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ihatesocialmedia45 · 2 months ago

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My Debut Onto The Tumblr Homelander Fanfic Scene

I see a lot of other Homelander writers post their fics on here, and I think I will start, too! Here is Chapter One of my fic: (also - you should listen to Guts' Theme from Berserk while you read!)

Sunshine, Happiness and Rainbows

Vought's New Year's Countdown was in full swing; VNN was filming live, and the camera panned outside, to show the cheering crowd huddled outside the Tower. Homelander watched from the window, the flash of cameras lighting up his face, wearing a smile that didn't quite reach his eyes. He would be hosting this event, he thought with an internal sigh. The people outside might have been genuinely celebrating - but to him, to the rest of the Seven, it was just another soulless bid for attention. They hadn't even officially been asked to host; The Tonight Show had fought them tooth and nail for the time slot - but Stan would not be cowed, and Vought had won, once again.

All this, just to celebrate another pointless year...

"Over here, Homelander!" a cameraman urged, waving wildly. Homelander flashed him a dazzling smile; the shutters clicked faster.

Deep was entertaining a gaggle of fans outside, taking pictures, while Maeve was nursing an old fashioned inside, leaning on the meeting room table. Noir, hidden the back, was wearing a neon sign that flashed colors and messages across the screen: 20 minutes till next year! Sage, the sourpuss, had managed to find a way out of the affair entirely, and was probably scraping her brains out and eating fast food... or whatever it was she did during those moments of idiocy she quite literally carved out for herself. Homelander felt his lip curl in disgust. The Seven was in shambles, and Stan had saw fit to drag them on TV and make them dance, anyway.

Starlight and Firecracker seemed to be making the best of it, at least, talking to the camera about their resolutions. "Well... I hope to beat my record for saves this year! 350," Starlight said, puffing her chest out slightly. Firecracker gave her a teasing look. "Oh, what a coincidence! I also hope to beat Starlight's record of 350 saves this year," she joked, giving Starlight a playful push.

As Stan gave his annual speech - his State of the Union, Homelander scoffed, suppressing an eye roll - everyone watched as the camera panned to Noir and his sign: 10 minutes till next year! Homelander watched the sign flash, Stan's voice like static in his ears. He was already thinking of what he'd do tomorrow; he'd go down to the 30th floor, maybe terrorize Ashley a bit (holidays made him angry), do his itinerary... maybe fly across the globe, sit at Mount Everest... He'd built something of a settlement on the summit, where he could sip his milk and watch the sun rise at the highest elevation in the world. Of course, he could have flown higher, but he'd recently decorated the place with a very deep leather recliner, complete with a heated cushion. Every king needed his throne, after all. Stan fixed him in his steely gaze, snapping him from his reverie. He smiled.

"Now that I've said my piece, I'd like to turn the mic over to Vought's own... Homelander," Stan said smoothly, making way for him. Homelander stepped to the mic, that same static from before in his ears, choking out the festivities and leaving him in a silent film of a scene.

Just move your mouth, John. Tell them what they want to hear.

He felt the words come out, heard the crowd's answering laughter at his jokes, their cheers... but nothing registered in his own ears. He watched the crowd give their silent shouts, mouths set in open grins - and he answered with yet another one of his own, clenched fist throbbing under the podium. His face was starting to ache.

Standing there, at the podium, ushering in a new year he couldn't care less about, but being too influential to miss the show, Homelander straightened his spine, even as he felt his face twitch when he saw a couple outside, wrapping each other into a passionate embrace. He kept his eyes on them, raking over the way they moved - a tender brush of hair, a kiss on the forehead. His eyes felt hot - the urge to laser. He stuffed it down, willed himself to smile.

Finally, though, someone announced that the time had come; there were only 10 seconds until the ball dropped. The city held its breath as Homelander raised his hands, counting down, the words falling on deaf ears, sweeping his gaze around once again.

Five!

Maeve, looking depressed as she stood apart from the show.

Four!

Sage, in her dark little den, lobotomy wand in hand, as the masses celebrated outside.

Three!

Deep hugging a fan, bristling as their hands brushed his gills.

Two!

Noir, forever mute and unable to join in on the countdown.

One!

And Homelander, overseer of the entire sordid affair, fists tied in a white knuckled knot under the podium.

"Happy New Year!" everybody cheered, and the crowd outside went wild. The air, once so charged with anticipation, seemed to let out a breath, the smattering of glitter and confetti shimmering in the night sky as New York celebrated. The Seven looked on, their rehearsed smiles growing wan.

Oh, God... Homelander groused, looking around; everyone had begun to embrace, swaying gently as they kissed, hundreds of thousands of hands that held their partners close, the breaths of a million contended sighs reaching his ears and turning his stomach.

He'd seen enough; his duty fulfilled, he stepped stiffly from the podium, shouldering his way past the throngs of people, his step determined. Maybe he'd be able to make it to Everest in an hour if he left now. Less, if he sped.

In his haste to leave, he heard snatches of conversations ("Is that Homelander?!") that he waved off, his façade waning alongside his patience. He couldn't take a picture. Not today.

He'd finally broken free of the crowd, and was preparing to fly off - when a new voice sounded, a few dozen feet behind him, the melody low and soft in his ears. He stopped himself, lowering his arms.

"Did you see him, though? He looked so..." they let their words trail off. The friend snorted, and Homelander felt a surge of irritation flash through him.

"What - sexy?" Homelander rolled his eyes but pressed on now, looking for the duo, only to find a hoard of faces obscuring his view.

"No," the reader said, a hint of disgust at her friend's callousness in her voice. "Lonely."

Lonely.

The word bounced around in his skull, and for a moment, Homelander was incandescent with rage. Who did this... girl... think she was, to act as if she knew him? To lay his inner turmoil out so plainly, as if it was something she could understand. But as the word sunk into his mind - lonely, lonely, lonely... he felt his anger fade, in the wake of its truth.

Lonely.

He imagined the New Year's celebration he'd planned for himself, sipping steamed milk on Mount Everest, with the heated cushion serving as the only other source of warmth for miles. But the speaker's pity grated on him; he grit his teeth at the feeling.

Was it pity, though? No... that wasn't quite the word. They'd sounded... concerned when they said it. Concerned, for him. He found himself leaning in, waiting to hear more.

"Yeah, but he's Homelander. He probably has an afterparty to get to," someone else responded. "I doubt he has nobody to kiss on New Years."

"I'd kiss him..." the first voice mumbled furtively. Homelander raised a brow, craning his neck to find the person behind the statement. Their friend scoffed.

"Yeah, I bet! 'Oh, Mr. Homelander, you're dreamier than the posters give you credit for!"

"Shut up!"

So, this person was a fan? He stepped closer, his dark mood lightening somewhat. And the way they'd spoken about him... it wasn't in the same dismissive tone their friend had. Gods got lonely, too - a sentiment this fan's insipid friend couldn't seem to grasp. But they did.

Lulled by their dulcet voice, Homelander's legs carried him to her, lingering occasionally so as to make their eventual meeting seem organic. He ghosted behind them, hidden by the trees, the glint of his eyes the only proof of his presence, watching as the girl - wearing a Homelander shirt, he noticed with a wry little smile - walked her friend to her car, then set off, to walk home themselves.

