#I believe it’s the same guy in 2001 and 2019

[novelist-becca]

Can’t believe this son of a gun is played by All Might in English 😆 /pos

[sscrambledmeggss]

what are some of your favorite romance animes? I haven't really watched any, and I trust your taste ✨

JDDJJD THIS ASK HAS MADE ME SO HAPPY THANK YOU <3

Shoujo animes are a mess BUT they are my mess so it’s okay 💖 I haven’t watched a few of these in years, so I might be masked by nostalgia but shoujo animes are all about having a good time at the end of the day, and I’m pretty sure these will give that to you 🕺

Fruits Basket (2019):

Genres: romantic comedy, supernatural, drama, slice of life

Length: 3 Seasons, 63 episodes in total (+ a movie, but I don’t like the relationship in the movie so I don’t talk about it 🥰)

Okay okay, so like the plot to fruits basket out of context sounds like wild heterosexual bullshit. BUT I SWEAR, it is such a wholesome show, and it’s probably my favorite shoujo anime. It’s even complete with soap opera drama on occasions 😫 (I would definitely look up triggerwarnings though!)

Synopsis: orphan girl moves in with three guys, they are secretly furries 🤨 (aka they are cursed so when the opposite gender hugs them, they turn into the Chinese zodiac animals 😭) surprisingly this is not a reverse harem anime, and you actually want her to live with the guys 🤨 it also like handles toxic family relationships, and grief really well. It also has a lot of queer coded characters 😭 2001 is a lot goofier, but 2019 is way more dramatic, and actually has the full series. :)

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Monthly Girls’ Nozaki Kun:

Genres: parody, romantic comedy, slice of life

Length: 12 episodes

This one is really fun!! It’s also very cute.

Synopsis:

Sakura Chiyo has a crush on this guy Umetarou Nozaki, and somehow ends up joining his manga team? Nozaki basically writes shoujo manga under the pen name, ‘Sakiko Yumeno’. He’s actually really open about it, but nobody believes him. 🦧 anyway she basically just gets to meet his team, and it’s a really fun and cute time <3

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Ouran High School Host Club:

Genres: drama, romantic comedy, harem (but like it affects nothing, they are all mainly besties)

Length: 26 episodes

This is really unsurprising 🦧 BUT it’s a really fun time. A lot of things haven’t aged well in it, but for its time it really was changing things. Its a very episodic, romcom, making fun of a lot of common shoujo tropes, while still acknowledging that it’s basically the same thing it’s parodying.

Synopsis: Haruhi Fujioka is a scholarship student, at a big fancy school. She accidentally breaks a vase, and it puts her in debt with one of the clubs. Which happens to be a host club?? 🦧 so now she has to dress up as a guy and flirt with women <3 basically everyone is a stereotype, and it actively is making fun of rich people. 😭

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Yona Of The Dawn:

Genres: romance, high fantasy, adventure

Length: 24 episodes + 3 OVA

Admittedly I haven’t watched this one in years, but I remember absolutely loving it. And luckily a friend of mine has watched it like this year, and she loved it as well. So I’m hoping that means it stands the test of time LOL.

Synopsis: Princess girly gets a reality check, and now has to girlboss too close to the sun <3 but it’s very fun. (This is all I can say without giving spoilers ig 🦧)

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Snow White With The Red Hair:

Genres: fantasy, romance

Length: 2 seasons, 24 episodes in total + 1 OVA

I also haven’t watched this one in years, BUT I remember being obsessed with it. Sometimes I still check in on the manga to see what’s going on, I do not understand what’s going on. 💖 it’s very relaxed and cute though. And also nobody is in high school, which is always a good change 🦧

Synopsis: Shirayuki is a pharmacist who gets proposed to by a prince for straight up just having red hair?? 🦧 doesn’t want to marry said prince, so she then cuts off her hair, and runs away.

