#which is an interesting insight into the industry and just how much these characters are considered valuable as brands

[fellhellion]

still cant believe it took kris anka a year and a half to get an approved miguel design for the film fdskfjksdh they said get that boyfailure perfect or else

[kaileedraws]

Introduction: Adrien Agreste

Hey fellow miraculers! Here’s Adrien and a little about how he’s going to be portrayed in this AU. I’ll list the characteristics and/or problems that I saw in the show and then delve into how I’m going to take things here. Most of the issues I found in his character is just that his issues aren’t really talked about, but the subtext of a great character is there and he definitely has main character potential

1. His outfit

This is honestly a budget issue/creating recognizable characters for the show, but like all characters, I want to see more Gabriel Agreste fashion on him.

2. Love interest or main character?

In the show, it’s said that he’s the main character, but he doesn’t appear as such. A lot of his emotions, struggles, and life isn’t delved into as much as Marinette, yet he has so much potential. He’s a teenage Rapunzel trapped in a tower waiting for his ladybug in shining armor to come save him. I want to explore not only his fears of losing his freedom, but also his experimentation with rebellion and standing up to his father.

3. Adrien as a Model

In the show, his life as a model isn’t talked about really much, he just thinks it’s boring and it’s a nuisance to him. However, with some research, I discovered how horrible it can be. For one, Adrien would become desensitized to personal space and being touched without permission, putting him into awkward positions in his job and even with classmates. He would get taken advantage of a lot easier. As a model and celebrity, Adrien would also experience Parasocial Confusion — which is when a celebrity has difficulty distinguishing between genuine personal connections/love and relationships/infatuations of fans. This would make relationships with him incredibly difficult.

Additionally, model assault is a huge thing in the fashion industry. Unfortunately, because Adrien is such a pushover and people pleaser, this puts him up to be a prime target for abuse that he probably thinks is just normal (yes this happens, I promise, it sucks.) I want to see a huge character arc with him learning about personal boundaries and learning how to enforce them, with his friends teaching him what is Ok and what is not socially.

4. His personality before his mother dies

If I’m not mistaken, I don’t think we ever get much insight into how Adrien is like before Emilie “disappears.” From what we know about her, she is a princess and an actress, which brings me to my headcanon:

Emilie brought Adrien up on broadway shows, fairytales, and romances — this would explain why he has an “old fashioned” ideology that “boys save girls” (S3E3). This would also explain his gentlemanly behavior— like he was literally written/taught his behavior by a princess (he was. Her name is Emilie).

Inspired by musical theatre and the arts, Adrien began to take dance classes, where he meets Chloe Bourgeois — Emilie is to blame for this, and Gabriel would rather him take fencing, but he gives in. Chloe and Adrien become childhood friends through dance and being partnered often is how they became so close. Based on his “breakdancing” moves as Chat Noir, I think it would also be reasonable that he took other forms of dance too, like hiphop.

As Emilie started to get sicker and sicker, his ambitions for dance and the arts faded. He began fencing like his father wanted to and abandoned dancing. He and Chloe still remained close friends — as this was the only friend he was allowed to have. Gabriel knew Chloe’s dad, after all.

Although Emilie was portrayed to be kind, beautiful, and caring, it’s easy to paint memories of a person better than they actually were. Although she was those things, Emilie also was dramatic, hotheaded, and emotional. If Adrien did something wrong, she’d be quick to scold him harshly, but then just as quick to apologize for her outburst. Toward the end of her life, she was also rather absent from Adrien’s life, as she didn’t have much energy to take care of him anymore. It was difficult for her to take care of him as she got more and more sick, and he would often try to be the best little boy he could because he didn’t want to be a burden on top of her sickness. I mean remember, the last 3 years his dad had gotten him a freaking PEN for his birthday. This occurred when Emilie was still alive.

The person who raised him the most was Nathalie — as his mother became weak, and Gabriel became absent

5. Mental health and coping so he isn’t akumatized

Headcanon that to keep himself from being akumatized, Gabriel has him talk to a counselor who prescribes him multiple medications that work a little TOO well. Meaning? Let’s just say that he starts to become numb to feelings and that it’s just another way for his father to control him — His rebellion streak is going to hit hard yo.

Despite these methods, he’s still going to get akumatized — don’t worry, no one is safe.

His mental health illnesses insinuated from the show include depression, ADHD, parasocial confusion, abandonment trauma, social anxiety disorder, attachment disorder/trauma (which leads to lack of boundaries), and to add some spice, probably claustrophobia (or just feeling trapped). This poor boy has so much he needs to shift through and I’m excited to guide him on an arc to healing.

Conclusion

I think Adrien is my favorite character simply because of how there are certain aspects of him that I heavily relate to — plus he’s such a kind soul who has every right to turn into a villain but stays a sunshine golden retriever boy. It takes a lot of strength and determination to go through so much and be good in the end. I can’t wait to write him in this AU and give the boy the healing and happiness he deserves. There’s so much more I could talk about with him, but this is just the beginning!

[riririnnnn]

It was the end of Ubers match when I first stumbled upon a tweet on Pinterest which sowed the theory of Kaiser destroying Sae's dream in my mind. And honestly, after this seeing panel:

I'm starting to believe more and more in that theory.

It was evident way before Ness's backstory that Kaiser is definitely NOT a newbie in the soccer industry which gives an ample amount of time for Sae to face Kaiser in a match considering Sae didn't return to Japan for straight four years.

And I highly think that Sae faced off Kaiser in the later moment of those four years.

Why?

Because:

He looked miserable when he first returned from Spain in comparison to his later return (almost a year later) from Spain:

And I do think that if you were to lose a long-term dream, then it'll show on your face much more during the earlier days rather than a year later when you get used to the feeling of losing your dream.

Further, Kaiser crushing Sae's dream fits well in two questions that revolves in my mind whenever I think about Sae's backstory:

Why Sae started hating his own country, Japan?

The above question can be modified as:

Why Sae started hating Japanese soccer players?

As I said in one of my previous posts, I do believe that when Sae stepped into Spain, he realised that he was the Frog in the well—he realised how vast the world is and that he wasn't as great of a player as he thought he was. He probably struggled a lot but was somewhat successful in maintaining a balance when Kaiser came in like a wrecking ball to strike the nail in the coffin.

Of course, considering Sae's personality, he would've surely put up a fight against Kaiser just like Isagi did, but unlike that blueberry boy, Sae was already very exhausted and sadly, after some time, he gave up.

Now to address the actual answer to the question: Sae hated how much Japan celebrated him when he was just a child. He was showered with the title of prodigy since he was a kid and he hated that his own country made him feel like he was someone special when in reality, he was just the best among the worst. Further, even if he wanted to be better, there was no one in Japan who could help him do that. He hated how he was made to believe by his country's people that he had what it took to be the world's best striker.

Kind of like a betrayal of some sort.

This gentle soul explained it very well too:

Also, a bit unrelated, but this panel piqued my interest:

German you say, hm?

Moving onto next question:

Why Sae chose to be a Midfielder then?

I have two reasoning for this question:

Firstly, what is the position closest to the striker? Yes, a Midfielder. So, by being a Midfielder, Sae is still trying to be as close to his dream as possible. It is his type of compromise.

Secondly, do you remember what Rin really liked? Yes, Sae's passes. And which position's main role is to pass? Yes, a Midfielder.

You getting me?

It's like Sae is trying to get some kind of closure by reliving those good old times when Rin and Sae played in the Kamakura United (their soccer club). Besides, if Rin were to be the world's best striker, then he would also need the world's best midfielder too, you know.

You getting me?

The only reason I don't want this theory to come true is because it kind of strips us off from an opportunity to get a new badass character.

I also don't want this theory to be true is because I'm solely holding onto this panel:

I'm desperately holding into this panel as a hope that Sae still cares for Rin.

After we got an insight of Kaiser-Ness relation in chapter 261, I can't help but fear that Sae may think of Rin in the same way—someone for his own selfish needs.

And if anything like this happens, I'll transform into the biggest Kaiser's hater alive. Even after chapter 261, I still somewhat defend him for his behaviour, but Itoshi brothers have been the closest to my heart—istg I'll rip Kaiser's hair from his scalp if the brothers' bond gets tarnished because of him.

That's all, I guess.

[zaebucca]

About scale, process, palette and canvas: a few considerations on pixel art as a medium

User moredogproblems answered an interesting and legitimate question by another, DiscountEarly125, regarding my work and canvas size. He also perfectly isolated two central concepts of pixel art, which are scale and process. Canvas size, which was the theme of DiscountEarly125's specific request, is more of a dependent variable to those two aforementioned concepts, rather than a starting point. I hope the following considerations I shared may help or prompt some other ideas, but this is what I could come up with 15-ish years of experience with pixel art (and a few more years of art and media studies). I was quite in the mood of writing down these few thoughts that have been floating for a while. I apologize as this may also result in a confusing wall of text, but it is all part of a my work and research, and I would love to polish all the material, hopefully with some thoughts, insights from other colleagues, as well as pictures and materials!