Walk? Homelander quirked a brow, cocking his head. That wouldn't do at all. Silently cutting through the air, he brought himself a few yards out, where the girl would eventually cross his path, and put on a contemplative face. Barely hiding his smile at his ingenuity, he waited for them, hand tucked into a fist under his chin - the Thinker, waiting for her to bring him to life.

Eventually, she reached him, headphones in her ears, jumping nearly a foot in the air when she realized who she'd discovered. Eyes like saucers, they stuttered out their greetings, hands shaking when they raised them to remove the buds.

"Homelander?!" she started. He smiled, genuinely for the first time that night; beneath the sounds of the city, and the celebration at Vought, he could hear the hummingbird patter of her heart as she took him in.

"The one and only," he greeted them, rising to his feet. He pointed to their shirt, a teasing smile tucked away at the corner of his mouth.

"Don't tell me you've been following me," he joked, smile widening when their jaw dropped, hastily making to turn the shirt backwards.

"This isn't - no! Well..." shirt turned backward, they brought their shy gaze to his, cheeks turning rosy from the cold - and a hint of embarrassment.

Homelander extended a hand to them, eyes kind despite himself. It wasn't his way, to offer favors to fans - mudpeople, his mind spat before he banished the thought... but in this case, maybe he could make an exception. New Year, new Homelander.

He'd looked so... lonely, her words echoed in his mind. He felt his smile falter, but quickly brought it back to life.

"Let me take you home. It's too cold to walk," he said, the thin veneer of bravado melting slightly when she took his hand.

Warmth. Pure, unadulterated warmth. The shock of it, radiating from their hand, had him stuffing down a gasp, the softness of their palm seeping through his glove. She wrapped an arm around his waist, the warmth bleeding into him there, too, and when she looked up at him, he saw the full moon, reflected in her wide eyes.

I'd kiss him. I'd kiss him...

Then kiss me.

The thought shocked him, but try as he might, he couldn't will it away. It floated to the forefront of his brain, soft and insistent all at once.

Do it. Kiss me. Please.

The fan - the woman - murmured her address into the crook of his neck, her breath leaving goosebumps in its wake, and he held her to his chest as he breezed through the night sky, the gentle breeze wafting her hair. Homelander caught a whiff of her conditioner - vanilla, bergamot - and inhaled as quietly as he could. They seemed content to let him carry them, head relaxed on his chest, listening to his heartbeat. The thought that that wasn't all they could hear gnawed at him, but he shook it off and kept his eyes forward, focused on how right their weight felt against him.

Finally, he reached their apartment, setting them on their feet, and giving them a strained little smile. They stood at the doorway, lingering, and for a brief, wild moment, he imagined them, inviting him in, sharing hot cocoa, hands entwined as they watched television. Through the window he could see she used warm lightbulbs for her lamps, nothing like Vought's clinically bright ones. The image burned him with its sweetness, and he felt the strange urge, again, to lash out. How dare she make him envision a vignette that could never possibly happen? Even as he fought from leaning into her, his rage flared. He hated her. He hated the emptiness she'd left in his arms, when she'd stepped out of them.

"Well... I'm sure you're very busy," they said, opening their door.

I'm not, Homelander thought, burning to follow her in. She turned to face him, a glimmer in her eye; Homelander held his breath and hoped against all reason.

"Thank you, for taking me home. You were right - it was chilly tonight!" They shared a small laugh, the ache in his chest throbbing.

"Goodnight, Homelander. Happy New Year," she murmured, closing the door behind her. He made to leave, only to retake his position outside the door for a moment, his breath floating above him in frigid puffs as he stared. The reader's farewell, saccharine as it was, left him with a sense of uneasiness he couldn't shake. He nearly pressed a hand to the door, but held firm. It wasn't right. It wasn't right.

John, his heart wept, something inside him quaking as though to come apart. Call me John.

#homelander #the boys #homelander x reader #diabolica writes #don't save her

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justforbooks · 3 months ago

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Alain Delon

One of the most popular male stars of French cinema who often played tough guys and calculated killers

The actor Alain Delon, with his finely chiselled features and glacial gaze, was known as the “ice cold angel”. As a young man, his handsome, impassive face was a blank page on which apparently any emotion could be written. This served to cover the passion or perversity beneath, a trait used effectively by such directors as Luchino Visconti, Louis Malle, Joseph Losey, Jean-Pierre Melville and Michelangelo Antonioni.

Delon’s best work was done in the 1960s and 70s, the first two decades of a career spanning half a century. After this exciting initial period, he settled down, with occasional exceptions, to consolidating his tough-guy persona, becoming one of the most popular male stars in French cinema.

In the light of his unpromising background, Delon, who has died aged 88, deserved the success he achieved. Born in Sceaux, a large suburb in the south of Paris, he was the son of Edith (nee Arnold) and Fabien Delon. They divorced when Alain was four, and he was brought up by foster parents until they died in a car accident. He then moved back to live with his mother and her new husband, Paul Boulogne, a butcher, to whom Delon was unhappily apprenticed when he was 14.

This was soon after he completed his sporadic education, having been expelled from several schools for bad behaviour. At 17, he joined the French navy, serving in Indochina as a parachutist during the siege of Dien Bien Phu.

Out of his four years in the military, Delon spent 11 months in prison for being “undisciplined”. In 1956, after being dishonourably discharged, he returned to civilian life, working as a porter, a waiter and a salesman. During this time he became friends with the actors Brigitte Auber and Jean-Claude Brialy, and went with them to the 1957 Cannes film festival.

There, his looks attracted attention, especially from a talent scout for the producer David O Selznick, who offered him a Hollywood contract, provided that he learned English. But after Auber persuaded the director Yves Allégret to cast the young would-be actor in Quand la Femme s’en Mêle (When a Woman Meddles, 1957), Delon decided to start acting in France.

Surrounded by such veterans as Edwige Feuillère, Jean Servais and Bernard Blier, Delon, looking much younger than 22, made an impression as a hitman, the sort of role he perfected in later films. Despite being touted as France’s answer to James Dean, Delon was closer to the young Alan Ladd.

In Sois Belle Et Tais-Toi (Be Beautiful But Shut Up, 1958), directed by Marc Allégret, Yves’s older brother, Delon was cast as a petty crook, partnered by Jean-Paul Belmondo, who was to equal Delon in popularity in the 60s and 70s. They were later to appear together again in Borsalino (1970), Borsalino and Co (1974) and as sexagenarian action heroes in Une Chance sur Deux (Half a Chance, 1998).

Christine (1958), a love story set in Vienna at the turn of the century, gave Delon his first major role as a romantic lead, opposite Romy Schneider. During the shooting of the film – a remake of Max Ophüls’ Liebelei (1932) – the couple fell in love and became engaged soon afterwards. The romance lasted four years, and Delon and Schneider remained close until her death in 1982. They appeared together on stage in 1961 in a Parisian production of ’Tis Pity She’s a Whore, directed by Visconti, as well as in the films La Piscine (The Swimming Pool, 1969) and Losey’s The Assassination of Trotsky (1972).

It was in 1960 that Delon became an international star with his portrayal of Patricia Highsmith’s Tom Ripley in René Clément’s Plein Soleil (Purple Noon). With his pretty-boy looks, Delon perfectly reflected the calculated charm, indolence and coldness of the ambiguous character, who schemes to take his friend’s clothes, yacht, girlfriend and life.