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My Love Story!!:

Genre: romantic comedy

Length: 24 episodes

This one from what I remember is really wholesome from what I recall :)

Synopsis: basically a guy who is seemingly “scary” is actually really sweet, like he’s not even a bad boy. He’s like anime equivalent season two Sam Evans. Gets a girlfriend, and the whole plot is just them being cute + the guys best friend being their bestie.

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Kamisama Kiss:

Genres: romantic comedy, supernatural

Length: two seasons, 25 episodes in total + 2 OVA

OKAY, so this one is a very good time from what I remember :) it’s main flaw is that the girl is in high school, and her main love interest is immortal?? So like an Edward Cullen type beat 😍

Synopsis: a girl ends up homeless (this is a very prominent trope if you can’t tell 🦧), and she runs into this guy, who kisses her on the cheek?? Turns out he’s a god, and has just given her his god title? So she’s just a god now. And she has to go to his shrine, and do god things?? And his old familiar (which is basically like if instead of working for Jeff Bezos, he just adopted you 🦧) isn’t very happy about it.

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Anyways they are very much fun to watch <3 even if a lot of the time there’s a lot of “🤨” moments in shoujo anime, (they have an awful age gap issue) but they have been a very long time guilty pleasure of mine LOL. My friend and I have been purposely watching the bad ones, because they are equally as fun as the good ones.

[ultraericthered]

Anime Update V2 27

Wolf’s Rain - The third episode has Lord Darcia exit with his captive Cheza pretty quickly, leaving our four main wolves to contemplate their own directions until it becomes clear to all of them that they need to depart this city and go on the journey to Paradise, giving sort of a Final Fantasy VII “leaving Midgar behind” vibe. Really sucks to Toboe that Leara wasn’t as accepting of him as he wanted to believe she’d be and ratted him out. We also have Quent the wolf hunter and Hubb the scientific journalist at odds while working together, but if they’re still in the city then I wonder what their roles are to be now?

Hunter x Hunter - The Spiders made their attack on the auction house, which was more horrific than I was prepared to witness! The one guy met a nasty end by the big, lumbering Frankestein looking member, and the glasses wearing girl from the earlier arm wrestling match has a sentient vaccum that can suck up not just loot but the blood and bodies of victims? Yeesh! Kurapika isn’t entirely caught up to them yet, but he and Melody are both on watch and I forgot to mention how much I’m loving Melody (or “Gopher Gal’ as I’ve called her) as a character - the contrast between that design and her sweet melodius voice really makes her unique. Chrollo Lucilfer, meanwhile, is a bit of a letdown in the 1999 anime ‘cause he’s got a creepy look and seems like such an intriguing character but his voice acting just has no presence to it. This is thankfully not an issue in the 2011 anime where the always great Robbie Daymond does his voice. 

By far my biggest criticism right now would be the Shadow Beasts. They’re talked up as being powerful badasses who could pose a threat to the Spiders, but four of them get killed by just one guy! What is the point of them? I get the sense that Togashi had ideas for their gimmicks and powers that he didn’t want to not use, so he just threw them in here even when they serve no narrative purpose.

Fruits Basket - Last week I only watched the 2001 anime since it’s got two episodes that the 2019 First Season doesn’t cover. The first one was Yuki and Tohru visiting Ayame at his kinky clothes shop, which was alright but I feel like giving a full episode’s worth of Ayame is a lot of him to take in and it just grates on you after a while. Oddly enough, the Prince Yuki Fanclub didn’t fall into that same trap in the next episode, since it largely serves as a character study and growth for Motoko Minagawa with all the gags from her and her lackeys spread out a good deal, with the comedic timing and animation always delivering. While Motoko’s portrayal in the later anime is superior to this one, her club makes a bigger impression here. And since we know that Tohru/Kyo is the romantic endgame and Machi is never introduced in this anime, I’m willing to imagine that in this continuity, Motoko might’ve very well gotten her wish in the end...

