown on the screen. The existence of aesthetic distance made ‘those so-called pains’ into something that can be bearable, having its own appreciation.

That so-called ‘pain’ experience comes more direct towards actors, there’s not much room for leeway. In his previous interview, he commented that Zhou Zi Shu is the most memorable character, the character that hurt him the most. Talking about ‘getting hurt’ again, he thinks that is unavoidable.

"I say that an actor has to get into the character and get out of character quickly. But when you’re acting in a happy scene, that happy feeling might last for a day or few days. When you’re acting in a sad, heart-broken scene, even you say it’s ok, it’s fine, it won’t affect me. But it will affect your mood, including your actions. When I go back to my room, I can’t help but to think about that scene, I might not be willing to go out and walk around."

"So, do you think acting is a process of wearing yourself out and wearing emotions down?"

"Of course, of course, of course, it’s wearing myself out." He said of course three times consecutively, "it’s not just wearing my emotions down, it also wears my physical strength out, wears my experience out, and a lot of my own things. So, if I want to do well in a piece of work, I can’t go into the next crew right after I have finished filming. Because you will have traces of the last piece of work, it’s actually hard to accept and get into the next character."

"I personally really like to stay in the filming crew, the reason why I said Zhou Zi Shu is great is that we couldn’t have any other work due to COVID-19 restrictions. I was in the crew for 4 months, in peace. I was looking into and experiencing the character carefully."

On the day of the interview, the Q&A part about acting was the most ‘unrestrained’. Every time we throw out a question, we would always get a powerful and resonating reply. From the perspective of a bystander, you could feel that he is the kind of person that is shining in his professional field.

At the end of every drama/ film, he would choose to leave that environment, and go out to have fun for few days. "I’m not insisting that I need to disengage from the drama/ film, I just want to relax, return to myself, return to Zhang Zhehan’s life."

"So, when you’re looking at Zhou Zi Shu again now as a viewer, do you have any different sentiment?"

"Of course, I would think of the funny parts and incidents. A lot of interesting bits that I’ve added in myself, you can see it in the character." Fortunately, as an actor, he can also feel the happiness that ordinary viewers have.

In our conversation, the words that he mentioned the most were 'gentle yet strong'.

"I really like netizens' comments that Zhou Zi Shu is gentle yet strong."

"The quality that I admire the most now is gentle yet strong."

"I feel like now I want to be like Ah-Xu, someone who is gentle yet strong."

"I want to be like Ah-Xu, become a bit gentler."

He thinks this seemingly contradictory combination is very interesting, "strong describes a person who is strong, whereas gentle is soft. These two words may seem to have no connection, but when they’re put together, it’s also a perfect connection."

"I didn’t feel this way before. I used to think people have to be strong, powerful, how can you be gentle yet strong? I think that’s something I need to learn now. This person must make everyone around them feel comfortable and think of others, but at the same time he/ she is also an individual who’s very strong and full of capabilities."

"Like water, it’s like this when it’s calm, it’s like that when it’s surging high."

He used as many hand gestures as he could as he wanted to express what’s on his mind as much as possible.

Gentle yet strong, this is what he saw, felt from Zhou Zi Shu, and it’s also the character experience he most wants to leave behind.

"Speaking of what hasn’t changed for 11 years, is that I’m still acting; speaking of changes there are a lot. All these years of experience, it became my understanding of each character, in contrast, 11 years of acting experience allowed me to learn a lot from my characters."

To him, every big or small character he had in the past 11 years is a mutual encounter, he gave something to the characters, and the characters also left him with something.

Those who have seen his acting praise him that he truly understands Zhou Zi Shu, so we asked how he could stand in the perspective of Zhou Zi Shu to understand his words and actions. He doesn’t think that it was understanding, it just naturally happened.

"I didn’t deliberately try to understand him, I think what he did was just following his heart, that’s how I feel, so that’s how it should be. I would ask if it was myself, can I do that? Is it acceptable? If I think it’s ok, then it’s right. If I think it’s unacceptable, I will definitely tell the director - 'I don’t want to act this way.'"

"I read another book today, the main idea is the most important thing for people is to know themselves. Know yourself, know what kind of person you are, then you will know the world. You need to learn how to reconcile with yourself, learn how to communicate with yourself, tell yourself when you need to keep going, when to compromise, when you need to understand, when you need to be strong… you need to keep being yourself and convince yourself at certain times."

Meeting Zhou Zi Shu, to Zhang Zhehan is also the process of meeting and knowing himself. "But I’m probably not as mighty as Zhou Zi Shu," he laughed.

He thinks that he’s not at the age of looking back, the things that have happened, just let them go. "There’s nothing to remember in particular, there’s nothing memorable. And my occupation, a lot of people will remember for you, they will remember your good, remember your various moments, so I don’t need to remember. What I need to do now is to live well, my current life, future life, and get into the next role."

"When I can’t act anymore, I think I will look back more."

Now, he wants to challenge a new area, "I really want to act in movies, act in more movies. 40 episodes of acting and 2 hours of acting are different, condensed acting is the quintessence. I still need to learn how to act well in the 2 hours."

And "I hope I can be a director one day."

The beautiful scenery in spring is as deep and wide as the sea, it’s fortunate that we get to meet.

"My occupation, many people will remember every moment of yours."

"Immerse into my next character, and live well - that's what I need to do now. "

Translation by: KIMMYYANG

[dresshistorynerd]

I think we can all agree that this is dumb, right? Though the title is highly misleading and the quote marks around "ban" do a lot of work here. These companies just no longer requires actresses to wear structural garments. Still a dumb and bad solution to the problem of badly made costumes.