A. Scale and canvas size It is true that the bigger the canvas, the more distance one may visually create from pixel art, but I personally think this is to be possibly considered a matter of perceiving pixels, rather than a fundative problem of the medium. In fact I concur with the idea of "process makes the medium" rather than identifying pixel art as how (evidently) pixeled the result feels. The general picture, or the sum of pixels, though, is a really important matter to the medium nonetheless! Pixels themselves work in relation one with another, so it's their overall result that gives context and makes the subject recognizable. This relationship between pixels links back to all the art fundamentals that each artist is taught, from color theory to shape and composition - and so on. So, the canvas size debate usually boils down to a matter of scale or necessity of your subjects. As long as the dimension (canvas) of your subject (as in: a drawing of an apple, a character sprite, a mockup environment) allows you to operate, control and keep an eye on the quantity (number/area of pixels together) and quality (color, shaping of multiple pixels, texturing obtained through color and shapes) of isolated single pixels or pixeled areas, you're in the pixel art universe. The other way around to define the matter of scaling: in order to be operating pixel art fundamentals and techniques, your subject has to be on a scale that allows you to apply principles of pixel art within the space of your canvas and your personal style. These very same principles, or basics, can be applied with different results and extent to bigger and smaller canvases alike, each with their own specific difficulties and variables. It is important to adapt your scale when learning, and trying classic canvases per subject like "16x16px" (standard tile or character sprite unit, tied to older consoles and screen ratios, it's a bit complicated there) is always a nice idea - they also tend to be industry benchmarks and necessities so in case you'd like to consider a professional output, that's very useful.

Scale also applies to the array of colors, and there lies the concept of palette: a number of single hexadecimal hues we are using for each single pixel. Any single pixel can have one hexadecimal color only.

Consequentially it is absolutely true that either a huge canvas or a palette too broad may prevent a viewer from perceiving immediately the "nature" of your medium, namely seeing square pixels, recognizing a certain amount of color - or more thoroughly recognizing that you made some choices for each subject on a pixel level. What could possibly happen on a huge canvas (without zooming in) is that you can't really grasp the pixels, but just the "overall picture" - and that may not differ too much from digital, raster art, which is of course also based on pixels. Therein appearently lies a sort of threshold that is really hard to pin down for us pixel artists, as it depends on screen size, visualization methods, distance, filters and lots of other inherently subjective parts.

This kinda is my case sometimes: I make big environments (possibly too big, and too detailed in each part I tell myself) that are a sum of many lesser parts: both tilesets and sprites that relate (but not strictly adhere) to a basic space unit that is 16x16pixels. You can indeed consider scale in a broader sense as a subdivision or magnification issue, much alike squinting your eyes to focus on a picture's overall contrast or, conversely, analyzing its fundamental parts with a magnifying glass, and then a microscope - an analogy as follows:

a. the picture as a whole is like a colorful rock that you can analyze by magnifying its grain. b. the characters, geographical elements and textures, works like the different substances that compose the rock and give its visible characteristics grain and complexity, c. single pixels constitute the very atoms of those previously recognized substances.

I mean "atom" in the traditional, classical meaning of indivisible, fundative object. That's a "quantized" part of information, which for pixel art is ultimately color (or a binary value, like yes/no black/white). If you were, for example, to crop some parts of my work - let's say 160x144 pixels (a gameboy screen resolution in pixels) you would see the substances that are characters and elements of nature, and when you zoom in again, every atom becomes visible as a single entity of color. There are 29 different type of "atoms" in Ruin Valley as in different, singularly hexadecimal colors that work together in different combinations and shapes to create different substances and characters. 18 of them are used for the different qualities of the environment, and 11 more for extra hues for characters and other elements to pop out a bit.

It's really interesting to see how many pixel artists push this "threshold" of pixel art canvases to the extremely small or the extremely big, whereas, notably, palettes are less open to growth: it is indeed my opinion that pixel art tends to quantize color (quality) over than dimension (quantity). Palettes, notably, do not grow exponentially, but tend to a lower, fixed, controlled amount of individual values instead. This usually gives the artist the true possibility and toolkit through which is possible to think about/with pixels. In other words: color (or its absence) is the founding unit and identity of pixel art as a digital medium.

B. Pixels as process or pixels as objective? Pixels themselves (as strange as that may sound!) are not to be considered an objective of pixel art, I think, but the founding matter of its research as a medium instead. I think that making pixel art is not just devoting oneself to show those jagged, squarey areas or blunt edges that we all know and love: this is just one of the possible aesthetics that pixel art conveys or adopts - especially on small canvases. Pixel art is not about denouncing itself as pixels, but, rather, embracing the square, atomic unit to build an ensemble that conveys a content or a style. That's the important part of the discourse that emancipated pixel art into being a medium, and not just an aesthetic choice or style of representation. Again: process makes this medium. Speaking of that, I consider pixel art as part of a broader family of "quantized art", namely media that operate on/with "indivisible, founding bricks and unities" that can assume a certain quality (color, mainly) within a certain quantity (palette, canvas size) and in relation to its surroundings to describe something. This puts pixel art, with its specifics and with a certain degree of semplification, among other mediums such as cross-stitch, bead art, construction sets, textile art (on a warp and weft basis), (micro-)mosaics and others.

A classic threshold example of process vs objective: oekaki art. Oekaki art - which I love and also happen to make from time to time - doesn't really work or "think" specifically on a pixel base: it doesn't place pixels per se, but uses pixel-based areas and textures on bigger canvases with a certain degree of freedom, like one would normally do with brushes on raster digital art programs (adobe ps, gimp, clip studio and so on) in order to convey an aesthetic with fewer colors and a certain line style and texturing. That way, oekaki uses and knows pixels in a deep way, but doesn't see them primarily in a quantized way. As a result the "overall picture" shows pixels to a certain extent, and it's possible to recognize distinct pixels for each part, but the objective is not an analysis and use of pixel and quantized information, but the use of an aesthetic based upon accessibility of resources, their control and a certain rendering style.

A huge part of pixel art is its absolute accessibility: everyone with a fairly outdated computer or screen and a basic drawing program can study the medium. To be fair, it's indeed considering accessiblity that I highly support an inclusive approach to the term "pixel art" and I think traditional oekaki is a close, beautiful relative that builds upon the rules and techniques of pixel art and pixel rendering, yet keeping its identity as its very own medium - somehow like a dress may be built around/upon textile design. Anyway, boundaries are meant to be crossed and I think there definitely are lots of oekaki and pixel-based art that meet traditional pixel art mid-way - or further. I also think the "is it pixel art?" discourse possibly ensuing - and generally speaking any media belonging purist ontology - is a treacherous, slippery terrain leading to excesses, and this is not my focus today, neither am I able to tackle that subject extensively at the moment.

C. Conclusions and a few good exercises Everything above may be farfetched or too complicated as a starting point. I tried to write all down as orderly as possible. The point of this (possibly discouraging) analysis and the reasoning between scale and process is that (pixel) art is about trying different canvases, and reasoning on one's subject and objective, rather than limiting oneself to presets sizes or styles. It's important to choose something that resonates with us and, in doing so, thinking about other, more interesting limitations: that's the discourse about quantity of space and quality in color. Limiting is the best possible exercise and one I wholeheartedly encourage: by doing so we are progressively delving deeper on the basics, as we learn the fundamental relationships between shapes and colors that we can achieve through pixels. A few good exercises that I too implemented in my own workflow come to mind: 1. Trying different canvases (or sizes) for the same subject (sprite, character art, illustration or so on). This helps a lot finding a comfortable size to apply pixel techniques, as well as getting a hold over fundamentals such as aliasing, linework, conventional representation and so on. 2. Trying different palettes for the same subject, both by varying colors themselves (therefore learning about values and contrast and readability, as well as atmosphere and mood!) or singular hues and their components, in order to discover possible relationship between them. Have fun! 3. Reducing the width of the palette progressively for the same subject: reducing the number of singular colors forces a reasoning on shapes, rapresentation. You may go from 1-bit art (just black/white) to 3 colors, 4, 8 and so on. We'll not talk about transparency as a singular color there, but if you happen to be interested in retro art, transparency counts to the palette size. This exercise is very useful in rendering, and possibly tricky. And definitely fun. :') 4. Choosing an objective and usage of our work: for example trying to learn about old pixel art limitations for games, in order to reason within specifics. Get inspired by traditional games (spriters-resource is your best friend here, in case you have a specific retrogame you're thinking of)! I will probably talk about limitations and style on another post. 5. Four eyes (and other multiples) are better than two: try to talk with people and friends and other artists you trust and feel comfortable with to get their point of view. This can be scary, I know, especially at the beginning. You're not forced to, of course, but if you do (in a safespace) there's lots you can learn about concepts such as readability, subject recognition, rendering and composition. Our eyes and brains get accustomed to something, and pixel art being a rather analytic medium made of synergies, subtle changes, limitations and conventions is especially tricky on the artist's eyes on the long term. Either way, the important thing about pixel art is understanding that this medium is about recognizing and enjoying the process rather than the eventual aesthetic and in order to do so the best choice is to start simple, small, with few colors and techniques at a time! Have fun and hit me up with your progress and considerations. :')

[hotdaemondtargaryen]

TOM GLYNN-CARNEY INTERVIEWED FOR VESTAL MAGAZINE.

REFLECTING ON YOUR JOURNEY IN THE ACTING INDUSTRY, DO YOU REMEMBER THE MOMENT YOU REALIZED YOU REALIZED YOU WANTED TO PURSUE ACTING?

"The moment I realized I wanted to pursue acting was probably when I was around 12 years old, in high school."

"I was performing in a production of Shakespeare's Macbeth at the Royal Exchange in Manchester."

"I saw older actors and wondered what their "proper" jobs were outside of the theater."

'When I asked one of them, they said': — "No, this is my proper job. This is what I do."

"I didn’t know people could do that."

"From that moment on, I knew that this is what I wanted to do as a career."

YOU'VE DONE MULTIPLE SHOWS AND MOVIES IN THE DRAMATIC GENRE. WOULD YOU EVER BE OPEN TO DOING OTHER GENRES?

"Absolutely, I'd love to explore new genres in the future."

"I'd love to give comedy a go."

"I think that would be a good challenge."

"It’s difficult because timing is crucial delivering a joke at the right time can feel almost mathematical."

"But I think that good comedy actors don't see it that way at all."