Rozen Maiden - After finding herself getting more ineffectual by the episode, Canaria finally went and got things settled with Shinku and the others, who end up befriending her and her doll-obsessed master as a way of making peace and defying the currently running Alice Game. Good as all that is, I’m starting to notice that since the plot with the dollmaker shop people has been building so slowly, Jun has had less screentime and less to do since the Alice Game began. Supposedly this changes next episode, as it should. Give my boy more content and stuff to work off of, he has been starving for it!

Fate Zero - Saber and Lancer fighting each other, exchanging blows, barbs, upper hands, and exposition, took up the entire episode. There was barely little else going on until Waver and Rider joined the fray in the literal last minute, hopefully the ramp up the excitement.

Revolutionary Girl Utena - This episode worked kind of in the same way as the notorious “Freaky Fred” episode from Courage the Cowardly Dog in that it casts the proceedings in a very ominous, uncomfortable mood and casts the gaze to one character, Akio Ohtori in this case, making the audience dread what he’s getting ready to do in any given scene and fear the worst for the protagonist, but ultimately he does nothing of any significance. With the constant image of the candelabra and the flames going out, Utena’s internal denial of her feelings for Akio, Akio giving her a ride in his End of the World car and making out with her on it, and even stuff like a morning meeting of Utena, Anthy, and Akio that gets interrupted by Akio’s fiance and her mother has Akio carrying himself like a molestor and putting the moves on the mother had me feeling nauesous, paranoid and uncertain at every turn. This is the scariest episode of this anime I’ve watched yet and I wanted it to stop. Which it did. Eventually.

MAR - It was Ginta’s match against the sleepy, creepy candlehead Chesspiece, putting Ginta’s life on the line with the effect of the dark ARM candle until that curse was broken and Candlehead just...melted away to nothing. It was so strange, but also haunting and sad to watch seeing as this guy lived for nothing but conflict and fighting and now his luck in a fight just finally ran out. Despite Team MAR winning 3 matches, the rules demand there be one last fight just to judge the remaining two individual combatants, Alviss and Rolan!

AMC: Akudama Drive - Brother and Sister now request that the Akudama take on another mission of delivering them back to Kansai, promising to double the amount of money they promised. Hacker opts to leave the group after he disarms and removes the explosive collar from his neck, the rest of the Akudama decide they want to see this mission through. Not a lot seemed to happen here otherwise.

AND

Happy Sugar Life - So the first half of this episode had Asahi meet up with Mitsuboshi, exactly as I’d predicted, and it went exactly how I’d expected it would go. Poor Asahi finally had a big lead to his sister’s whereabouts and he blew it big time. But I really do like that while easily one of the more moral and sympathetic characters in this story, Asahi is not some poor sweet cinnamon roll meow meow who does nothing wrong and must be protected - he is very damaged and VERY unstable. The idea of Shio and of the family he, her, and their mom can have together is keeping him on the ground, but it’s just divorced from a harsher, crueler reality that he is struggling against in vain. Honestly, you have to laud him for not breaking by this point!

And then came the second half, by far one of the darkest things I’ve seen in a while. After several minutes of Satou-Shio interaction that swung back and fourth between being heartwarming and being disturbing and groomy as fuck (Satou wants to play pretend wedding with Shio now, no joke!), a photo of Satou and Shio together outside their apartment door is snapped. By Shouko’s phone. Satou is quick to catch her in the act and drags her inside her place. What follows is an ending sequence set to the total dissonance of a beautiful song playing over a mostly wordless (save for narration telling us a “Liz and the Bluebird” type of story) scene of Shouko, seeing her best friend for who she really is now, pleading with her to not take her life down this dark direction and turn back, ‘cause nothing could stop Shouko from loving Satou as a dear friend to her. It may seem futile, but Shouko is insistent on arguing her case in what is honestly a shining moment that gave me the deepest appreciation for Shouko I’ve ever felt in this show, and note that this is a character who’s been fairly bland, whiny, mostly useless to this story, and just earlier in this very episode was engaging in unconvincing romantic interaction with Asahi. Too bad that afterwards, just as Shouko is prepared to walk out the door and we’re made to think that’s what will close out this episode ....Satou comes from behind, grabs her tightly, and brings the knife down, murdering her own friend in a horrifyingly brutal fashion, completely cold and with no remorse beyond a flimsy justification and a weak “sorry.” Shio can see the blood on Satou now, and might even assume that what just happened was her fault. And if it couldn’t get any worse, it turns out that Shouko’s final act was to send the picture she took to Asahi’s phone, so now he knows!