Couple of my issues with the article:

The purpose of the corset or any other similar structural garment wasn't to reduce waist, but to provide support and shape the silhouette. In the article someone from Netflix commented that they shouldn't promote that women should make their waists smaller, apparently it's "bad optics". And from Neflix the main series where corsets are no longer required is Bridgerton, because one of the main actors had bad time with her stays. But if you take just one quick look at the Regency silhouette you will see the waist is far from reduced. Literally there is no waist. Completely covered. They have been doing something terribly wrong if they have made Regency stays that pinch down the waist. Some actors also seem to think the waist is supposed to be reduced all the time. I remember that one actor in HBO's The Gilded Age complained about the corset, but then in the same breath admitted that she had asked the costumers to make it purposefully a little too small so she could be tight-laced all the time (a practice some fashionable rich Victorian women did for high society events, and definitely not all the time). But beyond the inaccuracies in the article, there is an issue here. Structural garments supported the bust yes, but also in many periods they supported the weight of the dress. In 17th and 18th centuries and Victorian Era the skirts of rich women especially had a lot of heavy fabric which would be hard to deal with and move around with, if all the weight is only on the waist. But with a structural garment it distributes the weight to the whole torso, especially on the hips.

A structural garment needs to be fitted well and worn with with a shift underneath. It absolutely can be uncomfortable, create bruising and restrict breathing, if it's not well fitted. If you have ever used too small jeans that contain no spandex at all, you know how nasty the effects can be on the skin. Especially TV sets often have very little time for creating costumes and they might have just one fitting or at tops two or in worst case scenario none at all, which very easily leads to ill fitting costumes. That is a huge issue with structural garments. I've been making transitional short stays for myself and I have never made a garment like that so I'm still struggling fit it well (it's unfinished), and I can say it's not comfortable when it doesn't fit well. I haven't watched Bridgerton but I have seen couple of screencaps of different scenes with characters wearing stays and no shift to be seen anywhere. I really do hope they actually are wearing shifts when they have the full outfits on and just didn't wear them in these scenes for aesthetics or something. Because, yes, that will absolutely give you bruising, if you wear any type of fitted and structured garment against your skin without any fabric between it and the skin, against which the structural garment can slide against. It would be irresponsible to put your actors in such garments without shifts. I don't blame the actors for complaining about the "corsets", since I can believe they are uncomfortable if they are not well fitted or god forbid if they aren't wearing shifts.

I don't know how many times this needs to be said: corsets are not torture devices. While I don't blame the actors for complaining, reading comments like this kills one brain cell every time: "Women existed in that for such a long time, which does give you a lot of sympathy for that time period and what they were going through. For the first month, I couldn’t breathe." I'm sorry, but women literally did physical labour in corsets. They climbed mountains in corsets. (I have a whole post related to this.) Do these people really think so little of women in the past that, if corsets really were torture devices, they would have just endured them quietly for centuries? Of course the most fashionable clothing in a lot of the periods were uncomfortable and hard to move in, even restrictive, but those were the court gowns and ball gowns the young fashionable elite wore for the special evening occasions to show off to the high society. But does that really differ from today? If you look at the MET galas and stuff, do these actors really claim the outfits are comfortable? The everyday clothing and the clothing of the working class was fairly comfortable, and yes, they all wore corsets.

Yes, you can make properly fitted, comfortable supportive garments for costumes in any production. The proof is in opera. Opera singers wear corsets in a lot of productions. I have read many accounts by opera singers who talk about how their corsets are well fitted and actually makes singing easier, because you can "lean" on the corset (I don't know anything about singing, but that's what I have seen them say). Also they tend to wear those large and heavy period dresses and as alluded earlier moving on them on stage without corset would be very hard. Singing also would be harder as the singers could easily become breathless from moving the heavy dress without using the muscles on the whole body. Operas have much smaller budget than these big tv and movie productions, so there's really zero excuses for making badly fitting corsets.

So yes, it's dumb, it's inaccurate and kinda infuriating. But it's also actually pretty sinister. The issue isn't actors wearing corsets for many hours, that's what people have done for ages and still do in re-enactments, opera etc. The issue is that there's too little time for fitting and sewing the corsets in modern tv and movie production. And this is part of a much broader issue. Costume designers and makes are unionized in Hollywood and for a while now Hollywood studios have tried to cut the amount of unionized behind the scenes labour they employ.

Making profit from a movie or a tv show is not good enough anymore. Now productions that don't "perform as expected" are seen as flops. The production companies make predictions of profit and green light projects they have calculated to make most profit, and if they don't make that high profit, it's a flop and it won't get the planned sequel or the next season. To achieve those high profits they also do everything they can to lower the production costs, and one way is by employing as little unionized labour, to whom you have to pay fair wages, as possible. So costume departments are then very often understaffed and they have way too little time to produce the costumes in proper quality. This can be seen very blatantly in the clear drop in quality of movie costuming during the past couple of decades. So the reducing of structural garments in costumes seems like yet another attempt to reduce unionized labour disguised as feminism.

Obviously the good and smart solution to the problem of uncomfortable structural garments is to hire enough costumers for long enough time so they can have multiple fittings and make them better.

[makeste]

BnHA Chapter 301: All My Todorokis

Previously on BnHA: We learned that when a bunch of superpowered villains are suddenly set loose with nobody around to stop them, things get fucked pretty quickly. Old Man Samurai and a bunch of other useless people decided to make “I pretend I do not see it” their new mantra, and resigned. Endeavor had a moment of despair on account of being crushed by the guilt of having ruined the lives of himself, his family, and basically everyone else in the entire world. For various reasons the heretical notion of “person who has done bad things feels sorry for doing them” sent fandom spiraling into a meltdown, so that was fun. The chapter ended with the entire Todoroki clan descending upon Enji’s hospital room to have a dramatic chat about Touya and All That General Fuckery.