"It just comes naturally to them."

"I'd love to give it a shot."

"I'm also interested in doing biopics, bringing real-life stories to life."

"Chet Baker and Gene Kelly, in particular, would be fascinating characters to portray."

"But I'm open to any interesting projects that come my way."

HOW DO YOU CHOOSE THE ROLES YOU TAKE ON? ARE YOU DRAWN TO A PARTICULAR TYPE OF CHARACTER OR STORY?

"Honestly, I'm drawn to anything that makes me feel uncomfortable and pushes me out of my comfort zone."

"I seek out roles where the character feels distant and challenging."

"I like to test myself and see if I can bring such characters to life."

"If a role feels like something I might struggle with, that's exactly what I want to tackle."

"I often joke that these challenging roles might be my downfall someday." [laughs]

CAN YOU SHARE ANY INSIGHTS INTO HOW YOUR CHARACTER, AEGON II TARGARYEN, ENVOLVES IN THE UPCOMING SEASON?

"I found it fascinating to delve deeper into Aegon this season because there's so much more to uncover about him."

"In the first season, we saw quite a two-dimensional view of Aegon—not due to Ty Tennant's portrayal, which I thought was fantastic, bringing a lot of vulnerability and teenage angst to the character."

"When I took over, the time frame was too short to really explore Aegon's complexities."

"This time, I've had an extended period to sit with the character and dig into his deeper layers."

"Playing a character experiencing profound grief is always a challenge."

"I'm lucky enough that I've never gone through anything like that myself, so I had to imagine it as vividly as possible."

"This season, Aegon is shown as more of an empath than a psychopath."

"It becomes clear that he has the capacity to love, feel, and grieve."

"There are so many comparisons between Aegon and Richard II."

"People are saying Aegon is cold, calculated, and evil, and while he's certainly done horrible things—I'm not justifying any of those—it's important to note that, rather than being a straightforward villain, he's a crumbling tragedy."

HOW HAS YOUR APPROACH TO PORTRAYING AEGON II CHANGED FROM THE PREVIOUS SEASON TO THE NEW ONE?

"There’s definitely a continuation of the drama and theatricality from season one."

"It's huge, rousing, and intense."

"I've seen episodes one to four, and they are just unbelievable, especially the battle scenes — you can't get any bigger than that."

"This season, though, there’s also an element of humor."

"At some point, they called Aegon 'the Magnanimous,' and it was important to bring some levity to his character."

"Aegon has just stepped into the role of King and is trying to figure it all out."

"We're at a point where he’s found a spring in his step, enjoying this new responsibility and purpose."

"He’s also got a lot of power now."

"Power can go to people's heads and make them crazy."

"It was nice to explore his boyishness and playfulness, as it gives his character more depth and leaves room for growth."

WHAT WOULD YOU TELL PEOPLE TO GET THEM ON TEAM GREEN?

"I don’t think I need to persuade them—obviously, we’re the best."

"But if you really want to see why, this season is packed with surprises that will make it clear."

SINCE THE SHOW IS BASED ORIGINALLY ON BOOKS, IS THERE A SPECIFIC BOOK YOU'D LIKE TO SEE BROUGHT TO THE SCREEN AND FOR YOU TO BE A PART OF?

"I'd love to see a film adaptation of Douglas Stuart's book Shuggie Bain."

"Another great choice would be The Thousand Autumns of Jacob de Zoet by David Mitchell."

"It’s a collection of beautiful and heart-wrenching short stories, and each one could make a compelling film."

"Looking at my bookshelf now, I see a lot of books on Bob Dylan, David Bowie, and Paul McCartney—mostly singer-songwriters."

"I also have a lot of poetry. I'd love to see a biopic of Patti Smith."

"That would be incredible."

YOUR CAREER HAS TAKEN YOU TO VARIOUS FILMING LOCATIONS AROUND THE WORLD. IS THERE A SPECIFIC LOCATION YOU HAVEN'T BEEN TO YET AND WOULD LOVE TO BE THE BACKDROP FOR A POTENTIAL FUTURE PROYECT?

"Oh, that's a good question."

"I think somewhere that’s a hybrid between beautiful rolling countryside and the coast."

"A place that offers both stunning landscapes and the sea."

"On your days off, you could go for a swim or hike through the mountains."

"I’d love to work in a scenic and peaceful location like that."

SOMETIMES, ACTORS WHO PLAY 'VILLAINS' CAN GET AN ADVERSE REACTION FROM SOME FANS OF A SHOW. WHAT HAVE YOUR INTERACTIONS BEEN LIKE?

"I've been very lucky."

"Many people have approached me with kind words about my portrayal of Aegon."

"It's a challenging task to humanize someone so seemingly poisonous."

"Fortunately, I haven't had negative encounters with fans who can't differentiate between the character and the actor."

"I think we're in a different phase in society now."

"When Jack Gleeson played Joffrey, there was less social media presence, making it harder for audiences to separate the actor from the character."

"Today I think we are a more technologically advanced community, with more behind-the-scenes and a better understanding of the distinction between actor and character."

"I think people have copped on. I hope that's the case, anyway."

YOU'VE COLLABORATED WITH RENOWNED DIRECTORS LIKE CHRISTOPHER NOLAN. WHAT HAVE YOU LEARNED FROM THESE EXPERIENCES?

"Doing Dunkirk was my first significant experience on a film set."

"I really didn't know where to start."

"The canvas was completely blank."

"And it was just such a gift, a pinch me moment that I was able to learn from some of, if not the best filmmaker in the world."

"It was overwhelming."

"And I had to remind myself to be present and soak in everything like a sponge."

"Chris's patience and the support from the rest of the cast were invaluable throughout."

"We were all in it together, especially us young lads who were new to such a big production."

"We learned and grew together during that incredible experience."

IN THE KING, YOU PORTRAYED A HISTORICAL FIGURE. HOW DID YOU APPROACH BRINGING THIS CHARACTER TO LIFE?

"When portraying a fictional character, there's often more freedom because there's no definitive blueprint to follow—even if they're written in a book, they're still fictional."

"You can infuse your own understanding and personality into the role."

"However, there’s added pressure when it comes to a historical figure because you're portraying someone real."

"I never let that pressure overwhelm or hinder the process."

"Instead, I took the character as presented and focused on doing my best with the role."

A NEW HUNGER GAMES MOVIE WAS JUST ANNOUNCED, SPECIFICALLY A PREQUEL FOCUSING ON HAYMITCH'S STORY, AND MANY FANS ARE EAGER TO SEE YOU IN THAT ROLE. WHAT ARE YOUR THOUGHTS ON THAT?

"No way, that’s the first I’ve heard of it! But I'm incredibly flattered that people would like to see me on screen again."

"If all goes well, I'll fight for my life in the Hunger Games!" [laugh]

WHAT ARE SOME OF YOUR FAVORITE SHOWS DURING YOUR DOWNTIME?

"One show I watch repeatedly, and it never gets old for me, is the UK version of The Office."

"The humor is very relatable and comforting to me."

"I even laugh just thinking about it. It's one of those TV shows when it finishes, you're like: — “Oh no! What do I do with my life? I miss the characters already.” [laugh]

"I also enjoy the US version of The Office."

"Besides that, I'm fascinated by farming documentaries."

"Shows like This Farming Life on BBC are incredibly calming for me."

"And I have to mention The Great Pottery Throwdown — I'm a bit of a pottery nerd, and that show is brilliant!

WHO ARE SOME CREATIVES YOU WOULD LOVE TO WORK WITH IN THE FUTURE?

"The list is long."

"Firstly, there are directors I'd love to collaborate with again, like Chris Nolan and Sam Mendes, with whom I've had some of my best experiences and whom I consider friends."

"I'm eager to work with them again."

"Then there are filmmakers like Andrea Arnold, Yorgos Lanthimos, Greta Gerwig, Paul Thomas Anderson, and Ruben Ostlund, all of whom I admire and would love to collaborate with."

"When it comes to actors, there are many I admire as well."

"I plan to work with individuals who challenge me, from whom I can learn, and who are dedicated to their craft."

"I appreciate those who find joy and humor in their work because life is short, and it’s important to enjoy what you do."

LASTLY, WHERE DO YOU HOPE YOUR CAREER WILL HEAD INTO THE FUTURE?

"It’s more of a feeling than a checklist of achievements that I aim for."

"I understand that feeling because I can almost sense it in advance."

"It’s difficult to articulate—it’s a mix of happiness, creative fulfillment, diversity in roles, consistent challenge, and pushing boundaries."

"I aspire to transform and lose myself in characters."

"Equally important to me is collaborating with inspiring individuals whom I can learn from and grow with."

"I also value the freedom to select projects that resonate with me personally."

[neil-neil-orange-peel]

TYO Essay

A while back, I mentioned I wrote an essay for my previous uni course where I used TYO as a source to look at the early 1980s. @a-a-a-anon expressed an interest in reading it, so here ya go! The quality of it is seriously iffy (I was 18/19 when I wrote it and had no idea how to actually write or reference academic essays yet, and just the quality of the writing makes me cringe a bit). There was also more I wanted to say but couldn't due to the word limit (don't remember what these other things were now). Despite all that, the lecturer liked it, and it was cool I got to write about TYO for uni.