In contrast, in the same year, Visconti cast him as a “wise fool” in Rocco and His Brothers, an epic three-hour neorealist drama. To save his poverty-stricken family, who have immigrated to Milan from southern Italy, Rocco (Delon) takes up boxing, a sport he detests. Dubbed into Italian, Delon does his best to convince as a saintly character, though it is doubtful whether any boxer could be so gentle and yet so successful.

Dubbed again into Italian, Delon was superb as an arrogant and materialistic stockbroker who has an affair with a translator (Monica Vitti) in L’Eclisse (Eclipse, 1962), the third in Antonioni’s trilogy of alienation. Delon’s third notable Italian film was Visconti’s The Leopard (1963), in which he played the dashing and cynical young revolutionary Tancredi. As a hotheaded opportunist who represents the future of Italy, Delon’s performance is in sharp contrast to Burt Lancaster’s contemplative one as his aristocratic uncle, who represents the past.

Back in France, Delon began to take on less challenging roles, mostly in swashbucklers and thrillers. The main interest of the conventional heist movie, Mélodie en Sous-Sol (Any Number Can Win, 1963), was the coming together of the biggest French star of the 30s, Jean Gabin, and the rising star of the 60s. As interesting was his pairing with Simone Signoret, 14 years his senior, in The Widow Couderc (1971).

Delon also appeared in several English-language films at the time, including The Yellow Rolls-Royce (1964), in which he was an Italian photographer cum gigolo making a play for a gangster’s moll (Shirley MacLaine), and a Spanish aristocrat in the comedy-western Texas Across the River (1966). At the time, Delon could claim to be an equal in fame to any movie star in large-budget films such as Once a Thief (1965), opposite Ann-Margret and Jack Palance; Lost Command (1966), a war film with Anthony Quinn and George Segal; and Red Sun (1971) with Charles Bronson and Toshiro Mifune, cashing in on Delon’s huge popularity in Japan.

In the artily erotic The Girl on a Motorcycle (1968), directed and photographed by Jack Cardiff, Delon played Marianne Faithfull’s lover, unzipping her leather gear with his teeth and murmuring: “Your toes are like tombstones.”

In 1964 Delon married Nathalie Barthélémy, who made her screen acting debut opposite him in Melville’s Le Samouraï (1967), the first of three ritualistic and atmospheric crime thrillers directed by Melville and starring Delon. In Le Samouraï, he was an expressionless hired killer; in Le Cercle Rouge (1970), he was a cool ex-con; and in Un Flic (Dirty Money, 1972), Melville’s final film, he was equally effective as a bitter cop.

Delon’s standing as a screen tough guy was enhanced when, in 1968, he and his wife, whom he was about to divorce, were implicated in a sensational political scandal. The discovery of the corpse of his bodyguard Stevan Marković in a rubbish dump – he had been shot in the head – led to revelations of drug and sex orgies involving a host of personalities from the world of politics and show business, including the wife of the president, Georges Pompidou.

Delon’s friend, the Corsican gangster François Marcantoni, was charged as an accessory to murder but was later released due to lack of evidence. Both Alain and Nathalie were held for questioning, but were not accused. What had alerted police was a letter Marković sent to his brother in which he wrote: “If I get killed, it’s 100% the fault of Alain Delon and his godfather François Marcantoni.”

In the same year, Delon began a 15-year relationship with the actor Mireille Darc, with whom he co-starred in Jeff (1969), the first film made by his own company, Adel, and a few other pictures.

During the same period, under Malle’s direction, he portrayed William Wilson, an Austrian officer and gambler, who murders his doppelganger, in one of three segments based on Edgar Allan Poe stories in Spirits of the Dead (1968).

Another of his outstanding performances was the title role of Losey’s Mr Klein (1976), as a French-Catholic art dealer who is mistaken for a Jew of the same name during the occupation in 1942. Unable to convince the Gestapo of the mistaken identity, he is deported.

Many years later, Delon claimed to be a supporter of the far-right leader Jean-Marie Le Pen. “He is dangerous for the political set because he’s the only one who’s sincere,” Delon declared. “He says out loud what many people think, and what the politicians refrain from saying because they are either too demagogic or too chicken. Le Pen, with all his faults and qualities, is probably the only one who thinks about the interests of France before his own.”

In the 80s, Delon, already a producer of a dozen movies, tried his hand at directing. His two films, Pour la Peau d’un Flic (For a Cop’s Hide, 1981) and Le Battant (The Fighter, 1983), were pale imitations of Melville. But, in 1984, Delon was given two of his last chances to display his acting talents. In Bertrand Blier’s Notre Histoire (Our Story), he was a morose alcoholic, and, in one of the most surprising casting decisions, he played the decadent gay dandy Baron de Charlus in Volker Schlöndorff’s Swann in Love, based on the first volume of Marcel Proust’s novel.

Following his dual role in Jean-Luc Godard’s Nouvelle Vague (1990), and a number of poorly received films, Delon announced his decision to retire from acting in 1997, although he did star in a television cop series, Frank Riva (2003-04), and made an unexpected appearance as Julius Caesar in Asterix at the Olympic Games (2008). A final TV role came in the drama Une Journée Ordinaire (2011), and he appeared as himself in S Novym Godom, Mamy! (2012), the story of a Russian New Year’s Eve, and Disclaimer (2019), as a talkshow guest.

An honorary Palme d’Or in 2019 provoked complaints against Delon’s history of misogynistic comments and support for the far right. The Cannes festival responded that its concern lay with achievement in cinema: “We’re not going to give (him) the Nobel peace prize.” Also that year came the video release of the song, Paroles, Paroles, that had given the singer Dalida and him a hit in 1973.

Delon, who became a Swiss citizen after many years’ residence in Geneva, with a second home in Douchy, south of Paris, spent most of his later years as president of a company that produced a variety of products such as perfume, wristwatches, clothing and sunglasses, all with the label AD.

The Velvet Underground singer Nico said that Delon was the father of her son Ari, though he denied it – the boy was adopted by Delon’s mother and stepfather, and took their surname, Boulogne; he died in 2023. Delon is survived by his son, Anthony, from his first marriage, and his children, Anouchka and Alain-Fabien, from his second marriage, to Rosalie van Breemen, which ended in divorce in 2002.

🔔 Alain Fabien Maurice Marcel Delon, actor and producer, born 8 November 1935; died 18 August 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #Alain Delon #in memoriam

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vikilinda · 2 years ago

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Like any with Georgie Farmer would be amazing, you could literally do anything I don’t really mind… living off scraps rn 🤧

Ofc if u have loads of requests or don’t want to thats fine dw!

DAYS OFF

pairing(s): Georgie farmer x fem!reader

Summary: You've had feelings for Georgie for a long time, but it wasn't until the kiss scene got closer that everything in your head started to mess things up more.

author's note:Hello, first of all I wanted to say thank you very much for this Request, I enjoyed writing another Georgie fic. I wanted to thank you for the enormous affection that the previous story has received, I really did not think I would like it so much, so thank you really. I hope you like this one too, if you have any requests about Georgie or any other actor or characters, you can leave them in the requests that I will gladly do. Merry semi-Christmas.

You were confused.