Today on BnHA: Horikoshi is all “here’s the story of how Baby Touya slowly went insane trying to win his father’s love.” It’s a tale full of subverted expectations and heartbreaking inevitability, and also like twenty panels of the cutest fucking kids who ever existed on planet earth, who are so fucking cute that I can’t stop thinking about their cuteness even with all of the horrifying family tragedy unfolding around them. It is absolutely ridiculous how cute they are. Touya is out here pushing his tiny body past its limits because he inherited the same obsession as his dad and neither of them can put it aside even though it’s destroying them, and yet all I can think about is Baby Shouto’s (。･o･｡) face. Anyways what a chapter.

so I have to confess that even though I managed to avoid being caught off-guard by the early leaks, the number of people reblogging my Endeavor posts from earlier this week and using the tag “bnha 301” kind of gave me an inkling that this chapter will include more Tododrama lol. that said, I don’t know anything else about it, so we’re still good spoiler-wise

AHHHHH FLAHSBAKC AHHHH. omg I know I typoed the shit out of that, but I’m just going to leave it lol I think it’s fitting

holy shit holy fuck. so this is Rei and Enji’s first meeting, then??

yepppp, oh shit

so wait, I know this is not even the slightest bit important, but are they meeting at Enji’s home or Rei’s? because I always figured that Enji was the one with the super-Japanese aesthetic, but maybe that was Rei’s side of the family all along

(ETA: from what I found during my very brief google search, omiai meetings are often held at fancy hotels or restaurants, so maybe that’s what this is.)

there’s such a period drama feel to this setting. like it’s so outrageously formal fff how can anyone stand this kind of atmosphere though seriously

OH THANK GOD

I mean they’re still stiff af but at least they’re not rigidly sitting in seiza and staring at each other unblinkingly anymore lol. Enji’s actually got his hands in his pockets now. why is this somehow almost cute

oh damn it’s the flowers

Rei seems so subdued and it’s so hard to get any idea of what she’s actually thinking. I want to see her side of this dammit

but anyway, so at least from Enji’s perspective it seems like even though the marriage was arranged and he picked her because of her quirk, he still loved his wife and wanted to do right by her. the fact that he was watching her and noticed that she liked the flowers, and remembered that detail for all these years -- there’s a reason why Horikoshi’s showing us this. we know what’s going to happen later on; we know how much fear and violence and breaking of trust is coming up ahead, and while it may seem like this scene is serving to soften Enji’s character further -- which to be fair it is -- it also helps drive home the full impact of his abuse. that it’s so terrible not only because of the trauma of the abuse itself, but also because of the way it retroactively destroys all of the good things as well. this could have potentially been such a sweet scene, but it’s inescapably tainted by the knowledge of what’s to come, at least for me. and that’s just brutal

anyways, shit. is the whole chapter going to be like this?? feel free to toss in something I can actually make a joke about sometime, Horikoshi

oop, back to the present

omfg lol

“are you all right” “NO I’M NOT ALL RIGHT WHAT THE FUCK.” “oh, right, because of all the stuff that’s happened with me abusing you and you having a mental breakdown and being hospitalized for ten years and then our son coming back to life and killing thirty people, right, right. I almost forgot.” whoops

omfg you guys I’m loving this new and improved steely-eyed Rei. I’m loving her a lot

and what do you mean “part one” fkjds how long is this going to be. TOO MUCH DRAMA FOR ONE CHAPTER TO HANDLE

oh, hello

yeah I’ll say you did. didn’t seem to bother you much at the time, though

HMMMMMMMMMMMM

Dabi Is A Noumu intensifies even further. anyways though would you fucking look at this boy lounging on this moth-eaten couch doing his best DRAW ME LIKE YOUR FRENCH GIRLS impression wtf

Dabi what if you actually had killed him??? what would you feel?? satisfaction?? regret?? anything at all?? tell me your secrets goddammit

who are you talking to buddy

Fuyumi-chan, Natsu-kun (is it common for brothers to address each other as -kun?? can’t recall seeing that in many other anime, but hey), and “dot dot dot,,,,,, SHOUTO” lol thank you so much for this bountiful heaping of Tododrama Horikoshi we are blessed

AH, WHAT DID I SAY THE OTHER DAY

ULTIMATE MELODRAMATIC THEATER CHILD. “I’M JUST GOING TO LIE ON THIS COUCH SHIRTLESS AND ALONE AND MAKE SPEECHES TO MY FAMILY MEMBERS WHO AREN’T THERE AND SAY THINGS LIKE ‘WATCH ME IN THE PITS OF HELL’ WITH A STRAIGHT FACE BECAUSE NO ONE’S THERE TO JUDGE ME.” WELL JOKE’S ON YOU MISTER CHATTERBOX BECAUSE I AM IN FACT JUDGING THE SHIT OUT OF YOU LOL

(ETA: and on a more serious note, it’s interesting to see that “look at me”/”watch me” theme being used again though, because we see that same sentiment uttered repeatedly by the younger Touya in the flashback. well kid, you definitely got your wish at last. don’t know what else to say.)

OKAY HORIKOSHI HAS DECIDED THAT’S ENOUGH FUN, TIME FOR MORE FLASHBACKS

oh my sweet precious lord

just as cute as we left him. giving us a child this cute when we all know full well what’s going to happen to him is just unspeakably cruel though

HOMG

I’m fucking speechless. you broke me, congratulations. what am I even supposed to do with this

I can’t get over this. moving forward my life will be split into two distinct parts, B.P. (Before the Pout) and A.P. (After the Pout)

and meanwhile there’s ALL THIS BACKGROUND ANGST BUILDING UP, AND I CAN’T EVEN FOCUS ON IT. Touya’s arm and cheek are covered in bandages (I’m guessing this is shortly after that “ouch!” panel we got some chapters back), and Enji is deliberately avoiding training with him because he doesn’t want him to hurt himself further. I can’t fucking get over the irony that all this time everyone thought Touya had died because Enji pushed him too far in his training, and it turns out that it’s the opposite -- the tragedy ultimately happened because he didn’t want to push him. but I’m jumping ahead of myself though I guess

by the way,

remember this?? just wanted to remind you that it exists just in case you forgot

so now someone is talking and basically saying that Touya is the exact opposite of what Enji was hoping for when he decided to start playing with quirk genetics

-- okay hold up

...lol no, never mind. for a second I thought “holy shit he looks kind of familiar WHAT IF IT’S UJIKO OMG” before I remembered that Enji would have recognized him during the hospital capture mission if that was the case. so NEVER MIND, PROCEED

IMAGINE THAT, ENJI DOESN’T QUITE SEEM SATISFIED WITH THIS SUGGESTION OF QUITTING NOW

(ETA: how the fuck did this man go around saving 62 towns in a single day what even is All Might.)