The Young Ones as a Cultural Source for Early 1980s Britain

Although today in Britain the future often feels uncertain – the global pandemic notwithstanding, Brexit is still looming on the horizon – the Britons of 40 years ago doubtlessly felt similarly, albeit for different reasons. In the early 1980s, the threat of nuclear war was palpable, as the existence of Protect and Survive[1] attests to. Nuclear war paranoia influenced British culture in the 1980s, with bleak examples such as the BBC film Threads (1984) and Raymond Briggs’ When the Wind Blows (1986) still remembered keenly today. Both fictionalisations of nuclear war featured material from Protect and Survive and highlighted the message of contemporary nuclear disarmament protestors: no one can win a nuclear war. Of the less apocalyptic issues, unemployment hit 3 million (about 11.7%[2]) in 1983 – for comparison, in 2019 it was estimated to be at 1.281 million (about 3.6%[3]). The Thatcher administrations’ efforts to break from the post-war consensus and embrace neo-liberalism created divisions in society. Yet, amidst threats of nuclear war, mass unemployment, the decline of British industry and the growth of individualism, a cultural revolution in comedy dubbed “alternative comedy” was fast taking hold in Britain – and in much the same way Thatcherism’s impacts can still be felt on society today, so too can alternative comedy’s.

Running for 2 series (12 episodes in total) on BBC2 between 1982-84, anarchic and slightly surreal sitcom The Young Ones epitomised the break between older styles of comedy and the new wave. Although The Young Ones has been called ground-breaking and classic, it is also now regarded as somewhat dated for its jokes pertaining to current events. Therefore, its scripts are an interesting source for an insight into the time in which it was produced and based: early 1980s Britain.

Firstly, it is important to understand what The Young Ones actually was. Written by Ben Elton, Rik Mayall and Lise Mayer[4] and with additional material provided by Alexei Sayle, it followed the misadventures of four vastly different university students at the fictional Scumbag College in North London. Whilst the four were never seen doing anything remotely akin to studying, it aimed at being representative of university life, students and the squalor they lived in. The show was not a conventional sitcom in that it did not pertain to a family and it featured a musical act in every episode so that it could be classified as “light entertainment”, as the BBC had no further budget available for sitcoms at the time. Because many of its principal actors came from the stand-up comedy circuit, there was an emphasis on excitement and unpredictability over discernible plots and many memorable scenes featured characters injuring themselves and others, destroying bits of the set and crashing through walls, as well as randomly interspersed and unrelated cutaway gag segments. There was a cartoonish level of slapstick violence, swearing and toilet humour, which appear milder to today’s palate than 40 years ago.

British audiences were divided by The Young Ones mostly along age lines, with younger viewers engaging readily with this new style of comedy and older viewers seeing it as unnecessarily vulgar and silly. Indeed, the characters that had been transplanted from their actors’ stand-up routines were deliberately disgusting, exaggerated caricatures and horrible to one another. Mayall himself played wannabe lefty anarchist Rick, who frequently came to rather explosive blows with the violent punk medical student, Vyvyan (played by Mayall’s comedy partner, Adrian Edmondson). Also featured was badly done to, depressed hippie Neil (played by Nigel Planer) and the mysterious leader and straight man of the group, Mike The Cool Person (played by Christopher Ryan, the only one of the core cast without a comedy background). Sayle too appeared in every episode as either their hated landlord Balowski or a member of his family, where he would deliver a short stand-up monologue to the camera. The show’s title (and opening theme) was derived from the Cliff Richard song of the same name, as Mayall’s character was a huge fan.

The Young Ones took on the issues of its day, perhaps none more so than the episode “Bomb”. “Bomb” uses dark humour to address fears over nuclear war by having an atom bomb land in the characters’ kitchen at the start of the episode. Even before the characters deal with the unexploded bomb, the script is already hinting at the theme of nuclear war in this cutaway gag sequence, featuring a family on a packet of cereal:

FATHER: Would you two shut up and keep smiling? We’re supposed to be the ideal nuclear family!

GIRL: Post-nuclear, more like!

Not only was this segment ridiculing the “ideal nuclear family” that was promoted by the Thatcher governments – none of the characters posing as a family get along at all and the “father” reveals himself to be gay, thus exposing the lie that there is truly an “ideal” family – it also managed to slip in a quick gag about nuclear war. This reflected a genuine belief by many at the time that nuclear war was coming, especially amongst the young.[5]

When the main characters finally become aware of the bomb in their kitchen, the script offers this response:

NEIL: I’m going upstairs to get the incredibly helpful and informative “Protect and Survive” manual! Nobody better touch this while I’m gone!

This reference to the Protect and Survive manual, which at the time and retrospectively has been regarded as useless in the event of an actual nuclear attack, appears for the purpose of ridiculing it. Having the character of Neil act as though the manual could help deal with something as serious as an atom bomb in the kitchen employs sarcasm as a critical tool. Protect and Survive featured suggestions such as painting the windows of the house white in order to deflect the heat from a blast, which The Young Ones also satirised:

RICK: Neil, can you lend me five- What are you doing?

[NEIL is reading his survival manual while painting himself white with a paintbrush]

NEIL: Oh, painting myself white to deflect the blast.

RICK: That’s great, isn’t it? Racial discrimination, even in death! What are these? [indicates a few lunchbags on the table]

NEIL: Sandbags!

The misinterpretation of the manual’s instructions, as well as the substitution of items deemed vital for items found in the house, reflects the feeling that most British households were simply unprepared for a nuclear attack and stood very little chance of survival. This is compounded later in the episode, when the four main characters resort to hiding underneath the kitchen table as a means of escaping the blast of the bomb – something many had resorted to in air raids during WWII but which was drastically inadequate protection against an atom bomb. This episode also portrayed the nihilism in British culture over nuclear war – a nihilism that can be found in other cultural sources, such as The Smiths song “Ask”[6] – through the character of Vyvyan, who spends much of the episode attempting to set the bomb off.

This show being the work of alternative comedians, The Young Ones also utilised its anarchic tone to critique the Thatcher administration of the time. This was usually done through the character of Rick, who blamed Margaret Thatcher for most problems faced by the group. Though his character existed to satirise upper-class closet conservatives as well as overzealous student activists, he was something of a mouthpiece for the left-wing writers. Some of his more memorable outbursts include:

RICK: We haven’t got any money! Vyvyan’s baby will be a pauper! Oliver Twist! Jeffrey Dickens! Back to Victorian values! [directly to camera, angrily] I hope you’re satisfied, Thatcher!

RICK: Neil! The bathroom’s free! Unlike the country under the Thatcherite junta!

Other characters were used to critique the government too:

RICK: School’s out forever! Yeah, come on everyone! Let all your hairs hang out! Do whatever you want!

MIKE: What’s all the excitement, Rick? Has education finally been cut altogether? That’s the only reason I voted Tory.

The first of these is a reference to the 1983 interview in which Thatcher endorsed a return to “Victorian values”. That is, a rolling back of the state to unburden the individual and set them free to prosper, should they put the effort in. This New Right attitude, combined with the high unemployment figures from that year, created the view that Thatcherism was about looking out for “number one”. This wasn’t aided by Employment Secretary Norman Tebbit’s “Get On Your Bike” speech at the Conservative Party Conference in 1981. The Young Ones captured the mood of particularly the youth in such a climate – one in which many felt misunderstood and patronised – in a cutaway segment featuring the fictional TV programme Nozin’ Aroun’:

BAZ: Rol! A lot of my mates say to me, “Oh Baz, what is the point?” What would you say to them?

ROLAND: Well surely, Baz, your mates must realise that there definitely is a point!

BAZ: So a real message of hope and good cheer there – from Roland, a really ace guy!

To summarise; just as is the case today, early 1980s Britons were facing uncertainty. This was especially the case for anyone working in manufacturing industries, as the unsuccess of the Miners’ Strike of 1984 signified a wider trend in British industry. The government’s overarching aim of turning society away from one in which a “nanny state” risked making people idle to one where everyone was free to accumulate wealth that would trickle down to the less well off was never going to be a smooth period to live through. The last tremors of the Cold War didn’t help make the period more bearable. Yet, it is often harder or uncertain times where laughter becomes more valuable to people and The Young Ones – though not to everyone’s political or cultural tastes – undeniably provided some release for younger generations. To call it an entirely accurate depiction of early 1980s Britain would be to forget that its primary purpose was amusement. Nevertheless, it does provide a colourful insight and one that is remembered with fondness by those who grew up watching it, even today.

[1] Protect and Survive was a series of government issued pamphlets, public information films and radio broadcasts produced in the late 1970s/early 1980s, to be distributed 72 hours before a nuclear attack was expected. Public interest meant they were released in 1980.

[2] https://countryeconomy.com/unemployment/uk?dr=1983-12, December 1983

[3] Office for National Statistics, December 2019

[4] All of whom are alumni of the University of Manchester.

[5] After speaking to some adults who were young during this period, Mr Smith revealed how (aged 11 in 1983) he told his class: “I want to be there when the bomb drops. I want to be right next to it so I’m disintegrated and don’t know anything about it.” Additionally, he was under the impression that a bomb would likely be dropped on Piccadilly Gardens, Manchester.

[6] “If it’s not love / Then it’s the bomb / Then it’s the bomb that will bring us together” – S. Morrissey & J. Marr, “Ask”, The World Won’t Listen, 1987

Bibliography:

Sources:

B. Elton, R. Mayall & L. Mayer, “Demolition”, The Young Ones, BBC2, 1982

B. Elton, R. Mayall & L. Mayer, “Bomb”, The Young Ones, BBC2, 1982

B. Elton, R. Mayall & L. Mayer, “Cash”, The Young Ones, BBC2, 1984

B. Elton, R. Mayall & L. Mayer, “Nasty”, The Young Ones, BBC2, 1984

B. Elton, R. Mayall & L. Mayer, “Summer Holiday”, The Young Ones, BBC2, 1984

Central Office of Information, Protect and Survive, Her Majesty’s Stationary Office, 1980 Transcript of Brian Walden interview with Margaret Thatcher for BBC, 1983: https://www.margaretthatcher.org/document/105087

[redge]

【OSHI NO KO】 Season 2 Episode 18

(I am writing this while Episode 20 is already airing haha)

I will never stop wishing that this character keeps on smiling and finds happiness when this manga ends. Everyone deserves to be happy but I want this character to be happy even more. Please, Akasaka-sensei I beg you. 🙏

"actors who've been at it their whole lives" There's sadness in those lines. Arima Kana really clings to this harsh world of the entertainment industry. 💭

I will miss this Shinjuku faction when the Tokyo Blade ends (which is today's episode I think [episode20])

Look at these two watching each other's acts! They won't admit that the other is better than themselves but you know deep down they both acknowledge each other's talent for acting. (this is further proven after the Tokyo Blade play, I hope it will be animated in today's episode)

The voice acting in this script was spot on!