Absolutely haunting and traumatic, I’m still shaken by it days later. It’s like a moment in Breaking Bad or Better Call Saul where you can just no longer find any way to defend the protagonist after the horrible deed they just did. If anyone out there honestly thinks Satou can be defended or justified after this point, I’d be very interested to know.

[joshjacksons]

Joshua Jackson interview with "Mr Porter" (2021)

Minutes before Mr Joshua Jackson joins me in a booth for a Friday afternoon drink at a vibey hotel bar in Santa Monica, he’s confronted by his past. Or rather, a woman in her early twenties who is binge-watching Dawson’s Creek, the teen show about a close-knit group of high-school friends coming of age in a sleepy American town, which made Jackson incredibly famous between 1998 and 2003. The series, which also made household names of Ms Michelle Williams and Ms Katie Holmes, went off air 18 years ago, but is now streaming on Netflix, to the bemusement of Jackson, who played lovable rogue Pacey Witter. “This girl was like, ‘Are you...?’ And I’m like, ‘Yes, I am. He got old. I’m sorry to break it to you,’” he says, before ordering an iced tea and a charcuterie board to tide him over until dinner time. “It always surprises me when young people say they’ve just got into Dawson’s Creek. I’m like, ‘Is it a costume drama to you? Do you feel like you’re watching a historical documentary?’”

The idea of a Friends-style reunion episode or a Sex And The City revival feels equally far-fetched to Canadian-born Jackson, now 43 and wearing it well in a pale green linen shirt and tailored linen trousers by Oliver Spencer that complement his fading brown hair and Cali-tanned skin.

“I don’t know why you’d want to [bring it back],” he says. “Nobody needs to know what those characters are doing in middle age. We left them in a nice place. Nobody needs to see that Pacey’s back hurts. I don’t think we need that update.”

And Jackson doesn’t need Dawson’s Creek. From Mr JJ Abrams’ sci-fi series Fringe (2008-2013) to the Golden Globe award-winning The Affair (2014-2019), from Ms Ava DuVernay’s ground-breaking true-crime drama When They See Us (2019) to the recent Ms Reese Witherspoon and Ms Kerry Washington-produced Little Fires Everywhere (2020), he has commanded the small screen – with a collection of dynamic and diverse work – ever since.

His latest role as Mr Christopher Duntsch, the Texas surgeon convicted of gross malpractice when 33 of his patients were left seriously injured after he operated on them and two of them died, in chilling Peacock crime drama Dr Death, is only stepping his career up another gear.

“I’ve never played anyone irredeemable before,” says Jackson, who is joined in the eight-part series (based on the 2018 Wondery podcast of the same name) by Messrs Christian Slater and Alec Baldwin. “He is charming, gregarious and has a high-level intellect, but he’s also a misogynist, probably a sociopath, certainly a narcissist and a complete incompetent who is incapable of seeing himself.”

If Duntsch is terrifying, then Jackson’s portrayal is even more so. The artist formerly known as Pacey is virtually unrecognisable (thanks to prosthetics) in the opening scene, but the real challenge for Jackson was allowing himself to view someone who is so “spectacularly evil” as a human being in order to walk in his shoes. “It’s a more damning portrayal of the man to make him into a human being, rather than just make him the bad guy,” he says. “He really believes he’s the hero, he’s the genius and that he’s the victim, so once I got past my own judgment, all the other things fell into place.”