[clicks tongue several times] trouble a’brewin’

MEANWHILE BABY TOUYA HAS UNFORTUNATELY INHERITED HIS DAD’S STUBBORN STREAK

KLDIHWOEIJFL:KSDJ

!!!!!!!!!!!

oh my god. oh my god. what is this chapter. WHAT IS IT

so now Touya is all “YOU JUST DON’T UNDERSTAND MY MANLY DESIRE TO BURN MYSELF ALIVE” well you got her there champ

THEY’RE TOO CUTE. OH MY GOD. HIS FURIOUS LITTLE TEARS. HER CHUBBY LIL FACE. HIS STUBBY LIL FISTS. SOMEONE HELP ME

also are they just home alone lol or what. “hey Touya, you’re what, like six now?? do us a favor and look after your baby sister for a couple hours for us would you? make sure not to set yourself on fire or anything.” WHAT COULD POSSIBLY GO WRONG!!

now it’s nighttime and Enji and Rei are arguing, presumably about his decision not to train Touya anymore

whew. okay. so, a couple of things here

1. first of all I think this conclusively shows that Enji really was trying to do the best he could for Touya. he stopped training him as soon as he realized it was hurting him, but Touya was still determined so he tried to make it work anyway, and even visited doctors to try and figure out if there was anything they could do. then, once they were absolutely sure that it wasn’t going to work, he tried multiple times to explain to Touya why they had to stop. he didn’t just abandon him out of the blue, which is really important to note. “no matter how much I tried telling him...”

so yeah, that debunks another common fandom accusation. so by the time he finally makes this decision, which we all know is going to turn out horribly, it’s basically because he’s already tried everything else he could think of. which, by the way, still doesn’t mean he handled this right. but at the very least he was taking Touya’s feelings into account and he was trying, and he didn’t just abruptly toss his son aside (at least not yet)

2. buuuut, then there’s this panel right below all that

which is the other side of it. if he’d just quit like the doctor person advised him to, that would have been the end of it. Touya would still have been upset, but he would have eventually gotten over it and the family would have moved on and possibly even been happy. but what happens next happens because Enji can’t let go. he still has this maddening urge to surpass All Might, and so he and Rei keep having more children, and then Shouto is born, and Enji finally has a kid he can start projecting all of his hysterical ambitions onto once again, and everything starts spiraling out of control soon after

though p.s. none of that is Shouto’s fault though!! he’s one of the few good things to come out of this whole mess and I’m very happy that he exists. the tragedy is that his dad fucking lost his mind over his quirk and fucked everything up. but that’s on him, not Touya or Shouto

anyways, SLKFJLSHGLKJL

I CAN’T FUCKING TAKE THIS YOU GUYS??? LOOK AT THAT LIL BUTTON OF A NOSE??? I’M LOSING IT HERE???

AND TOUYA JUST SEEMS DEVASTATED OMG

because children aren’t stupid, after all. he understands that his dad is still looking to surpass All Might. and so he feels like a failure, and feels like his dad is trying to replace him because he wasn’t good enough. and even now, isn’t that what the adult Touya is trying to prove?? that he was good enough after all?? “I’ll show you what happens when you give up on me, dad”?? “I’ll show you what I can do”?? fuck my life fuck everything

AND YOU CAN SEE THE TOLL THAT IT’S ALL TAKING ON REI GETTING WORSE AND WORSE AS WELL OH GOD

really nice touch here with the panel outlines becoming all shimmery from the heat of Endeavor’s flames (and/or becoming more unstable as the family gets closer and closer to their breaking point). but man, Horikoshi I can’t handle this, please show us more cute kids or something I can’t

GKELKWFJLDKSHFLKL

WITTLE BABE. BEEB. BUBS. SMOL. lkj; oh ouch a piece of my heart just detached and latched onto him huh look at that

TODOROKI “I’M SO SMALL AND I HAVE NO IDEA WHAT’S GOING ON AND I DIDN’T ASK TO BE HERE” SHOUTO AHHHHH

crazy how they all just seem to know right off the bat lol. kid doesn’t even have object permanence yet, let alone a quirk. but do they care?? IT’S THE HAIR, RIGHT. WE’RE ALL THINKING IT, I’M JUST GONNA COME OUT AND SAY IT. they knew the minute they looked at him lol

AND MEANWHILE TOUYA IS OFF HAVING UNSUPERVISED TRAINING/CRYING SESSIONS IN THE MOUNTAINS OR WHATEVER, AND, UH OH

are those blue flames yet?? they seem pretty close

(ETA: this is one of the few cases where the manga being in black and white is infuriating lol.)