Georgie and you were good friends, their characters were a couple in the series so it made sense that the one they lived with the most was the British. Georgie and you were good friends, their characters were a couple in the series so it made sense that the one they lived with the most was the British. Thanks to the nature of the relationship between his characters, Tim, the director, did not take long to send them on several dates, neither of them was bothered by it, throughout the recordings both acted as a real couple so that in scenes they did not It seemed so forced, but they both knew it was just acting.

Or so you thought, you didn't know if it was because of the amount of time in which you hadn't dated or because of the festivities that had a certain effect on you, but something had changed. The complicit looks, the smiles, the little kisses, everything was starting to feel different.

You had to find out if something was really going on before they filmed their first romantic scene. But how?

"Yellow!"

They had had the night off and as in any space without work that you left them they had decided to play Uno. You had spent part of the night interned deciphering Farmer's signals but it seemed that all you would get was a headache.

"You are a cheater!"

Jenna's scream brings you back to reality, the game was over and Percy somehow, possibly dirty, had managed to win. Your gaze goes to Georgie, who argues with Jenna about all the cheating the Canadian was doing, your eyes scanning. Georgie wasn't ugly, of course that was something you knew, her hair, which had grown almost to match Percy's, was disheveled but not in a careless way but in a casual way, with a few strands falling casually in front of her. face.

But it wasn't until he turned his head and winked at you that you knew you were lost.

"I go for water"

While you could hear the others continue to fight with Percy, your mind kept swimming between your feelings. Maybe you needed a day off, or maybe two. Definitely a week, yes.

“Y/n! You are missing the show of the year, they are going to send Percy to the gallows.”

You are sitting at the kitchen table where you can see part of the great work that your friends have put together outside, of course your eyes are only on the British, the way his laughter is the only thing you hear, how your heart beats more quickly when his gaze catches yours and he smiles at you. You definitely need that day off.

"Or maybe you're seeing just what you need to see."

Joy smiles as she shakes her head. They both steal glances from two rooms, while lowering their heads with flushed cheeks, if only they realized what was quite obvious to the rest of the cast.

. . .

You had taken the day off.

Today you hadn't had to record scenes, so even though you loved all your companions, you had decided that you needed a day alone, your head had been spinning too much in recent days and it certainly wasn't going to stop if you didn't give yourself your space to clarify certain feelings.

Romania was a rather peculiar place, of course you had already realized that the first day you set foot in the country, but having taken today to enjoy yourself had been the best decision you had made.

"I'm sorry"

You had bumped into someone on your way out of the cafeteria, it was Georgie. He had made the same decision on his day off, Percy had offered to go with him but Georgie only planned to walk around the building for just a few minutes, but after having to lie to his friend about a non-existent stomach ache to Not to be upset for wanting to be alone, he understood that the five-minute walk would have to be extended.

“Y/n, I thought you would be with the others.”

Georgie gives herself a mental slap. He didn't want it to sound that way but the truth is that you were the reason why he needed some time alone, in a week they will have their first kiss scene and Georgie wasn't taking it well at all. He had been feeling a certain mix of emotions towards her friendship with you, thanks to her characters having quite a complicated start where they just fight their feelings hadn't interfered with his character, but now that that was going to change and their characters were going out Georgie didn't know How was I going to handle it?

“I…erm, I needed a day off”

Now it was you who wanted to hit a wall, of course you didn't want it to sound like you bothered hanging out with them, it was obvious you didn't, but seeing Georgie had completely thrown you off base, your brain didn't she could react beyond how cute he looked in his sweater and messy hair.

"I-I didn't mean it to sound like that, of course I like spending time with you it's just that…"

“Don't worry, I literally had to invent a Percy that my stomach hurt because he wanted to accompany me. I mean, I love the boy but the boy can't take hints."

Percy that my stomach hurt because he wanted to accompany me. I mean, I love the boy but the boy can't take hints.

"I was going back to the building, do you want to come?"

Georgie nods as he joins you. Along the way you had talked about everything that had happened on the set these three months, they had shared certain theories and they even bet who Merlina would stay with. You'd felt good, like all that weird tension between you disappeared, until it brushed up against you and you remembered why you were in that position in the first place.

“So next week is the big time”

Both of them had stopped on a bridge not far from where they lived and had been quietly appreciating the sunset. Of course, the silence would not last forever.

"At last huh, one more fight and I would swear Galatea would pluck Ajax's snakes one by one."

They both laugh.

"If it wasn't for Enid it might have taken them all season to confess what they felt."

"Let's be thankful that Enid locks them up"

They both remain in an awkward silence. Your characters had gone through almost the same situation as you and even so it was not obvious to you, or you want to pretend that it was not, the great tension between the two of you.

"Georgie"

"Y/n"

"You first"

Your words get stuck in your throat, you were ready to take off the bandage once and for all and confess to Georgie what you felt but your throat hadn't planned the same, when you were ready to pronounce the words it closed, Georgie must have noticed in that because he decided to speak.

“There's an ice cream parlor near here that they say is very good, I haven't been but Percy went with Jenna and they told me it's very good. Do you want to go?"

With a smile you nod, while both walk towards the place chatting at ease about Percy and his many cheats in the games, you feel how Georgie brushes her hand with yours so you take the initiative and then intertwine their fingers. They both smile and they didn't need more to understand what's going on between you.

While you continue to go to your appointment, your group of friends is spying on you from behind.

“I told you they ran away to be together. Pay"

Jenna holds out her hand as Percy holds out a monopoly ticket, causing the next big row that ends with both of them in the fountain.

#georgie farmer #Georgie farmer x reader #ajax petropolus x reader #fanfic #wensday

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oldfilmsflicker · 20 days ago

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"It’s been a year since I first saw “Woman of the Hour,” Anna Kendrick’s directorial debut, at its world premiere at the Toronto International Film Festival in 2023. It still haunts me. Written by Ian McDonald, the film is inspired by the true story of how serial rapist and killer Rodney Alcala appeared on “The Dating Game” in 1978. Not only does Kendrick give a typically intelligent and spunky performance as Sheryl, an aspiring actress and the contestant who matched with him on that fateful day, but as a director, she shows a keen curiosity about the power of the gaze, both cinematic and human.

“You’re beautiful,” Alcala says to all of his victims, mostly women on the margins of society. He is a photographer. He knows the power of his gaze, of his camera. Kendrick begins her film with a victim who was murdered in 1977. We hear her off-screen before we see her. The first image of her is framed within Alcala’s lens. “Try to forget there is a camera here,” he tells her. Kendrick then focuses her lens on Alcala’s face, actor Daniel Zovatto’s eyes masquerading as open pools of empathy, the tool with which he lulls women into a false sense of safety. When he shifts to predator mode, an overwhelming cruelty overtakes his eyes. Kendrick holds on his face, allowing the shift to happen before our eyes, placing us directly in the psyche of his victims.

[Read my full four-star review over at RogerEbert.com]

#Anna Kendrick #Woman of the Hour

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quaememinisse · 5 months ago

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Title: You can scream my name as loud as you need to

Plot: smut, PIV, unprotected shmegs, orgasms

Pairing: Pedro x OFC

Author’s note: I am on vacation in Puerto Rico. And feeling some type of way.