Jackson might have his pick of stellar roles – and challenges – now, but it has not happened by accident. Take it from someone who has been in the business since landing his first job aged 14 in Disney’s live-action movie series The Mighty Ducks, opposite Brat Pack alumnus Mr Emilio Estevez.

“You try to make it look like it happens accidentally,” he says, “but there is no way to do this and not be ambitious. I’d say I’m extremely ambitious because I’ve been doing this cutthroat job for nearly 30 years. I’m in the pay-off phase of my career now. One of the benefits of surviving for as long as I have is you get to learn from your own mistakes.”

Such as? “I wouldn’t say, ‘I wish I hadn’t done that,’ because it all becomes bricks in a path, but [after Dawson’s Creek] I was not choosy enough about the things I was doing. You get stuck. You start trying to perform the performance you think people are hoping to see you do. I was so used to working all the time that I just worked all the time. There was definitely a conscious moment in my mid-twenties when I realised I wasn’t really enjoying the work that I was doing. My manager at the time just said, ‘Take a breath. You’re burnt out.’”

The turning point came in 2005, when Jackson was offered a role in the two-hander Mr David Mamet play A Life In The Theatre, opposite Sir Patrick Stewart. “God bless him, Patrick could have made my life miserable because I had no idea what I was doing, ” he says. “I hadn’t been on stage since I was a kid and now I was in the West End in over my head. But it reminded me that I actually enjoyed being an actor, that it’s not about the red carpet or travelling around the world. What I really enjoy is working on good material with good people.”

It’s no surprise Jackson’s time on Dawson’s Creek led to a career crisis. From the ages of 19 to 24, he lived with his fellow cast mates in Wilmington, North Carolina, filming day in, day out, in an arrangement he likens to college. “You get to the end and they’re like, ‘Here’s your degree. Go live now. You’re an adult. Go out into the world,’” he says.

But most graduates don’t have to deal with global fame. “It’s transitory. You’re only ever cool for a moment and then you become much less cool. I was always pretty dubious about flatterers,” he says, recalling a time he was stung in London in the mid-2000s. “I went on a date in Hyde Park with a woman whose name I will not use – she was socialite-famous – and she was acting completely bizarre, looking over her shoulder the whole time. I came to find out that she had hired a photographer to follow us through the park and gave a whole story to the tabloids about how I was going to meet her family.”

It was his growing fortune, rather than fame, that caused Jackson the most anxiety. “Suddenly, at 19 years old, I was making more in a week than most of my friends’ parents would make in a year,” he says. “It was lovely to have the money, but it was that feeling of nobody is worth that kind of money. You feel like a fraud and it took me a long time to forgive myself for not being the thing that I was perceived as.”

Born in Vancouver, but raised in Topanga, California, until he was eight (before moving back to Vancouver following his parents’ divorce), Jackson bought his childhood home in 2001 and lives in it today with his wife, British Queen & Slim actor Ms Jodie Turner-Smith, and their 15-month-old daughter.

“My father unfortunately was not a good father or a husband and exited the scene, but that house in Topanga was where everything felt simple, so it was a very healing thing for me to do,” he says. Fast-forward to 2021 and his baby daughter now sleeps in her father’s childhood bedroom. “There was a mural of a dragon on the wall in that room that I couldn’t believe was still there, years later. The owner [who sold him the house] said, ‘I knew it meant a lot to somebody and that they were going to come back for it some day.’”

Becoming a first-time parent during a pandemic sounds stressful, but it afforded Jackson months at home with his wife and child that his normal work schedule wouldn’t have allowed.

“I now recognise how perverse the way that we have set up our society is,” he says. “There is not a father I know who works a regular job who didn’t go back to the office a week later. It’s robbing that man of the opportunity to bond with his child and spend time with his partner.”

Despite his obvious career ambitions, fatherhood has changed Jackson’s priorities in “every possible way”, he says. “It’s 100 per cent changed how I approach my work and my life. That has been made so clear to me in this past year. For me to feel good about what I’m doing day to day, my family has to be the central focus.