OH MY GOD AND STILL

so it’s not like he was so disinterested that he didn’t notice what was happening, and he was still trying to stop it and get through to him. trying to reassure him that it wasn’t the end of the world and there were other things he could do with his life, but this one particular thing just wasn’t going to happen

fucking hell. it’s agonizing seeing how close they actually were to fixing it. if he’d only said the right words, or if he’d realized at this point how destructive his obsession could be to his kids, and backed off from putting that same pressure on Shouto. we came so close to possibly having a happy ending

AND ALSO THIS HAS NOTHING TO DO WITH ANYTHING BUT PLEASE LOOK AT HOW TOUYA IS LIKE THREE AND A HALF FEET TALL AND HIS DAD IS LIKE NINE AND A HALF FEET. Touya barely comes past his knees flkjlkg. the Todoroki household must have been so filled with like plastic stepstools to reach the bathroom sink and all the little baby toothbrushes, and baby gates to keep the kiddos out of the important grown-up rooms and stuff. and also days-old half-empty cups of water and stale crackers and hot wheels and my little ponies strewn everywhere

“BUT EVERYONE AT SCHOOL SAYS THEY’RE GONNA BE HEROES” a wild Deku parallel appears?? how bout that

I know this is like a pivotal moment in the Todo Tragedy and all, but fucking look at this lil dumpling

“sup bro, it’s me, the manifestation of your fears of inadequacy and lack of fatherly affections. a GAAA. ba-baAA-baa [gurgling baby sounds]”

OHHHHH IT’S THE SOUND OF MY HEART BREAKING OH NO

HE WANTS TO BE LIKE YOU ENJI. good lord somebody please just get this family some therapy

“DAD YOU IGNITED IT IN ME” flkjslkj nope, nope. not ready for this pain here

baby Shouto, would you like to weigh in on this affair? “DA!! ba-ga-daaa, [pacifier chewing noises]” oh my, you don’t say. so insightful for one so young

OH MY GODDDDDD

IT’S SO DRAMATIC BUT ALL I CAN THINK ABOUT ARE THE SHOUNEN WOOSH LINES SURROUNDING FOUR-MONTH-OLD SHOUTO LOL HE WAS LIKE THIS FROM BIRTH OH MY GOD I AM DYING HELP

SHOUTO YOU’RE RUINING THIS ENTIRE CHAPTER!?!?!

“yo, the fuck kind of family was I fucking born into” oh, son. if you only knew. IF YOU ONLY KNEW!!

(ETA: lmao I got so distracted by the ridiculous cuteness that I glossed over the fact that Baby Touya seems to possibly be aiming at him?? it’s hard to tell because he’s also super out of it from heatstroke and may just be losing control in his attempt to show off his upgrade.)

ANYWAY THAT’S THE END EXCEPT WHAT’S THIS LAST LINE OMG

ffffff. and we’re in for ANOTHER chapter of this next week?? MORE drama?? MORE BABIES?? MORE OF EIGHT-YEAR-OLD TOUYA’S SLOW DESCENT INTO MADNESS. MY HEART CAN’T TAKE IT, BUT ALSO YES PLEASE SIGN ME UP

[br-disaster]

Nie Huaisang’s outfits appreciation post

After the terrible loss of our second best dressed cultivator and fashion icon Nie Mingjue, the cultivation world now lacks one of it’s pillars. But little did they know, our fashion king had a disciple, someone capable of honoring his legacy in many ways.

While we all grief, a new icon rises.

And I’m here to prove that Nie Huaisang deserves his late brother’s title not only because Mingjue’s no longer serving looks -may his fashionable soul rest in peace-, but because Huaisang has always been a stylish icon on his own.

I mean, this look right here is enough proof:

 Huaisang has quite a lot of robes, and they are all so different, I decided to compile them chronologically:

1. the “assigned fashionable at birth”one

Look at this small bean with his cream-colored robes. Whoever chose this color for him did a great job, though it’s a bit weird that they looked at baby Mingjue and went “all you’ll wear is dark gray from now on” and then Huaisang was born and “cream it is!” And we don’t really see anybody else from the Nie sect wearing this color, I wonder if it has anything to do with Huaisang’s mom, or if it’s just for the dark\light color contrast,  the two young masters can’t possibly wear the same colors, it would ruin the aesthetic.

 It looks just like his main-possibly-stay-at-home-robes, like he just really loved this especific set and had a lot of other robes that looked just the same growing up.

Really small, really cute, makes you want to carry him around saying: look at my baby, he’s so stylish!

2. the “good old Gusu days” one

This is like a uniform, there’s nothing really special about it. But I’d like to point out two things:

One: the silver embroidery on the shoulders and the silver on his waist belt matches the pristine white of his robes really well.

Two: look how wide his shouders look, there you go, Huaisang, keeping the Nie shoulder game strong!

3. The “it’s called fashion, dage” one

Cream-colored again! It embodies teen!Huaisang’s aesthetic perfectly: it’s expensive, it’s pretty, it looks comfortable, but it’s minimalistic.

I mean, I have no idea if it is actually expensive, but it surely looks expensive.

It has no discernable patterns, but the fabric just looks so good, look at the texture. It looks warm and heavy (rip Ji Li). And it’s pleated, look at him! Everything about this one screams rich-carefree-spoiled-delicate-pretty-gongzi.

And well, we see him strolling around and getting in trouble instead of going straight home in this robes, then on Fatal Journey we see him painting landscapes instead of practicing and claiming he doesn’t want to become the Nie sect leader in this very set of robes. Maybe he has indeed been wearing similar robes since his childhood and wants to, you know, go back to when things were as simple as taking the long way home coming back from Gusu.

4. the “didn’t really engage on the war but needed to look good regardless” one

This one is so pretty, y’all. It’s silver and white and gray, the brothers  are matching with their disciples’ robes, you won’t find a Sect with a superior fashion sense.

I can totally understand why he didn’t change to some post-Sunshot robes. Imagine looking this good at home, with none of your friends or disciples or brother to see you. Nope. This robes belong to a banquet, even one as unpleasing and akward as this one.

(They technically saw him, since he wore the same robes while they were planning the whole Sunshot thing, but no one was paying attention to it, right? And you can’t let such a nice look go to waste)

One of my favorites, for sure. It even matches his fan. It’s peak aesthetic.

5. the “I’m only here for the food and the drama” one

I didn’t really like this one at first. It looked kinda futuristic in my head, you know? It’s probably just the really structured fabric and the color, but It was a bit too much.

But now, looking at it as I take screenshots, I like them. It’s bold and fierce and remember the shoulder accessories being a code for battle? Well, I doubt Huaisang shot a single arrow that day, but he was supposed to be competing, so it makes a lot of sense that he’s dressed like this while his brother is wearing his pretty, dark yet lighter civillian robes to watch him.