Tokyo Blade theme is so beautiful! I loved reading this arc but the music just really adds angst to the play. Even that Sayahime music was so good (Tumblr says I am only allowed to post one video so go watch the episode if you're curious haha) I hope they release these tracks officially 😁

"What is it she doesn't like about me so much?"

HAHAHAHA oh my gosh I don't remember Netflix having this sub but I remember so many accounts who don't like Kana to the extent of unhealthily hating on her like where are you all coming from what did she do to you 😅

I will never understand how some fans of Akane hate Kana when in fact in the manga, and now in this episode, it was so clear that Akane started her footing as an actress because of Kana. It was not the best experience but from that encounter, Akane started to study the psychology of other people which we see as a huge part of her personality. The actress that she is now is due to her hard work and talent but she wouldn't have even started if she hadn't seen Kana act. If her parents had not encouraged her to try acting, even persuaded her with "you might even become friends with Kana-chan.", we wouldn't have seen the actress that she is right now. In the OnK universe, Akane does not even hate Kana. I mean, do you actually hear an ounce of hate on the way Akane calls Kana "Kana-chan"? Because I don't. 🤷‍♀️ (It's because of hating on characters that I don't really enjoy interacting with people in this fandom. Some Akane fans hate Kana. Some Kana fans hate Akane and it's making the series less enjoyable. 💭)

Young Akane is so adorable! It was narratively satisfying to see the effect of the Bell Pepper Exercises on other kids, from a different perspective than Kana. Kana hated bell peppers but she was able to convince Akane to eat them. If that's not good acting, then I don't know what is. 😹

How can anyone hate these two when they're the characters who understand each other so well?! Remember how in season 1 episode 8, Kana talks about Akane saying "She thoroughly prepares for roles, displaying deep consideration and insight into the parts she's given. Her natural talent allows her to assume those roles with perfection. Though her personality might not be suited for reality shows, as an actress, she can only be called a genius.".

And this season, we get this from Akane. They both acknowledge each other's talent so really I don't get where the hate energy comes from. Maybe I'm too old for fan wars that I don't get them anymore. 😅

I just noticed that the hand guard of Sayahime's sword is crescent moons assembled together. Interesting detail.

These frames were so good! The symbolism of Sayahime turning into young Akane as she is inviting Kana to act with all she's got because that's what young Akane loved about little Kana-chan: her acting that devours everyone. What an adaptation. I hope Akasaka-sensei and Mengo-sensei feel the same as Kichijouji-sensei when they saw Melt's acting improvement, or as Abiko-sensei when she's watching this play. I hope they both feel the satisfaction of the anime adaptation of their manga because it's been really doing a great job this season. ♥

The way Kana sees herself is so pale in comparison to Aqua's "She shines brightest when her face screams "Look at me!". 😭 And it's so curious that most of those frames are just from normal conversations he's had with Kana and then the anime goes extra as to include frames from the Full Moon music video 😂 Even more curious that that first encounter as a child actor also comes to mind when Aqua remembers how he wanted to kill the arrogant child actor Kana 😂 Anime prod why are you doing this to me I love Kana enough no need to show these frames to me, please. Ah. I just want Kana Arima to be happy. T_T

The way these two believe in Kana while Kana does not even think of herself as someone who deserves anything. The relationship of Kana, Aqua, and Akane is so interesting. I don't hate anybody in this universe. 😁(except Himekawa Airi sorry Taiki)

This post got longer than expected 😂

[ecargmura]

Oshi No Ko Episode 12 Review - Season 2 Is Here

Is it okay for me to review the second season of Oshi no Ko despite me not reviewing the show episodically last year? I have a whole review of the first season, which you can click here. I think it’s okay for me to review it episodically, right? Right?

Oshi no Ko isn’t the most perfect show, but I still like it because it gives a lot of insight to the Japanese entertainment industry, even if it doesn’t do it all that well. Season 1 showed off a glimpse of the idol industry and even how the acting industry goes. For Season 2, it dives right into another big part of an entertainment industry: stage plays. Given that stage plays are super popular in Japan right now, I think a good dive into what they’re like is good for those unfamiliar with the industry like me! They have their own production rules and customs, so it’s interesting to see how different the industry is from film acting.

Because they’re essentially plays, good acting is necessary, hence why up and coming stars of Lala Lai and other rising stars are casted—Aqua is casted too! While it’s nice to see them rehearsing for their roles, I would’ve liked to see them audition for the roles, but I guess I’m asking for too much.

I think what caught my attention the most is the fact it tells a rather cruel truth about adaptations: they will never be faithful and that sometimes, adaptations are more marketing tactics that promote the original source material. Sometimes, characters or scenes must be sacrificed for time constraints. It sucks because I’ve seen adaptations where they butcher a scene or character so bad. Look at the 90’s Sailor Moon. I’m sure some manga fans absolutely hate how Ikuhara changed Rei from stoic and wary of men to being boy-crazy and tsundere. Heck, I’ve seen some Demon Slayer fans upset that Zenitsu’s portrayal is very exaggerated compared to how he is written in the manga with some scenes with him and Nezuko getting cut out too. So, I get Akane’s frustrations with a loose adaptation of the source material. I’m sure that there are those who want to see their favorite characters be portrayed with how they’re supposed to be and not a shadow of their former selves. I’m not surprised that Abiko-sensei wanted to change the entire script because it would hurt to have your babies be butchered—like how Kichijouji-sensei suffered from the terrible adaptation of Sweet Today.

There’s also an introduction to a lot of new characters in addition to returning cast. Other than Aqua, Kana, Akane, Melt and Kichijouji-sensei, there’s Taiki Himekawa, the star of Lala Lai, who plays the MC Blade. There’s Sakuya who plays the green guy. There’s also GOA, a scriptwriter and Kindaichi. To be honest, I hope I can keep up with who is who. Oh, and there’s Ruby, but she only appears briefly and is not that important right now.

What I like is that the visuals have improved because the episode likes to show off the visuals of the characters that the actors will play. The acting with Taiki and Kana was really good because it shows that acting is important in a stage play and that good actors need to keep up with each other. However, I do feel bad for Akane in the sense that her role doesn’t allow her to shine as she’s a method actor and Princess Saya’s role is a small one.

I guess my only gripe is the first 3-5 minutes of introducing Tokyo Blade. Was that necessary? I get that the visuals are nice, but all it did was introduce the characters and actors, whom you can see in the middle. Is that a part of stage play culture or is it just Daga Kobo flexing?

The opening visuals are pretty nice! The song may be a bit of a downgrade from YOASOBI’s Idol, but it’s still pretty catchy. I love the visuals from how Aqua and Ruby take off their ‘masks’ to reveal their past selves, Goro and Sarina.

Anyways, I’m excited to see what this arc has to offer! I also hope there will be more Aqua screen time because I am an Aqua fan—I don’t care what you think of me. I like Aqua! I want him to find what he needs to in this arc! Other than me gushing over Aqua, I do think this was a good introduction to the Tokyo Blade arc. What are your thoughts on the second season?

[roo-bastmoon]

Let's talk about Yoongi and Taeyang

My thoughts and impressions of this episode are below the cut to avoid spoilers for folks.

Okay so first of all, let's all agree that our Lil Meow Meow was going THROUGH IT. He started fanboying before he could even get to the introduction and he was consistently twitterpated throughout the entire show. Adorbs.

I won't recap everything, but a few things stood out to me as significant insights into character.

Taeyang mentioned he used to eat only one meal a day. (As someone recovering from disordered eating, I have VIEWS about this but let me hush up and stay on topic.) Then he said when he served in the military, he had to eat three meals a day and do physical labor, so he gained 10kgs (22lbs). Which by the way is still a healthy weight. And he said he had to "work hard" to lose it again. I hate this. I hope all our boys come back from their time in the military used to regular meals, regular sleeping hours, a regular BMI and stick to it. They will have the power to reshape the standards of the industry if they refuse to make themselves fit into a smaller space. Just my opinion and I doubt I'll be changing it any time ever.

Taeyang said Jimin re-recorded their song 15 times. As far as I know based on the documentaries and Masterclasses I've watched from other famous musicians, singers, and songwriters, studio time is precious, even if you own the studio. Recording is expensive. A great deal of time is spent after recording on mixing the best takes to get to one master track. But our Jimin seems to have wanted to get it perfect all in one. He really does hold himself to a standard higher than most Grammy winners; I'm not kidding.

Yoongi then of course praises Jimin for his work ethic. The praise, THE PRAISE, Y'ALL. I LIVE. Jimin keeps working even when he cramps up in pain, our dear artist... Remember when he couldn't go to Jin's birthday party because he was recovering from muscle cramps? We called it; it was because of choreo.

Interesting how in the same breath, Yoongi compared Jungkook's organic genius to Jimin's effortful genius. I'm a huge Jikook fan but I don't want to make this out to be a shipping moment, because honestly it's just about styles of approach to work. And this isn't the first time we've heard this about Jikook as a unit. We hear it from members, producers, friends, choreographers, collaborators...