“There are plenty of things left for me to do, but now the thing that gets me excited is experiencing the world through my daughter’s eyes. I can’t wait to take her scuba diving. I can’t wait to take her skiing. I can’t wait to read a great book with her. I’m not worried at all she’ll be a wallflower. She’s been a character from the word go.”

Jackson met Turner-Smith, 34, two days after his 40th birthday. He had been single since his 10-year relationship with German actress Ms Diane Kruger ended in 2016. “I was not looking to fall in love again or meet the mother of my child, but life has other plans for you,” he says.

The couple met at a party. Turner-Smith was wearing the same The Future Is Female Ejaculation T-shirt Ms Tessa Thompson’s character, Detroit, wears in the 2018 film Sorry To Bother You. “That’s what I used to break the ice. I shouted, ‘Detroit!’ across the room. Not the smoothest thing I’ve ever done, but it worked. We were pretty much inseparable from the word go. It was a whirlwind romance and I can tell my daughter I literally saw her mother across a room and thought, ‘I have to be next to this woman.’”

A self-confessed “useless” shopper, Jackson gives his wife full credit for his current wardrobe. He is jewellery-free, apart from a wedding band and a gold signet “JJ” ring on his little finger (a present from his wife), and discovered tailored sweatsuits (by Stampd and Reigning Champ) in the pandemic.

“Jodie has influence in the way that a wonderful wife encourages you, through love, to dress well. She was like, ‘We’re going to throw away all the sweatpants from your past and I’m going to get you some that actually make you look like an adult male and you will still feel comfortable around the house,’ and I’m like, ‘What an amazing idea!’ Who knew you could get sweatsuits that actually look good on your body?”

Jackson’s style has evolved, he says, “from slovenly teen to it’s-nice-when-your-clothes-actually-fit-you”. The penny dropped after he auditioned for his former co-star Estevez, who was directing the 2006 Mr Robert Kennedy biopic Bobby. He said to me, ‘You only got this job because I know you. You came in here to play a very well-put together 1960s political operative and you’re wearing jeans and a hoodie.’

“I had to grow up a little bit. We are very much raised in Canada to never, ever show off, so it took me a while to recognise it’s OK to look good when you go out.”

Still, when you’ve grown up in front of the camera, “every pimple literally documented”, and lived (very successfully) to tell the tale, you can probably be forgiven for the odd fashion faux pas.

“I wore a silk Ascot to an event once in Paris and I still have nightmares about it,” he says. “I looked like Fred from Scooby Doo, but you live and learn.”

[lys-lilac]

Yuki Sohma: An In-depth Character analysis Pt. 2

Hey everyone! I hope you are all well. Now that the series of Fruits Basket has ended, it’s really difficult for many of the anime viewers to say goodbye to this masterpiece of work by Natsuki Takaya. But somehow, we have to get over it. Remember, this will always remain as a special work in your heart.

Although this is a character analysis, I have included my thanks for the Furaba team now that it has ended.

Read Part 1

[Spoilers ahead! Read at your own risk. Also a disclaimer, I am a Yukiru fan, love Kyoru and Yuchi and I don’t want to hurt anyone. If you have different theories, let me know. ^^]

(Look at this guy from this...

to this! He looks so mature here... T^T)

Moving on to the topic in hand, I was sobbing at the last Yukiru conversation in the anime. That short scene was the most important scene from the episode. Ah, I didn’t watch the whole season 3, just some snippets but I was compelled by my curiosity to watch the last episode at least to say them goodbye. I don’t have much to write now, as I had mentioned many scenes in the first part, so just grab a cup of coffee or tea while listening to my thoughts.