He’s even wearing epaulettes (well, I trust that that’s the name) that matches the ones Mingjue wore with his Sunshot robes! Are they the same pair? Did he borrow it? Or do they secretly comission the same robes and accessories  and wear them on alternate occasions?

These are the most battle-coded (and at the same time is not battle-coded at all, it’s too ostentatious) robes we see him wearing until now, and he is representing his sect at the hunt, he has to look like a proper heir that is capable of fighting, whether he likes it or not - and judging by how unenthusiastic he was during the opening shoot-the-wen-prisioners ceremony, I’d say he was not enjoying it at all-.

But it’s such a cool look, I really like it now.

6. the “he will throw hands with a non-corporeal entity while giving his big brother all the love and understanding he deserves” one

 This may look like the same robes we usually wears at home, but they lack the pleated part and I don’t think his long sleeves would fit inside his wirst thingy, which I now know it’s called a vambrace or a bracer,  they were quite wide sleeves.

Anyway, we again have his minimalistic aesthetic. No patterns, the only addition being the outer robe that realy looks like the one Mingjue wears with his stay-at-home robes, except with no sleeves; and the bracers\vambraces.

But look how different this looks in comparison with the previous one; he wasn’t fighting shit in those pompous silver robes, but he was so determined here, ready to face anything. This is the difference between a battle-coded look and a battle-codded Huaisang.

It’s practical, it’s pretty, looks comfortable and it’s perfect for scolding your older brother then comforting him because he gets emotional when people argue with him, ok?

Huaisang is the best younger brother, fight me

8.the “sad, sad” one

I’ll just say that the inner robes are really similar to the one Mingjue wears with his stay-at-home robes, though they are not the same. Perhaps my theory that they did comission a lot of similar itens is correct after all.

I don’t think this look is particularly good, and the context surely doesn’t help at all, but it’s interesting to see him in gray and black.

 Overall, I hate it here.

9. the “somehow even worse” one

Look, if I had to compile all his outfits, I had to include this one. But there’s nothing to say about it except just looking at him wearing it makes me sad.

10. the “you didn’t see that coming, did you?” one

This one here is a trick, ok? At this point of the story we have no idea of what’s going on and if this misterious person is important or not; all we know is that he is quite fond of patterns and dark clothing. And that he has some money.

But damn, once we find out who this is, it instantly becomes something else entirely. 

It’s so fucking DARK!! It’s Wei Wuxian’s kind of dark, it’s crazy to think our boy Huaisang, who’s been wearing light grays, white and cream all his life would come up with something like that. It doesn’t even look Nie, and that’s probably what he was going for, y’know, so no one could recognize him and all of that.

But jesus, this look is just wow.  It’s perfect for a scheming mastermind, even though we don’t really know about it yet. The scales pattern is really nice and I love when he wears this sort of robe, with the fitted sleeves and the extra fabric at the shoulders. The flame (I think) pattern is nice too, though it’s a bit too much here, just a bit. But he seems to like this pattern a lot, so let him have it

And the craziest part is: we know these robes. And i’ve seen a couple of posts about them, it’s the same inner robe he wore at the Phoenix Mountain night hunt competition, almost 16 years ago. 

Like what are these robes made of??

11. the “sneaky, sneaky” one

The famous Nie pattern, am I right?

I love all theories about this one and as I took the screenshots, I noticed how his inner robe is the same as robe number 8. Huaisang says no to excessive buying, please reuse your clothes!

I’m particularly fond of the theory that Nie Mingjue comissioned robes for both his didi and his boyfriend Xichen, but I can accept that Huaisang just inherited his brother’s robes, though the flame pattern (once again proving we won’t guess Huaisang is behind everything not even after seeing him wearing the same patterns as in episode one twice) at the bottom is definetly a Huaisang thing.

I really like how heavy it looks, and the black thin stripe.We know it’s the same pattern as Xichen’s robe but seeing it combined with the back and light gray of the Nies really gives it a distinct identity.

12. the “and the oscar goes to...” one

Look at him, all innocent-looking placing all the chess pieces on their right places. Gotta love director Nie.  And it makes so much sense that he would wear something as light as this robes for this moment. He wore light colors for most of his youth, when he was carefree and naive and harmless; he cultivated a reputation of being dependent, fearful and stupid even. In this moment, more than ever, he needs people to believe this is exactly who he is, and what’s the best way of doing it?

Yes, reminding them of your old self. All he does is pretend and lie while he cries and faints.  A director and an actor too!

Throw yourself at your brother’s sworn brothers trying to look harmless while annoying the hell out of them? check.

Faint conveniently as your brother’s murderer lies at your face about killing said brother because even you have limits and you can’t watch that fuckery and not want to murder him right there? check.

Pretend to be stupid while conducting the protagonist and pretty much everybody else to ask the right questions and therefore unmask the terrible things your nemesis did?  also check.

And the robes are really pretty, look at the texture at the bottom right!! Silver and white go really well together. Wide, wide sleeves and this heavy-looking fabric. Superb, really, one of my favorites again.

And look at him carrying his saber (which he  probably left at Pier Lotus later)!

13. the “...and cut!” one

Look at these robes and tell me they don’t absolutely look like something Nie Mingjue would wear. You know he would. 

And it’s such a contrast to his previous robes. The white and silver one for looking innocent and lost and funny; the dark gray to look like a serious sect leader who will endorse the accusations against his enemy (Ok, he did act confused and lost and innocent in these robes, but he also showed real shock and grief and sadness, he did show his true feelings too)

He’s honoring his brother here, he did it, he brought justice to him, he defeated his brother’s murderer.  He spent years wanting and waiting for this moment, it’s only fair he would do so while looking so much like his beloved older brother.