Yoongi also is sure to rat Jimin out about how much he mimicked and idolized Taeyang as a teen and it's like... you're saying this while admitting to doing the exact same thing and knowing all his songs, but still, it's super sweet. It reminds me of when Yoongi admitted to writing fanfic, lol. Even better is how Taeyang mentions several times he knows all of BTS' work. That's a discography of 200+, my friends.

But seeing Yoongi praise both Jimin and Taeyang so highly makes me wish that this episode came out before VIBE released. Maybe his trusted perspective would have softened the resistance many people felt toward supporting the project.

Especially because Taeyang really comes across as a good guy. He seems humble, considerate, grounded, a team-player, sensible, deep-thinking, and kind. He also seems to be focused on being a family man, making good music, and becoming a role model for the next generation. Now yes, both times I've seen him this way, he's appearing on TV to promote his single. But as far as we can know a celebrity while they are in front of a hot camera, I feel like his character is genuine enough, and I trust the tannies when they say they ALL admire and respect him deeply.

BTS has been around in the industry long enough to know when people are full of shit. And yeah, there are some seriously problematic assholes in Big Bang. There were legit scandals involving drugs and sex trafficking. I won't be rushing out to consume their products. But they did play a part in shaping BTS and Taeyang shouldn't be painted with the same brush just because he landed in the same group. He seems like someone who might have matured out of a lot of mistakes, like appropriating hairstyles or speaking on subjects outside his lived experience. I'm willing to give him a chance, here, in 2023, to get it right.

I also appreciate how honest and vulnerable Yoongi was and continues to be the moment he gets a few drinks in him. Talking about being so nervous without his members for That, That that he wanted to throw up. Mentioning the fear and disappointment when news of their hiatus caused all hell to break loose. Stating openly and without any qualifiers that he loves his members. To me, this is healing.

Yoongi was also adorable as fuck, let's face it. Giggly, blushing, toe-tapping, squirming, gushing, flirting Min Yoongi managed to ask Taeyang if he could produce a song for him (as if anyone in the world would say no thanks). And Taeyang is like "come over to my house and eat dinner with Jimin, I'll cook kimchi jiggae for you guys."

Oh and by the way, Taeyang and Joon apparently go to dinner and hang out and go to museums? AND WE WOULD NEVER KNOW. Do you know why? Because unless they choose to share aspects of their personal lives with us, WE DON'T ACTUALLY SEE THE MAJORITY OF THEIR PERSONAL LIVES. So just because you don't see evidence of members hanging out doesn't mean it doesn't happen. Everyone needs to chill about this with regards to Jikook. They went to ground around the same time that bullshit insurance premiums "scandal" broke and they've been to ground since. That's all.

Side note: Considering the shitstorm online earlier this week because Taehyung followed T-Top for a few hours on Instagram, I'm wondering if 2023 is the year most of the tannies stick to work-only promotions for their social media. You get burned enough, there's no payoff in sharing your vulnerable sides with strangers. It's such a shame, because we had a window to their inner landscapes, a glimpse at their real personalities and their real lives, but ruiners ruin everything. So a special Fuck You to people sending them hate for following or working with people you don't like. Know your place as a fan. Feel free to protest with your pocketbook but don't you dare talk shit and spread hate.

I digress. Back to Suchwita.

Taeyang advised Yoongi to surround himself with good people (members, staff, friends)... people who can tell him no. They had a great talk about staying realistic and humble, reminding themselves all things come to an end, being normal and grounded.

THIS is what makes BTS so easy to champion. They are uniquely talented, clearly the most hardworking, and even have streaks of artistic genius. But they forever remain set in a beginner's mind. They are the top dogs in their industry with an underdog mindset. I love this about them enough to set alarms to vote for awards and buy multiple copies of their work so they chart. I, Roo, who has never been to a popular music concert in all her 43 years; never been a groupie of anyone; never owned a piece of merch--I want them to succeed because I know they will never take it for granted.

And they keep it simple, even when it comes to how they work. Now, as someone who writes for a living and does bullet journaling every day as part of my therapy, I cannot tell you how delighted I was to learn that Yoongi writes with a pen and Taeyang with a typewriter. I am exactly the same. There's something intimate about it. I type more than 95 words a minute for work but it's not the same when crafting something personal. I also write original works better away from a designated work space--it's too much pressure to sit in a sterile environment and try to create. Real, meaningful words come from real, messy, organic moments in life. I just loved this level of detail in their conversation.

All in all, this was just such a great episode. I feel like I got to know both men better, was shown real insight into their mindsets, learned about their lives and work, and so I felt excited about VIBE.

Speaking of VIBE, we still need lots more sales to help Jimin get to Hot 100. Please contact accounts on twitter to get a gift card, make another itunes or amazon account, and buy it again, if you cannot persuade others to buy-in. Jimin worked so hard and wanted this so badly. I'm deeply troubled that ARMY couldn't cough up a buck-twenty-nine for him. It's like With You all over again. Unacceptable.

We are up against Miley Cyrus, Taylor Swift, and Sam Smith. We need the sales to get the points. We have a day and a half to get it right. PLEASE buy it.

We also only need 1.2 million more views on YouTube to get it to 50 million in its first week, so please stream today and tomorrow!

Consider it practice for next month, when PJM1 drops. Because by all accounts--from everyone who has ever worked with Jimin--he deserves it.

If you got this far, thanks for reading. Please feel free to share your thoughts in the comments!

Yours,

Roo

[taehyungfirst]

Hiii ☺️

I stumbled upon this guys review the other day of Layover tracks that I really enjoyed and thought you might too. It's so nice to hear someone echo my thoughts that Tae's aura, level of uniqueness and uncompromising authenticity makes him a legend/icon in the making.

https://youtu.be/1bCjCcWl4WE?si=gvQ-DNOAgb58yLEo

Now when it comes to my favorite things about Tae, I would have to say it is his ability to take his hardships and struggles and turn into positives that become infused in his overall character. He never indulges in embarrassment, humiliation, or self pity for too long. If he messes up, he quickly laughs it off and turns it into something cute and charming but then also quietly does his best to makes the necessary improvements. I also love how he is not afraid to show parts of himself that would be considered less appealing especially in an industry that is built on curating a perfect image. For example, attempting to grow out his beard for fun or happily showing off his pimples. I also love how he is able to connect with so many different people regardless of language or cultural barriers which shows how empathetic he is and frankly is not mentioned enough.

Hello dear! First of all, thank you so much for the recommendation, I don’t usually watch a lot of youtube reviews, but this one was genuinely interesting. The guy reviewing did such a great job, and he really hit the nail with his insight. When he mentioned Van Gogh (I’m assuming he’s not really a Bts fan) I was amazed because we know Tae loves him, and he said some things I noted so that I could share with you because I liked them:

“There is something so artistic about V’s vision and his soul as a person that bleeds through all the videos, in such a beautiful soulful easy way […] V soul is so beautifully expressed throughout his music videos, they don’t feel like k-pop, they dont feel like music videos, they feel like an expression of who he is as a person.” I really really liked this part because I absolutely agree with it, Layover is a masterpiece and the music videos are so quintessentially Taehyung that rewatching them is always so easy, and every time you discover something new (this time I found out a cloud in SD video had the shape of a god, I haven’t noticed that before because I was too focused on Tae in the shot ahaha). My heart fills with pride seeing people recognizing just how much of a good insightful artist Taehyung is, how much he takes from the world and transforms it into art. Into something his, something unique. So really, thank you for the recommendation!

And about the things you like about Taehyung I couldn’t agree more, he will always be one of a kind, always felt like a best friend more than a kpop idol.

[sawcondeez]

what are two of your favorite movies from the Saw Franchise?

what are three of your favorite traps ?

thank you!!

Fav Saw Movies!

my fav Saw movie will always be Saw (2004)! there’s just a charm to it, the grungy-ness, the fleshed out characters, the colour grading is unmatched, the premise of it is simple yet so interesting. I love a contained story! AND I LOVE ADAM !!! and most importantly you can tell through and through that it is a passion project for Leigh Whannell and James Wan. listening to the commentary and behind the scenes gives me so much joy. I love that Cary Elwes signed onto the project because he had so much faith in them and their work and I love just how much fun they had making it despite being on such a tight schedule and budget and it ended up making such an impact in the horror industry! I could go on but I’m gonna stop there lol

my second favourite would have to be either Saw III or Saw VI. for Saw III, I love that it’s kind of like a character study/character building I guess? I love having more of an insight to Amanda, I think she’s such an interesting and complex character, the whole father-daughter dynamic between her and John as well, I find very compelling. the themes about forgiveness, revenge, family, grief as well wheeeew. It’s Leigh’s last Saw film as a writer and even though they keep the franchise going after III, I think he ties everything up very well as his last entry in the franchise.

Saw VI ouuuuuu I really like how it’s a commentary on the American health system, I think it’s done pretty well. the traps allegorically worked better than I think a lot of the other traps in the franchise do. William Easton was also an interesting focus as the main test subject, and I liked watching him going through the various traps and having the whole inner battle about morality and mortality. I also love the scene when Hoffman gets put in the Reverse Bear Trap!!

Fav Saw Traps!

I think it’s harder for me to pick my favourite traps though. like I love the Reverse Bear Trap because it’s so iconic, the concept is not too complex yet it’s so horrifying and ingenious, but I don’t like the aspect of having to kill a defenceless person in order to “win”(many such cases tho). and it irks me in the tape when John says “it’s in the stomach of your DEAD cell mate…. know that I’m not lying” BUT HE IS LYING ‼️

visually I really liked the Angel Trap, it’s just so gnarly yet beautiful. something about the Venus Fly Trap visually I liked a lot too.