Pedro’s bet made Eden laugh awkwardly the first time he made it one warm summer night the previous year, at an after party for a film festival they decided to attend, despite wanting to stay home and…do other things. Beneath the heat of Pedro’s rapidly swinging hips, she tries to remember why he even came up with this bet. They had gotten into some really edgy conversation with two other couples and some director she cannot recall the name of, as another orgasm seizes her whole being…a woman had said that her husband had given her the most orgasms of her life in the most romantic locations.

Paris being on of them, followed by Santorini. Pedro had taken a step closer, towered over Eden, stared her in the eyes with a sweet and simultaneously smitten, dirty, chocolatey gaze, and half-joked to Eden, who thought at the time that they were just very good friends who had crossed the line and started having a fling, he bet he could give her the most earth shattering orgasms in the Spanish-speaking places of the world. Eden had blushed maddeningly, sipping her sparkling water, thinking that Pedro was just a little bit too tipsy (he didn’t usually drink very much to begin with. His real vice remains cigarettes, which he’s still battling to quit, knowing it’s the only way Eden will agree to make out deeply with plenty of tongue, the way he most enjoys.)

“Pedro!” She gasps, her thighs trembling. He moans with satisfaction at her intense squirt.

“Mmmm,” he moans, pushing his girth eagerly back through her engorged opening. She had come so hard, it forced his cock clear out. Her gasp and eyes widening briefly eggs him on. He grazes her G-spot mercilessly, watching Eden’s breathing speed up again. She clutches and scratches at Pedro’s tanned upper back, crawling upwards a bit in the hotel bed. Pedro giggles, pulling her hips towards him again, reversing her mild escape.

“Where ya think you’re goin’?” He grins, pressing his hips taut against hers, “Ven aqui (come here), baby” and kegeling until his rapidly pulsating girth forces her into a gripping orgasm. He moans, keeping himself pressed deeply, on her A-spot, so she couldn’t spit him out this time. Her limbs go limp, no longer clinging to his flanks.

“Tómalo (take it),” he says, kissing her sweating forehead, intertwining the fingers of his right hand into the fingers of her left, pinning it against the mattress and stopping Eden from knifing into the flesh of his chest with her nails. Not that he doesn’t enjoy getting a little banged up from her enthusiasm. It reminds him how crazy he can drive her in just a couple dozen thrusts, or less. Eden swears for a moment she can’t see anything but an array of blinking lights, that she’ll damn near pass out from the overwhelming pleasure. Pedro grunts with finality, losing balance a little, before internally drowning her with thick ropes of cum. Eden’s leg continues to tremble uncontrollably, her eyes rolling back into her skull. The sensation of Pedro’s lips upon her chin brings her back to reality. He stays buried in her cunt, gripping her right leg almost to the point of pain, clasping it by the back of her knee to keep her open, as not to lose a single drop to the sheets. He revels in his own orgasm at last. It got harder to hold off, the more she came, trying to milk him fervently.

“You get so fuckin’ tight,” Pedro breathes, trembling a final time before slowly, painstakingly pulling out. He pushes his length back in a couple more times, enjoying how wet things have become, earning a gasp from his cock drunk girlfriend.

“Holy fuck,” Pedro breathes, picking up the pace again. Eden screams, gushing and clenching around Pedro for the umpteenth time, his sperm mingling with her secretions and staining the sheet beneath them. Sensitive beyond continuation, he finally withdraws, lying on his side beside her, fingers still intertwined. It was already 93 degrees when they had stepped off of the plane to Puerto Rico a mere few hours prior. Eden finds herself beginning to feel dehydrated. Pedro grabs her hip.

“Where to next, babe? I bet I can give you more than that in Chile,” he states confidently. Eden is at a loss for words, shivering as Pedro makes this proposition directly into her ear.

“Why haven’t we been there yet?” He giggles. Eden can’t find her own legs, so Pedro carries her to the bathroom to shower. She doesn’t even hope for a time out.

#Pedro x reader #Pedro x OFC #story #my story #fluff #smut #Pedro Pascal #PIV

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waitmyturtles · 2 years ago

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Moonlight Chicken first episode impressions.

1) I reblogged these already, but I want to point to the fantastic analyses by @respectthepetty (here) and @isaksbestpillow (here), offering tremendous background context out of the gate. Due to @respectthepetty‘s past analyses of Big Dragon, I was also able to pick up on a lot of the Chinese-Thai themes that Moonlight Chicken is pulling from. (I LOVE the theme of the show starting during the Mid-Autumn Festival and the continued gazing at the moon throughout the episode. Gah. Cuts me deep.)

2) Give me a GOOD, SLOW BURN to start a series -- HELL yes. Wen’s PACE of going through life. Moment by moment, gaze by gaze, sigh by sigh, ache by ache. His silent moments, thinking moments. He’s in pain, and his whole being radiates it, and we’ll take our time finding out what it is. Love this. (Jesus -- MIX. Come awn. Could he BE any better of an actor? A master of a slow burn.)

3) Seeing Jim’s house, the open market, the streets -- I’ve never been to Thailand, but there was something about these scenes that reminded me of strolling the streets in Malaysia and it was making my heart ache. The birds chirping while the guys were eating their bowls of jok in the morning. Reminded me of having soup noodles with my family in an open-air restaurant, during a bright, sunny, humid morning. I miss SE Asia.

4) Desperately love the juxtaposition of Jim’s traditional house with Wen’s modern furniture. Wen is going back in time, somehow, with Jim -- Wen is drawn to it. I will love seeing what uncovers in this.

5) I literally internally squealed KHAAAAAOOOOOOO when I first saw him. Those boots!

6) NAIL AND BAIL

7) I need that red Hungry? apron with the chicken in the pocket.

I LOVED this first episode. For whoever reads this place regularly, y’all know that I’m finishing Bad Buddy this week as well, so it’s just a Aof household at the moment (and tbh, I am really not knowledgeable about the famous directors in Thai dramas, like Aof or Jojo, I’m very much in a learning stage here -- but I clearly like his work). Watching Moonlight Chicken while I wrap up Bad Buddy -- it’s a scene here in my brain, a real scene. I’m a lucky gal to be watching both shows simultaneously.

Maybe this is an Aof thing -- or maybe it’s just the magic of the actors that I’m watching -- but his shows extract an aching feeling of love and attraction between his main characters that I can’t describe in words. I felt it two nights ago when I watched episode 11 of Bad Buddy, when Pat is gazing at Pran as Pran sings at the beach bar. Those wordless looks. Magnificent acting and filming. I see it’s gonna be a thang here in Moonlight Chicken; I’m here for it.

The Khao Man Gai Appreciation Rating is at 🐔🐔🐔: top-notch chicken rice content. Ooooh baby, Uncle serves different kinds of chickennnn over his rice, the boiled chicken and fried chicken, yessssssss!

I forgot to mention in my khao man gai gospel post that KMG/Hainan chicken rice is often served with a side of coagulated pig’s blood [CORRECTION EDIT BELOW], which is depicted at Jim’s diner. I actually have NOT had this on the regular -- my biggest familiarity with Hainan chicken rice is from Malaysia, where vendors are very often catering to a halal population. That’s not to say that you can’t find blood tofu in Malaysia, I just haven’t gone searching for it while eating nasi ayam over there. However, I’ve been automatically served the blood tofu in Queens, NY, where there’s a huge Thai population, so it just depends on where you go to eat it.