I love everything about this look. The color palette is almost the same as the one robe his brother wore to the post-Sunshot campaign banquet. The dark,shining gray, the black, the thin bronze\golden stripe at the collar. Even that extra overlaid fabric at the bottom front of his robes is the same as Mingjue used to wear. Beautiful, really.

He would be really proud of you, I hope you know that, Huaisang.

14. the “I may or may not steal your chief cultivator status, watch out Wangji” one

I know he would never steal Wangji’s post, cql!NHS doesn’t even want it; but like, we deserved Chief cultivator!Huaisang, right? So it was worth the joke, I think.

The inner light gray robe yet AGAIN, I suspect this is his favorite inner robe.

We have some bold patterns here, so elegant. I really like when he wears this kind of outer robe, accentuating his shoulders, suits him really well, And this is such a Nie color palette, just like the previous one. In fact, Huaisang wears way more dark colors than we give him credit for. Especially after becoming sect leader. 

Sleeve game on point too, really long. And it matches his fan as well.

Lovely look, I wish we could have seen more.

In conclusion: 

King of versatility, resusing 16 year-old robes AND looking damn good while doing it! He looks good scheming, he looks good lying, he looks good fainting, he even looks good tricking people into stabbing other people!

 Name a more iconic king, I’ll wait.

[jupitermelichios]

So I decided to try watching Riverdale, and I have... thoughts. And also the words ‘holy homoeroticism batman’ written several times in increasingly large letters.

I started on season 2, because everything i read suggested that was when the show went off the rails, and i am here exclusively for the batshit weirdness. but it’s fine, because the show decided to fill me in on what i missed during the two consecutive 'previously on' sequences. was one not enough? was there an ad break between them? did they think people would forget what show they were watching if there wasn’t a little break and a logo splash halfway through?

we open on archie rushing his dad into the worlds most empty emergency room. there’s no one, no patients, no doctors, not even a receptionist, just a big empty room, right until the extras smell the blood of a protagonist and all converge. i assume they’re just desperate for something to do, working in the world’s least used hospital.

does snake pliskin exist in this universe? betty makes a reference that doesn’t really make any sense otherwise and given what i know about where the show goes eventually, it feels like a very real possibility. is this the escape from new york universe?

jingle jangle. they called the drug jingle jangle. honestly no criticism, amazing job everyone on the writing team, keep it up!

“dropping vintage bon-mot like vintage bon-bons” is a hell of a line that only works if you have no idea how bon-mot is said (and no idea what one does with a bon-bon. why are you dropping your candy on the floor veronica). fortunately neither the writers or the actress delivering it do, so it’s fine.

getting into the shower with someone without asking is a risky proposition. You have to be really sure they want it. there’s normal ‘i thought you were into it but you’re not’ awkwardness, and then there’s ‘i thought you were into it but you’re not and also i’m standing here wet and naked now’ awkwardness.

how many gangs are opperating in riverdale? I count three so far. riverdale is not that big, is it?

Actually for real, how big is riverdale? I have absolutely no idea. it’s a local small town with exactly one place to eat but it supports two highschools and three gangs. do we know where riverdale is, and is it anywhere near smallville?

cheryl sure knows how to dress for maximum drama. in general i’m basically neutral on the costumes, but everything cheryl has worn has been a Look and i am here for it. sexy runway victorian ghost aesthetic, yes, amazing, no criticisms.

define hood, because i’m not sure you know what it means. that’s a mask. i get that the comics character is called the black hood, but the costume team could have put him in a hood, why was their solution ‘ski mask but no one in town will admit it’s a ski mask’

half the high school is in this fucking hospital to support archie’s dad, good thing there’s zero other patients or staff or it would be getting crazy crowded

what riots, pop? you can’t just drop in ‘someone threw a brick through our window during the riots’ with no further explanation. what fucking riots?!

wise old spiritual black man, but he's just some dude is a take honestly. does he have some kind of special knowledge or divine connection? nope, he’s just a dude who likes being extremely cryptic in service of absolutely nothing

is cheryl magic? does she think she's magic? what does she think the kiss of life is?  i was under the impression that magic wasn’t going to be real in this show for another season or two, but cheryl apparently does not agree!

the problem with every actor playing a kid in this show being in their mid twenties (insert KennieJD ‘brooding hot 25 year old teenager’ jingle) is that then they show a music teacher kissing a student and i have absolutely no context for how creepy it’s supposed to be. like, she’s twenty, he’s twenty, we’re not in a school setting, I have no idea how i’m supposed to be reacting. he might be an adult who’s decided to take up piano, or she might be a straight up paedophile, and i have literally no idea which. am i supposed to be sad she’s dead?

headmaster is weirdly supportive of his students becoming armed vigilantes. i feel like every teacher i’ve ever had would have had more questions than that.

as the grandchild of a silversmith, i have to say, veronica polishing the silver cutlery as one of her chores is a weirdly believable detail for a show this unhinged. that was one of my chores as a teenager, and still is when i stay with my mum for more than a couple of days. pros of your grandad knowing how to silver-plate: pretty. cons: absolutely everything that stood still long enough eventually got silver plated and it all needs polishing.

Love that everyone still has archie comics names. the mob lawyer is called penny peabody. amazing.

maybe it's the fact that i'm in my 30s but archie's dad is the only attractive person on this show

ebony dark'ness dementia raven way would be very disappointed by how milktoast the goths in this show are. try harder, CW wardrobe department.

oh man, the lighting team absolutely went off for this show, and i kind of love that it's in service of absolutely nothing

holy homoeroticism batman

i’m in this weird place where objectively bonkers things have happened, but not as much or in the way that i want them to, and i can’t decide if it’s worth sticking with it to get to the later more bonkers seasons.

on an unrelated note though, this is the creative team i would choose for a nailbiter adaptation. the weird lighting and colour pallettes, the time displaced americana vibe, honestly even some of the writing, exactly what i would want from a nailbiter tv show.

[westmoor]

of men and horses

It’s a common misconception that Jaskier favours the winter season. 