The Ice Block Trap in Saw IV, I feel, needed more screen time/care. I feel like the concept of it could’ve made for a very captivating watch - I think someone mentioned it paralleled Saw (2004) in the way that there was the real Jigsaw in the room (Hoffman) which the other victims were unaware of, there was the victim who was acting like a perpetrator (Art Blank) but was actually doing so as part of his own test. and the pathetic whimpering blonde guy (hehe). could’ve also used more of Donnie Wahlberg’s acting skills, I think he’s great!

*edit: omg I forgot about shotgun carousel, thought I wrote about it when talking about Saw VI but I guess not oops. the allegory of the dogpit having to deny 2/3 of all applicants thus sentencing them to death, and William Easton having to do the same with the dogpit. he’s forced to use his algorithm on his own team, the symbolism about the blood on his hands, wheeew.

anyway thank you for asking!! excuse the rambling but it was nice to get this out

:D

[the-90s-music-colosseum]

I don’t disagree with statements of bias or want to downplay very real racial issues, but I think with something like this, it’s a little complicated. It’s not just that Tumblr specifically favors white men as much as society, the music industry, the world at large always has, and it’s therefore easy to find yourself interacting with a lot of white male musicians in the 90s scene. The men got more unhinged propaganda I would argue partially because it is acceptable and encouraged to objectify or degrade them to a comedic effect, and the same is not really true in reverse. The women won their polls handily every single time as we saw, and the women who were eliminated were mostly eliminated by other women down the line, with a few exceptions. Obviously the polls now reflect a massive push of support for the women and WOC, but the lack of propaganda might in SOME part be due to their fanbases not actually being interested in the competition before it was being blown up on their dash, or those who ARE voting for them— and the fact that polls that didn’t breach containment still had female and WOC winners so often indicates yes, plenty of people on this blog already were voting that way— didn’t feel comfortable submitting propaganda that would be seen as inappropriate. I think there really is no winning, because we’ve had asks on the blog or have seen tags that criticize objectifying or sexualizing the women or WOC especially. There’s a nasty history of that and people want to be sensitive. I believe that if the white guy had a couple of mild pieces of propaganda while a Black woman had a wall of sexual jokes or other “unhinged propaganda,” that would have made people uncomfortable too. The best solution was probably to have no propaganda, or limit it to 3 pieces, with a character limit. But as discussed before, the boss fights were set up to fail by announcing them so early without letting them actually enter the competition, so these fanbases were hyped up for months and then begged to send in their most unhinged propaganda, and all anons for any fandom have been rewarded by the other blog readers for saying something funny or shocking by getting inside jokes on the banner or iceberg chart… there was no way the boss fights weren’t going to be massively disproportionate, and there was no way they weren’t going to be stomped into oblivion. I think two things can be true at once: there are underlying inherent biases toward cis white men, and that exists on a wider societal level, but that also contributes to how offensive any comments about them would potentially feel. And the content of the propaganda might have unintended bias, and we’ll have to reassess that in ourselves, but I think it’s a little unfair to pretend this wasn’t the way the competition operated all along, or that the current results and criticism don’t indicate that obviously many people care about WOC.

You know the more I think about this controversy/discussion, the more I feel like this tourney as a whole is an interesting social experiment about how we view celebrities under the circumstances of race, gender, sexuality etc.

Definitely not to shift the blame on my part but somehow the inherent flaws of this bracket have sparked very insightful conversations, which I find rewarding. Will try to make this an opportunity to reflect on the methods of holding such a competition, and I hope the other members of the music tournament quintuplets can see this as well!

[castlebyersafterdark]

I was just wondering what it is that made you not much of a Millie fan, if there was anything specific in the first place? I totally get just being more interested in other cast member’s careers than others, like I’m only really interested in Sadie’s and Finn’s, for example, since Sadie imo is one of the best actors of the bunch, and I love how Finn is very interested in the storytelling aspect of things and branches out to do a really interesting range of projects. Millie seems to be less focused on acting these days and more so into the business/influencing side of the industry, particularly marketing toward younger girls. That’s totally chill, I’m just not really the target market I suppose so it’s not as interesting to me. Is it a similar reason for you, or something else in general?

Definitely a little of that, she's just not a celebrity that interests me much outside of the show. And I just really don't think she's that strong of an actress. But her outside the show stuff is fine for her target demographic, but alas. I am neither a teenage girl or someone who is interested in influencers. So that's fine, just not for me.

And I guess the one thing I really don't like, is maybe the vibe I get that she doesn't truly care about the show? I know it's a little embarrassing, but I'll admit I'm a bit of a sensitive guy (surprise surprise haha) and it just makes me sad when the big face of the show gives interviews where she 'can't wait to move on' and gives the impression it's beneath her now. I don't really want to hear that from the supposed star? Not much she talks about is very insightful either, compared to costars who truly pour their heart into the show. Guess it's Millie/El fatigue. Which is sad because El is an interesting character concept and I'm actually very intrigued about her story arc ending/lore but I'm not invested like diehard fans. Honest take.

[puckish-rogue-archive-deux]

Character Setting!

Send me “Character Setting!” to learn about my muse’s home! ( ACCEPTING )

Hey there, fools! It's me again, ya big boi Andre. And today we'll be briefly talking about the main two cities of the original series. Consider it a bit of an insight as to what your Muse may see if they ever find themselves in Bossu's neck of the woods.

Now let's start off with the birthplace of the 3rd Street Saints and the setting for the first two games; Stilwater, Michigan. And remember, that's with one 'L'! Originally depicted as a peninsula off the state of Michigan before turning into another island city, Stilwater is what I'd refer to as a more 'proper' city compared to the likes of Steelport—which we will be discussing shortly.

The city is made up of two major islands located on Lake Michigan (something which is more or less confirmed canon by NPC dialogue in SR2), its Northern island consisting of skyscrapers, museums, expensive shops and restaurants, the suburbs, basically what your out-of-touch family member thinks New York is like from any sanitized depiction in certain media. Its Southern half is distinctly more working to lower class, being the home of many different factories, dockyards, the city's resident red light district, and basically anything else you could imagine. The sole exception to this being the Saint's Row district, which had been gentrified to shit and has turned into a sparkling glass utopia; a far cry from its previous depiction as a lower income neighborhood with its lone church acting as the former hideout of the 3rd Street Saints.

Stilwater also happens to be the home of Mount Claflin, a large mountain that consists a forest, a lake, and many winding dirt paths. It's situated right in-between the Arena district and Stilwater University. Personally I like to imagine it as bigger than it's depicted in-game, but I think that's just a given since most fictional cities in video games aren't going to be 1:1 with actual places.

Two more points of interest are Stilwater's very own nuclear power plant and prison, both located on their own respective islands.

Now compared to Stilwater, Steelport was built much more—how would I say—loosely. Founded in 1827 by blue-collar industrialists, and located on Lake Erie (a personal hc of mine), Steelport is a much more heavily industrialized city that's home to many former steel mills, factories, refineries, practically anything you could think of that would've been used when the United States was at its peak in manufacturing. As a rust belt city, Steelport has fallen into economic failure as most of the country had begun to outsource its manufacturing jobs—thus leading to a majority of its buildings either being repurposed or straight up abandoned.

This led to the city being overtaken by the large criminal organization known as the Syndicate, who would use it as their flagship headquarters in managing their global operations. That was until they wound up pissing off the 3rd Street Saints, who would then demolish the Syndicate in its entirety and take over whatever assets they had left over.

As a city built with practically no zoning laws whatsoever (something that was brought up in a developer conference), you're likely to find factories situated closely to say places of residence, municipalities, schools, and so on. Steelport in general feels haphazardly planned, and there's no greater proof of that than its mish-mash of modern day glass towers and 21st century aesthetics, colliding against a mixture of art deco and gothic skyscrapers dotting the Downtown district, while the ghosts of the city's industrial past loom on the outskirts.

The in-game map is actually something I've been highly critical with as I personally believe it didn't fully explore the concept at all. Hence why I tend to use Steelport's concept art as reference when talking to RP partners of what their Muse can expect when visiting the city. A day and night piece can be seen below.

Steelport is considered a 'party city' by most its characters, as with the decline of the manufacturing industry in the United States, there was an obvious need to venture into other businesses in order to pump at least some kind of income into the city's lifeblood. The city is now a hot spot for all manner of clientele looking to indulge in whatever sort of vice they're into; whether that be sex, gambling, drugs, or perhaps something a little more upscale.

A notable monument of Steelport is its statue of the pseudo-legendary American folk hero known as Joe Magarac, located on an island just off its coast. Similar in vein to the Statue of Liberty, this statue is meant to act as both a representation and celebration of the city's humble industrial beginnings, to the point where it's depicted on the city's very own seal.

I think that's plenty of information for now on the two cities that the Boss happens to own. If I wind up getting any more of these asks in the future, I'll definitely go into further detail on certain things and possibly provide more hc's on say Steelport given my opinions on how it was done.

[ummagumma1981]

Thoughts on Armand.

Despite him having a teenage body and appearance, the man is 500 years old. He’s not a kid.

If you look at his character through an anthropological lens, he was not a child when he turned. Adolescence and teenage hood is a relatively modern social construct/ developmental stage.

Modern perceptions of developmental stages are derived from Erickson’s stages of development, which was developed as society was moving into the modern era via industrialization and the extended human life span through modern medicine.

In the 1400’s humans lived until 50.

He’s mentally an adult, he is not a 17 year old American born in 2006. He is a 500 year old vampire with 500 years of life and experience.

Much of which was pretty traumatic. 300 years of it. Long Term Trauma resulting in behaviors that were formed in response to said trauma.

If you were to apply modern categorization of symptoms based on a bio/psycho/social analysis, This guy is a case study for complex trauma.