[CORRECTION! The second episode reveals that Jim orders chicken blood from Gaipa’s chicken stall -- so it’s chicken blood that’s served with the KMG, not pig’s blood. My bad -- and this shows the extent of my knowledge here, as I never knew that chicken’s blood could be served as blood tofu, I thought it was only ever pork or beef blood tofu!]

#moonlight chicken #moonlight chicken meta #jim x wen #wen x jim #khao man gai #khao man gai appreciation #earth pirapat #mix sahaphap #earthmix #khaotung thanawat

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yoshyushi · 6 months ago

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20240514 Beijing Youth Interview

From 【Creation of the Gods】 to 【To the Wonder】, Yu Shi: Popularity isn't pressure, it's motivation

Actor Yu Shi is an idealist. In his recent exclusive interview with Beijing Youth's reporter, his confidence, maturity and sincerity seem to be reflected through the clear gaze in his eyes as he looks forward in his acting career. "The roles that I wish to be known for can't just be Ji Fa (T/N: leading role in 【Creation fo the Gods】). I want to leave behind many memorable characters and Batay is one of them."

Mini-series 【To the Wonder】 was exclusively broadcasted on iQiyi on 7th May and at the same time, entered CCTV golden primetime broadcast. The whip-wielding grassland boy on horseback Batay that Yu Shi plays in the drama brings forth a clear natural vibrance, blending with the majestically beautiful landscape. Yu Shi thinks this project had helped open up a new world for him. "Through 【To the Wonder】, I hope to let everyone see that I'm also able to take on a role like Batay who's so contradictory, rugged yet pure, deep and shy. Such vivid qualities are hard to come by in previous films and dramas."

It was just a "work finding" attitude back then, never thought to gain so much attention right now

【To the Wonder】 was adapted from a short stories publication of the same name by Li Juan, directed by Teng Cong Cong and starring Ma Yili, Zhou Yiran and Yu Shi, which tells a story of a young Han lady Li Wenxiu who grew up in Altay, her consecutive failures chasing after her literary dreams in the city that eventually forced her to return to her hometown to live with her mother who looked after a shop. After she met local youth Batay, Wenxiu gradually came to discover the beauty of the land.

【To the Wonder】 had a global premiere this April at Cannes. Following that, tickets were hard to grab when it had screened at the 14th Beijing International Film Festival. It could be said that it was highly anticipated. Yu Shi laughs as he claimed he hadn't expected that the project would be so popular when he first participated in it. "After I completed filming for 【Born to Fly】, I was jobless for a while. So at that time I only had the mindset of "finding a job" and got in contact with this project. During the audition, I chatted with director Teng Cong Cong and didn't know what the results would be. We met a second time, and it was confirmed that Batay would be played by me."

Yu Shi read 【To the Wonder】's original short stories in detail. The free land and unique quality of Altay made him yearn for it. "At that time I had a personal agenda, I thought as an actor, if I was able to experience the vast, primitive Northern Xinijang with livestock aplenty as penned by Li Juan would be such an experience of a lifetime."

Suddenly feeling like he had really become a local chap

In order to perform Batay well, Yu Shi's greatest challenge was language. He spoke mostly Kazakh in the drama. Half a year before he joined the production team, Yu Shi had started learning Kazakh language from a teacher. He laughed and said he had used a most primitive method-- to memorize blindly. "I couldn't learn it systematically from grammar to phonetics. The script was in mandarin, so I found a teacher to translate it into Kazakh. I recorded it into my voice memos and listened to it daily when I had the time, even when I was going to bed, I brainwashed myself through putting it on loop, memorizing it every day. To what extent did such muscle memory achieve? If you wanted me to speak a line from it (the script), I'm still able to. Although I'm unable to guarantee the meaning of every line but I can most definitely still recite them."

In order to ascertain how well he was able to speak his lines, Yu Shi became "chummy" with the local kids. "I would often grab a kid and greet him before speaking a line from my script, asking if he was able to understand me. He said yes, so I suppose I spoke pretty well."

Yu Shi had substantial dialogue in his first scene, which was a conversation with the owner of the stables. "That actor was Kazakh. Under his lead, my sense of the language got better, and I became more confident. And as filming progressed, I was also immersed into the local community. The few months I was there I rode horses, herded and mixed with the locals whenever I wasn't filming. I would help the shepherd grandpa to herd the sheep and was invited to a shepherd's home. I learnt some short local phrases, so my lines were spoken very naturally. I shook off the bondage of pure memorization and could even start to ad-lib. For example, Batay being a passionately helpful person, saw someone pushing a car from far away. He wanted to help so he went up to say something. At that time the script only wrote "What's wrong?" but I was able to put the script aside and I had forgotten about the language barrier and was able to interact with him like a true local. All of a sudden, I felt as if I had really become a local chap."

Besides writing character background stories, there's also a need to observe the details of daily life

From Yu Shi's point of view, there's a kind of contradiction in Batay, mixed with a different aura. This had become his unique quality. "He's not the kind of pretty that we usually identify with, but he has a kind of primitive masculine handsomeness about him. At the same time, he's just a seventeen, eighteen-year-old kid but all sorts of circumstances had made him mature. He had been shepherding since young and needs to carry family responsibilities and bear with things. But when it comes to feelings he's so shy and deep. This gave him a different charisma."

Yu Shi wrote character background stories for Batay, but he felt it wasn't quite enough. "I attempted to recall many things about myself when I was seventeen and eighteen, to retrace my emotions back then. These weren't enough, I had to observe life, recording down vivid details. For example, incorporating the way the natives express themselves. When Batay smiles, or gets shy, how should the look in his eyes be? I will do a harmonisation. This way, Batay is no longer a character from imagination, but as if he had developed from my own being, a character that's of flesh and blood."

【To the Wonder】 is Yu Shi's first collaboration with a female director. He felt that Teng Cong Cong's female perspective was "very awesome". "She magnified many good parts of me. When we chatted off-camera, she would often say 'you may wait with assurance, this project is definitely very good. As a woman I feel blessed as I watched it.' Director Cong Cong is very detailed, sensitive and is able to capture subtle moments."

Actors are not a "tool" in story telling, they must have their own opinions for the character to truly come alive

Yu Shi really likes to ad-lib in his performances. He laughed and said he is measured and wouldn't overdo his ad-libs. "When on set, being in all that vivid atmosphere, the actors would be inspired and in turn make the story more vivid."

Yu Shi cites an example of a scene where Batay has an argument with his father. His father had objected to his relationship with Wenxiu. Later, Batay rides his horse over and discovers Wenxiu asleep on the grass field. "In the script it writes that Batay plays a prank and ties Wenxiu's shoelaces together, causing her to trip afterwards. But I felt if I had simply acted this way, it would be too single-faceted. I observed that there were many little wildflowers that were blooming on the fields, so I plucked one and stuck it on Wenxiu's glasses. I thought this could express Batay's inner self. At that time, he was feeling messed up. His father had objected to their feelings for each other, Batay needed to take care of this family responsibilities, but he liked Wenxiu and also couldn't bear to wake her up. So, he picked a most beautiful flower to express his liking for Wenxiu. Then, I followed the script to tie her laces together. Such a Batay was no longer just mischievous but had a gentleness and intricacy to him. At that time when I did it, I didn't discuss this with anyone. I just felt inspired at that moment and had a sudden new feeling about it. I feel this was very meaningful in the process of creation."