He likes it well enough, truth be told, and he’ll hardly complain about generosity shown by the esteemed and wealthy that request his presence (and puts him up quite handsomely) at courts and castles to add a dash of colour to otherwise dreary months.

But the life he chose for himself is one of travel and adventure, and as much as he revels in all the intricacies and intrigue of life among nobility, it holds little in competition with life alongside a Witcher.

As such, the first week is always the most enjoyable. Sinking into a cushioned chair in heated chambers after every night after a rich supper, letting the chafes and scrapes of the road fade from his skin and the weariness to seep from his bones. 

An audience of fresh faces, and the ability to take the sidelines and enjoy the layers of courtly drama that didn’t directly involve him (yet.)

New connections to make, old ones to catch up with.

The first weeks are always the nicest.

After that, the restlessness sets in.

His legs, not used to settling, have soon wandered down every hall. No corner of the courtyard left uncircled. The woods, if the estate has any, seems disappointingly void of fearsome beasts.

Most places have stories that he occupies himself with uncovering, some many layers deep, that turn into a song or a story of its own.

This year he’s hardly so lucky.

The lord is an old acquaintance, friendly but drab, and he understands fully why his presence in their midst was desired. The bard seems to be the most interesting thing to pass their land in the past five years or so. These people, Jaskier thinks, have altogether far too few worries.

The first week has barely waned by the time he tires of the confines of the upper class and extends his periphery to the stables and kennel.

He’s come to feel at home near a stable, he finds, though riding was never his sport. A stable is a stable no matter it’s location on the continent, the smells and sounds blending into each other from one to the next.

And then there are the people. Quiet or chatty, but earnest and hard-working more often than not. There is something about the gentle tones and steady hands of men who handle horses that makes to soothe the ache that settles in a Witcher’s bard’s heart in the first weeks of winter.

His hosts keep a good stable, as he had expected, knowing their hobby of not just hunting but breeding and training horses fit for the task. As a result, the yard is teeming with life even when the ground freezes under sheets of white. Seasoned mounts taken out for exercise, greener ones finding their footing, yearlings being taught foundations from the ground.

Jaskier takes to watching them work, in between trading stories and songs and conversations. He is at his core an aesthete, and can appreciate the visage of a fine specimen atop a fine mount even if it’s not within his particular field of study.

He ends up not just watching the riders, however.

There’s a mare. A young deep red bay bought from a trader all the way down in Cintra that autumn. The head groom had sung her praises at first, practically waxing poetic about balanced structure and the ease of her gait, but as time wore on his tone had soured somewhat. 

She is, as one of the stableboys put it, a hellion.

Jaskier adores her.

It has become a habit of his over the past handful of days, wandering down to the paddocks after breakfast to watch an otherwise capable horseman fail to mold her into something more agreeable.

There is little progress to be had, and the workers have already started lamenting the likelihood of her being sold on in spring, too headstrong and too temperamental to suit his Lordship’s preferences.

Jaskier can’t help it. 

Watching her huff at pressure and wheedle her way out of tension, and occasionally deer-hop her way over fences and leaving her rider in the muck, tugs on something rather close to the spot in his heart warmed by the sight of broad-handed grooms humming softly to their favourites. 

He has even succeeded in bribing his way into her good graces, armed with apples and candied sugar, a feat he’s rather proud of.

The downside to this routine is that he spends such excessive time thinking about Geralt, in addition to the time he would normally spend thinking about Geralt, that when he rushes down from the main hall one frosty morning and sees a black-clad fellow in the yard, he very nearly goes right past.

It had snowed in the night, morning cold freezing it to dust over branches and parapets, now drifting down as powder with the gentle breeze. Fogged breath drifts along a stubbled cheek, crystallizing in silvery locks.

The moment between Jaskier’s heart skipping a beat and his mind catching up to reality nearly has him going face-first down the stone steps.

“Geralt!” he exclaims, confusion warring with disbelief but both losing out to joy.

The way the Witcher’s eyes light up at the sight of the bard is enough to drive him closer, stopping just short of throwing his arms around leather-clad shoulders and drawing the larger man in for a hug. 

The relief washing across Geralt’s face at the friendly reception provides all the warmth he needs, however. As unexpected as his arrival is, it pains him to know that Geralt might think his presence unwanted and it costs him nothing to prove those ideas false.

“What a surprise! I must admit I didn’t expect you so soon, though I’m glad to see you still hale after four entire weeks without me.” 

There is a genuine question in that statement, but he has a handful of theories relating to the answer, gleaned from his friend’s disposition and the apparent lack of hurry.

“Roach twisted a fetlock just past Hagge,” he says, and something heavy settles in the pit of Jaskier’s stomach. “Couldn’t make it to the mountains before the storms set in.”

“Oh.” Rifling through his admittedly limited knowledge of animal medicine yields little, but he knows the speed at which Geralt travels, and combined with the tension in his jaw - Roach is hardly a yearling. She has been a Witcher’s companion longer than him. “I’m sorry. Is she..?”

“I left her with a farmer. The one with the werewolf problem.”

Jaskier nods, he remembers it well. A good man, he’d paid handsomely with what he had. His son had been a journeyman at the time, though by now he should be a trained blacksmith in his own right.

There are worse lots for a horse to draw, he supposes. Besides, he wonders how many of Geralt’s noble steeds had earned a retirement. 

“I suppose I’ll have to visit next time I pass that way,” he says, at the lack of better comfort. The lines at the corners of Geralt’s eyes soften a fraction, and he knows it’s right. 

A thought stirs at the back of his mind, like opening a door, just a crack.

Maybe. Just maybe.

Geralt doesn’t look too torn. Resigned, if anything.

Sometimes, Jaskier figures, one just has to try.

“Well,” he says, suddenly decisive, and this time he does step up and clasp a hand over Geralt’s broad arm. “If you’re not too tired - your baggage can wait, I’m sure - and if you don’t mind indulging me, there’s someone I’d like for you to meet.”