Neurodivergent young adults are keen on projecting their personal neurodivergent experience on him. I see the appeal. I’m a case study for predominately inattentive adhd, high functioning autism and masking. Thing is, I’m like 40 so I don’t have the same emotional attachment to the classifications. (It’s interesting, good for insight and self-awareness. But for me personally, it holds the same influence as a personality test like the Mbti.) I just see trauma reactions.

And it’s all perspective right? My lens is likely distorted by my age, and also professional experience working with traumatized foster youth for over 10 years. So my lens is sensitive for trauma responses.

Thing is, I just don’t see a 500 year old relating to a modern 17 year old. Despite appearance.

Even if his developmental age was stunted at his turning, to me thats similar to a drug user being the developmental age in which they started using. Regardless, you still regard that person as their actual age, even if they are developmentally stunted with the maturity of a 15 year old.

So, why treat Armand like a modern 17 year old when he’s 500? Especially since his experience of being 17 is the 1400’s not the same as 17 in 2023.

Because life experience colors our perspective and lens. And when a character hold any semblance of similarities to oneself, it’s a form of validation.

And for me, Armand is a survivor of complex trauma and PTSD who later became a leader in the modern vampire community.

So yeah, I supposed regardless of how you connect with Armand, we adore him.

Our deranged, beautiful, 500 year old vampire.

[bronanlynch]

this one has a muffin recipe which hopefully makes up for the extended discussion on gender in a disappointing YA novel. anyway. happy wednesday

listening (podcast): keeping up with Palisade, where the table friends are as usual entirely on their bullshit. love a story that asks the real questions like, what if you follow some guy into a public bathroom and then it turns out he's in charge of the fucked up evil intelligence organization that used to kind of be in charge of the entire planet.

I'm also going back and listening to the Great Gundam Project episodes on original Gundam, which they did at the very beginning since they're going in chronological order and it is so funny to go from later episodes where I'm like "wow these people are so smart and know so much more about Gundam than I do" to "wow these people are so smart and are doing some incredibly insightful analysis considering they don't know shit about Gundam"

also this was a Media Club Plus week. Jack made lots of fun observations about Killua and his relationship to violence and also Gon that will be very interesting to revisit in like a hundred episodes. god I love dramatic irony

listening (music): for once in my life I'm listening to new music, from a self-described "flaming queer power pop" band from New Jersey called Teenage Halloween (I would say they're more punk than that description implies to me, the lead vocals especially are very classic punk, by which I mean rough and hoarse and shouty in a good way). here's their bandcamp, I think my favorite tracks are Takeaway and Getting Bitter, but they're a fun band and they have a sound that I enjoy. and also for normal reasons I like when people sing about New Jersey and/or living in a shitty suburban town

reading: finally finished Leigh Bardugo's Rule of Wolves (last book in the Grishaverse series). some wild tonal dissonance at the end because it's supposed to be a hopeful ending where the future is going to be better and maybe Ravka as a country can change and be better, except the main characters spent the past two books inventing industrialized warfare and that is not something that can just be undone?? they have missiles now??? sorry but once you introduce missiles to your fantasy setting I no longer believe that the future will be kinder & less violent than the past. also, the gender. it's time to talk about gender again. Nina's love interest Hanne, who has repeatedly been uncomfortable presenting as feminine, kills a guy who sucks and steals his identity, and talks about feeling more like themself because now they're not seen as a woman. this is the part that I like, it's fun and interesting and I think it's cool when trans people do regicide (the guy was a prince). the parts I feel conflicted are the way Nina reacts with such disappointment that Hanne no longer looks how they used to (though she does come around to the idea), the fact that all of this comes from Nina's perspective (when Nina has spent the entire duology waxing poetic about what a beautiful woman Hanne is, when Hanne is explicitly uncomfortable with being seen as beautiful or a woman) with nothing from Hanne's point of view, the fact that this reveal happens at the very end leaving no space to see how this changes their relationship moving forward or to see Hanne exploring what their transition means to them, and the way it ties to something Bardugo said, back between the Six of Crows duology and this one, where she said that the next time she wrote Nina, her love interest would be a woman. and don't get me wrong, I love that Nina's bisexuality is very present on the page. however. Idk. that doesn't seem accurate and it feels clumsily handled like. sorry that's a transmasc butch who deserves a girlfriend who isn't constantly thinking about how pretty they were when they were forced to have long hair

however, in books that I'm enjoying much more, I'm reading The Death I Gave Him by Em X. Liu, a near-future sci-fi Hamlet retelling about trying to create a scientific cure for death in which Horatio is the AI of the unethical science lab and also (I think, based on what I've read so far) in love with the Hamlet figure. it fucking rules. I'm a known fan of Hamlet & Hamlet retellings, and also when the setting is alive & sentient & loves you, and also relationships between people and like, non-humanoid intelligences (it's kind of like the reverse of a possession romance, instead of the god/robot/etc inhabiting the human the human is the one doing the possession). also, I think the sense of paranoia & claustrophobia from the original Hamlet is done really well here, in a way that works well thematically and also feels. Idk. I'm trying to figure out a way to say this without psychoanalyzing myself on main but it's a very compassionate depiction of the Hamlet figure's mental state that's just. nice to read. anyway. structurally I love that it's framed as though it's someone's thesis about an incident that they've researched, so there are bits that are excerpts from phone logs and trial transcripts and things like that. I'm partway through but it's extremely good so far

watching: continuing to keep up with the TGCF donghua (for once I've seen the newest ep before posting this), which continues to be a good fun time, even if the cr*nchyroll subtitles are pretty awful (both in terms of typos and also the way they sub gege as Lian). but I do like this arc! it's fun! Hua Cheng and Xie Lian are in love!

watched a few more episodes of Hunter x Hunter to keep up with MC+ and I've gotta say, I enjoy Hisoka as a character a lot more than I did the first time I watched this. I am not immune to when a fucked up guy with a cool design murders people with playing cards. however, even though Kurapika didn't do much in the assassin/battle royale bit of the Hunter Exam, Kurapika is still my favorite

moving on to the normal amount of Gundam we watched, we finished Zeta! god. Zeta my fucking beloved. I think the ending pays off a lot of the stuff about Newtypes as a stand-in for human connection, by which I mean it fucking rules that the Zeta Gundam has ghosts in it and that Kamille can defeat Scirocco, who does not form equal partnerships with anyone or listen to their advice, by listening to the advice of his (dead) friends who live in his brain & his robot. also like, I still don't like Reccoa's plotline overall but her confrontations with Kamille & Char do a lot of good characterization work for both of them (Kamille refusing to believe that she's not just really deep undercover! Char uninterested in hearing her reasoning and attacking immediately but still unable to kill her and surprised by that!) and also I love her final fight with Emma. her and Emma killing each other is yuri, to me. on a design note, I think I tend to prefer the mobile suits in 0079, because under no circumstances do you have to hand it to the Principality of Zeon but they knew how to make a grunt suit with some fun shapes in a way that the Federation/Titans simply do not apparently. however! shout out to the Qubeley. what a neat-looking robot

and of course, immediately after finishing Zeta we started ZZ so. that also is a thing I watched. the tone whiplash from the ending of Zeta with a bunch of people dying and a kind of bittersweet victory to the beginning of ZZ was wild. Judau is so much more of a plucky YA protagonist, and there's so much more of a tone of, these kids are going to do some wacky shenanigans. like, Yazan goes from horrifying to a comedic figure. which is not to say it's bad! I am enjoying it! but sometimes it kind of feels like an entirely different creative team (which I know it's not, I know this is still very much still Tomino. but there's such a major vibeshift). my favorite thing about ZZ so far is all of the class stuff, it's nice to have that as a lens to view this setting (an extremely predictable thing for me, guy who loves stories about class conflict, to say). but I like having protagonists who are concerned about their own economic stability (though it does raise questions of like, is Bright getting paid?? by whom??? is he getting paychecks from the Federation still/again?? who is paying for Kamille's hospital bills??? Tomino please show me the Argama's budget spreadsheets). my other favorite thing is that Bright is still here, even though he is very tired and deserves a vacation. he has Such big single parent energy now, good luck to him. my other other favorite thing is that Roux Louka exists, she's a lot of fun so far

playing: still working my way through Ace Attorney 5. Aura is back and I love her! also I'm becoming invested in the concept of Clay/Apollo, partially because I am not immune to Apollo wearing Clay's jacket and partially because I love when you go to Aura's lab and Apollo is there talking to her, and he immediately realizes that Aura and Metis were in love even though Aura denies it, and her loss of Metis is paralleled with Apollo's loss of Clay. there's something compelling to me there as a story about queer grief, and mourning someone's loss even when you can't talk about exactly what they meant to you

making: we've made a couple of recipes from the Skyrim cookbook (cheese fondue, glazed carrots) (not at the same time to be clear. those were different meals) and they both turned out pretty tasty. however, the most exciting thing we made was the muffins from this post. they are, in fact, extremely good. we doubled the recipe because what would we do with an extra half a can of pumpkin

drinking: one of Lamplighter's pride beers from this summer was a sour ale with butterfly pea flower & lemon, and I'm trying to drink through the summer beers in our fridge to make room for all of the autumnal ciders. this one's tasty! again, love it when beers are citrusy & floral

writing: still working on a zine fic that I can't share yet, and also the extremely Palisade spoiler-y Integrity fic from a few weeks ago (to be fair I haven't gotten to the spoiler-y parts yet, instead I'm continuing to be possibly the only person in the fandom who cares about Orbit Shard). also, predictably, I've started writing Gundam fic. predictably, it's Emma/Reccoa and instead of getting to the kissing part Emma is introspecting about ideology