To Yu Shi who likes adaptations, director Teng Cong Cong had given ample creative space, which was very gratifying to him. "For an actor, the script gives visibility to allow actors to know how the storyline would progress. But actors are not 'tools' to present a story, they must have their own opinions to allow the characters to truly come alive. At the filming set, you will have sudden new feelings. Such feelings would make you act in ways that's closest to daily life, the way in which we speak would also be expressed naturally. This makes it really vivid. The actors in the scene would feel really exhilarated. I really love acting with actors who step away from the script. Such chemistry is very important."

In such a "gratuitous" space, Yu Shi was able to improvise as he liked, to let loose in his acting, and was constantly discovering himself in this process. "The director's expectations are actually very strict. Once she's assured that everything is in order, she would toy with the idea of letting the actors to play around a little, to give more possibilities. For example, the director would let me use multiple ways to express a single feeling, to let me speak my lines in this tone or that tone, or even not saying it but just smiling a little. In this process of practicing, I would have a judgement of my own to discover which way would suit such a scene, and how to present a most powerful side in a relaxed condition. This was a kind of self-discovery."

I'm confident that I'm able to totally immerse myself to act well once I take on a project

Director Teng Cong Cong felt that there was no second option other than Yu Shi for the role of Batay. Not only was his outer-image handsome, it was more so because he had a spirit of really wanting to become a good actor. When Yu Shi was interviewed, he didn't hide his passion and ambitiousness in acting. He wishes for breakthroughs, to leave more recognized characters in his acting career.

【To the Wonder 】 seem to have opened Yu Shi to a new realm, allowing audience to listen to the shyness of a bright young youth. Yu Shi said "After performing in 【Born to Fly】 and 【Creation of the Gods】, I was really afraid of getting typecasted. I didn't want to be labelled. I wish to perform in all sorts of roles to prove myself as a multi-faceted and my depth as an actor. Performing Batay gave me such an opportunity."

In the beginning, when he received 【To the Wonder】, there were people who doubted why Yu Shi would accept a low budget production. Now, Yu Shi feels 【To the Wonder】 has proven itself through its quality. "I can really confidently say that the natural landscape in the show, the movie-style cinematography, the creation from the heart has made 【To the Wonder】 different from all the rest in the past."

Presently, Yu Shi's popularity can be described as "burning". On this, does he feel pressurized? Yu Shi laughed and said "Popularity isn't pressure, but motivation. Right now I feel really great. Such a feeling has nothing to do with popularity but it's from all the pent-up adrenaline I had for all these years that now has somewhere to be put to use, I can finally film more projects."

Yu Shi claimed he's an idealist. "I think a piece of gold will always shine. All great directors and great actors started out as unknowns, so why can't rookies have opportunities and why should they be doubted? What if I succeed? Even if I hadn't filmed 【Creation of the Gods】, I would still think the same. Nobody knew who I was before 【Creation of the Gods】, but that's unimportant. What matters is if you are able to act well. Don't ever be opportunistic, don't think of taking short cuts. I'm confident that I'm able to, when I receive a project, I will put all of myself into it to act well."

Benefitted a lot from the Beijing International Film Festival as a panelist, harbors a "directorial dream"

At the Beijing International Film Festival this April, Yu Shi was a panelist for the "New blood movie projects". Yu Shi reflected that it had been an exceptionally beneficial opportunity. "As I watched the short films, I had to carefully observe the project's cinematography, lighting, editing and all other aspects. This was of great help to me as an actor. Being an actor requires you to understand the entire development of the industry, to understand the styles adopted for cinematography, the director's creative thinking. A good actor would step out of his role to create a project on a macro-level. Secondly, I also saw many young creatives who had just graduated from university and have many thoughts put into their projects, with so much potential. Perhaps an influential creative genius could be born from them."

Yu Shi revealed that he has "dreams of becoming a director". "They inspired me a lot, which further boosted my confidence to persist in becoming a film maker. If I'm able to in the future, I would want to develop as a director, to explore with rookies and let more talented young people be seen."

Likes all things new, actors cannot be isolated, because you can't just be acting as yourself

Yu Shi can be said to be multi-talented in his daily life. A professional basketballer, an expert at horseback riding, archery, good with the guitar. He was also the horseback archery director in 【To the Wonder】.

Yu Shi told the reporter that the job of a horseback archery director is to ensure that filming can be done safely, can progress and that the images can be expressed well with the protocols put in place. "Firstly, it has to be scientific to allow the horses to learn and get used to the scenes. Horses run by nature, but when it comes to scenes on horseback archery, the live camerawork, the people moving around shouting orders would all affect the horses' conditions. So, every frame on the horse has to be captured systematically. Secondly, on the progress of filming, you would have to ensure that the cameraman is able to capture the required angles and frames to fulfill the long shot, full shot, medium shot and close-up requirements. Thirdly, you have to pick the optimum path to allow the cameraman to capture the beauty and aesthetics of the horses' speed, and it has to look good. These are all the communication and calibration work needed prior to filming."

Yu Shi had always loved animals. "They all have such spirits where they can feel if you're kind or malicious as you approach them. Horses are very intelligent. Their discernment through their ears and the sensitivity of their skin and fur are very high. As long as you have a good heart, your scent, your touch would make the animals feel secure and establish a good relationship with them."

On him being "multi-talented", Yu Shi laughed and said he's someone who likes to accept all things new. "The lucky thing is, being an actor really requires such a trait. An actor cannot be isolated, because you can't just be acting as yourself. No matter if it's someone cool, a hopeless romantic, restrained or a hero, villain, you may have to present all sorts of characters. At that time, your skills, your experiences would all become the source of creative inspiration. Just like an ordinary person, if he has a certain ability he would also be very charismatic. Likewise for a character, there could be something special about him, something that makes him better than others. When this happens, as an actor shapes this character and he is coincidentally equipped with such skillsets, he would be able to use it on the character to increase the definition of the role. For example, when I filmed 【To the Wonder】, Batay initially didn't do horseback archery. But because I'm good at it so it was applied onto Batay. The more an actor learns, he accumulates and is able to bestow more shining points to the role. Even a little casual hobby could come in handy during a critical moment to add points onto the character."

Love reflections when feeling anxiety, for example on mortality and the universe

One would be taken aback by Yu Shi's maturity in thinking and the clarity of his attitude as they converse with him. Yu Shi admitted he's the type of person who loves to mull over things and likes both rowdiness and quietness. "When I'm free I'd go for a round of work out and gym. When I return home I turn quiet, mulling over all sorts of things, over and over again, what's past, what's to come, all sorts of things, I'll mull over them all."

And reflecting is a way for Yu Shi to fight anxiety. He claimed he feels anxiety too but he'd think of ways to dissipate such bad feelings. "For example, singing, playing the guitar to let it out, listening to music. And there's another method, it's actually my little secret, which is to think about things in macro-perspective, to think about deep stuff like mortality, the universe, things about various dimensions, or perhaps to just think of these worries as heaven's best arrangement. After thinking about these, you'll find that all those frustrations amount to nothing, actually. There's definitely all sorts of road bumps in life. Just as you resolve an issue, a new one could come along the next day. There is a certain order of our existence here as humans, we will never be able to escape from it. Since no one can escape, then worries and anxiety are very normal things and they're no big deal. Because nothing good comes from worrying. At least you're still living on this earth as a complete being and able to see the sun the next day."

Yu Shi's current projects have all gained good reviews. Does this have something to do with his ability to pick scripts, or is it luck? Yu Shi admits that luck comes first. "No matter how careful a choice is made, it's no use if there's no luck. Many people love to predict if a piece of work would become explosively popular but this is in fact really difficult. Choices and luck come hand in hand. When I pick scripts I rely on my intuition. A good project is something you're able to sense. However as to whether it would become popular, that's controlled by fate. So, my team and I picking a good project is something within our control and it also concerns the how the audience likes it through word of mouth. As for the rest on if it would become insanely popular shall be decided by fate."

Before 【To the Wonder】 was broadcasted, Yu Shi wrote on his weibo "I heard a deep echo from the depths of the grasslands. And that stems from missing the wilderness." In reality, Yu Shi also faces every project and every role with a sincere heart. And then, waits for the echo of fate.

#May 2024 #yushi #于适 #于适yosh #interview #我的阿勒泰 #creation of the gods #封神 #acting #yoshyu

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genkinahito · 9 months ago

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Falling Into Place Director: Aylin Tezel [Glasgow International Film Festival 2024]

Falling Into Place Release Date: 2023 Duration: 113 mins. Director: Aylin Tezel Writer: Aylin Tezel (Screenplay), Starring: Aylin Tezel, Chris Fulton, Rory Fleck Byrne, Alexandra Dowling, Samuel Anderson, IMDB For Kira and Ian, the main protagonists of the romantic drama Falling Into Place, it starts with catching each other’s gaze from across a bar and it turns into an almost year-long…

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#Alexandra Dowling #Aylin Tezel #Chris Fulton #Falling Into Place #Film Review #German-British Film #Glasgow International Film Festival 2024 #Romance #Rory Fleck Byrne #Samuel Anderson

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rickchung · 1 year ago

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The Royal Hotel (dir. Kitty Green) x VIFF 2023.

Julia Garner and Jessica Henwick star as American backpackers travelling across Australia when they run out of money and are forced to work as bartenders in a remote mining town full of misbehaved men in the Outback. It's a harrowing drama hyper-aware of the male gaze and the inherent danger of existing as a woman in a male-dominated environment fuelled by alcohol and a severe lack of opportunity for heterosexual gratification.

Screening at the 2023 Vancouver International Film Festival as part of the Showcase series at the Park Theatre on Sept. 28 and Rio Theatre on Oct. 5.

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maclovesmanga · 2 years ago

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youtube

New video is up, covering the history of rom com in anime and manga, how shojo dominated the genre for years and how shonen and seinen have taken it over and turned it into something else entirely. We analyze the male and female gaze and the impact they can have on the quality of a show. Rom coms have changed, but has it been for the better?

Some good sources to check out:

#shojo #shoujo #shoujo manga #retro shojo #shoujo romance #anime and manga #manga #romance manga #youtube #magical girl #rom com #shojo beat #male gaze #female gaze

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katekelton · 2 years ago

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https://gallery30south.com/kelton-phoenix/

Kate Kelton: PHOENIX

JANUARY 2023

Seeking to elevate brave Silence Breakers who’ve come forward during the #MeToo movement, Kate Kelton’s portraiture combines their oft familiar faces with elements of her family’s Czech architecture. Her portraits are cloaked in the garb of statues that Ladislav Šaloun sculpted onto the central train station that her great- grandfather, Josef Fanta, designed for Prague between 1901 – 1909. Sampling and mixing her own lineage, Kate has transformed a historical body of work, itself a thing of lasting beauty, exchanging granite for graphite; plaster for paint.

Headdresses and crowns deify Kate Kelton’s subjects. She uplifts the Unsung Sheroes & Heroes, Patriarchy Smashers, Warrior Survivors, Silence Breakers, Philosophers, Truth-Tellers, Whistle Blowers and Thought Giants. She paints portraits cloaked in the garb of statues Ladislav Šaloun sculpted onto the train station that her great-grandfather, Josef Fanta, designed for Prague in 1901 – 1909.

Apotheosis through a reclaimed, reapplied Art Nouveau.

Kate’s recent work is a matter of expansion through contrast – she is as ephemeral as her subjects are concrete architecture; she is structural when her subjects should slip through your fingers like too-fine sand. Taken as a whole, the works in her magnificent series Phoenix are incredibly intelligent, but when looked at individually, you come to understand that these are statements of life beyond themselves. The series take embellishments of a Prague train station designed by her great-grandfather, Josef Fanta, and combines these with portraits of men and women who have stood against the sexual harassment and assault rampant in Hollywood –particularly those who have testified against Harvey Weinstein, R. Kelly, and Bill Cosby, and made allegations against Franco Zeffirelli, Donald Trump, Russell Simmons, Max Landis, Michael Jackson, Nick Carter, Luc Besson, and others. These women, like Kate herself, have suffered in the era where powerful men, every bit as immovable as the train station, wielded their power without check. The portraits emblazoned on architectural elements, they are marked against the edifice, every bit as permanent, and perhaps even more defining. If you approach those as portraits, you’re taking the moment but missing the permanence. If you take them as statuary, you’re missing the fact that they are, in fact, alive within those gazes. It’s really incredible how much a shift of the light, a dart of the eye, can turn each of them from a memorial into a promise. This is not an exhibition about tragedy. This is a monument to courage, survival and empowerment.

ABOUT THE ARTIST

Kate Kelton was born in the south of Germany, after her parents escaped Czechoslovakia. Her early years were spent in a VW bus traveling Europe with her mother, an abstract painter. Settling in Toronto, Canada at age seven, Kelton attended the Etobicoke School of the Arts as a Visual Arts Major, and received a Bachelor of Applied Arts in Film, from Ryerson University. Her father was an architect. His grandfather, and namesake, was Josef Fanta: renowned Art Nouveau architect, engineer and sculptor, who worked closely with Alphonse Mucha. Photographer Dagmar Hochová is Kelton’s great aunt, on her mother’s side. Kelton also had a recurring role on Stephen King’s Haven on the Syfy Channel. When the illustrated re- edition of the book it’s based on, The Colorado Kid, was published, she illustrated the front and back inside covers. Her first lead role on tv was opposite Eric Roberts and Eddie Izzard, in the Independent Film Channel’s Bullet In The Face. Alex Maleev illustrated her for the poster. Her first feature film, Deepa Mehta’s The Republic of Love, debuted at the Toronto International Film Festival. Her film credits include cult classics, Harold & Kumar Go to White Castle and American Psycho II. Did you also spot her in music videos, like Shaggy’s “It Wasn’t Me?” Almost as good as googling her as “the Tic Tac girl.” ;} Kate has exhibited her artwork internationally for decades, at, among others: the Skirball Cultural Center in Los Angeles, the New Walk Museum & Art Gallery in the UK; Gallery 1988 in New York, Venice, and West Hollywood; Gabba Gallery, La Luz de Jesus Gallery, and Durden & Ray in Los Angeles; Art On Scene in Beverly Hills; Galerie F in Chicago; Lawless Concept in Montreal; and The Sony Centre for the Performing Arts in Toronto. Her work has toured with Yoko Ono’s Group Show Arising from Zurich, to Portugal, to the UK and Germany.

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