Let’s start today from something different from the anime. I was reading about Yuki’s character from the fandom website, and here are some screenshots which piqued my interest-

1. Comparing 2001 and 2019 Yuki (Kyo’s revealation of his True form)

So 2001 airing of Fruits Basket had a little bit different plot from the 2019 one(which followed the manga). As you can see, when Kyo runs from Tohru after being transformed into his true form, Yuki chases after them in order to help them. In my opinion this was really a good thinking, but not the best. We can figure out by now how much Yuki was confused about his feelings regarding Tohru in reboot series. Since there was not much content in the former series, so the action taken by Yuki was appropriate. Otherwise, fans would have felt that he didn’t care about all this, which is not true. On the contrary, in the reboot, Yuki stays in the house and just watches Tohru running after Kyo. And in this version, he was also not convinced by Kagura to chase after them, because both of them were uncertain about their feelings. The result of staying silents ends up in Yuki starting to distant himself from Tohru in the next episode. 

Sometimes I don’t understand why viewers say that Yuki just flirts with Tohru. You can see how much care he harbors for her, and that’s not in a romantic way, but as a good friend. He is consistent with his behaviour towards her from the start to end(that is how dear she is to him).

2. Former Conclusions which are excluded in the reboot

In 2001 anime, since not much plot was there, it was easy to imply that Yuki also had somehow developed romantic feelings towards Tohru. (When I first read this, I couldn’t believe it as I am just an anime viewer who has not read the manga nor watched the 2001 anime T^T). So, it’s general for some viewers to imply the same thing by the end of season 1 reboot (which was my case). It’s easy to shape this relationship as love at first, but after thorough thinking, like Yuki did, it is to be concluded that their bond is not love at all, but something much more pure.

3.  Author’s information on their relationship

The last point is regarding the ribbon that Yuki gave Tohru on White Day. One can see how much both care for each other. Yuki started to distance himself from her for both of their sakes, and so does Tohru when she realises how much Yuki has changed gradually as the time has passed. I can consider Yuki as a small child leaving his nest (his home) and finally becoming a full fledged responsible guy. 

4. Why Yuki didn’t call Tohru by her first name (Season 2 episode 4)

This is really a short scene but has its own importance. When Haru turns into his dark form and is about to attack Tohru, both Yuki and Kyo along with Momiji get shocked, but Kyo is the first one to punch him and save her. At that time, Yuki’s face is overshadowed with his bangs, and in my opinion, I guess he was about to extend his hand before Kyo came. 

Fruits Basket has amazing imagery throughout the series. Here you can see Haru asking Yuki to call Tohru by her first name, to which Yuki first gets shocked, then seems tensed about it. Haru is looking out of the window through broken glass which represents the confusion of Yuki’s feelings, now gradually breaking apart. And the multiple images shown refer to the multiple possibilities he thought about his relationship with Tohru, but that all got compiled to a single answer; his one and only true answer to the problem. 

Yuki realises how selfish he has been about this thing, while there were much more problems going on in their house. He learns to be like Tohru and Haru, worrying for everyone and helping everyone out. So he takes a bold step afterward to visit Haru in the Sohma estate as the later had been suspended. When Tohru asks to accompany him, he firmly says no and proceeds to go by himself. In other words, he didn’t want to lose what he learnt from Tohru, that is; caring for others.

But, in the last episode, he has gathered enough courage and feelings that he can now return to her. Tohru as well as Haru cared so much about him, and now that he has reached the finish line to happiness, he wants to thank the ones who made him feel that he was also important; that he was needed by them. Shimazaki Nobunaga-san, you are really fantastic! The way Yuki says her first name is so heartwarming. And one can see Tohru smiling in the end. Even though he was slower than Kyo for this, still he did it. (So proud of you Yuki!)

We can also see how Yuki transforms with the help of Tohru. And this can also be seen by the change of his dressing style at the end of graduation. Earlier, he used to wear collared buttoned up shirts with dark hues, like blue, white, which represented how much tied down he was to the Sohma clan and the curse. But with the help of Tohru, he was able to change. This can be seen by the way he dresses, with loose fitting clothes and little bit vibrant color added to it by the time the curse breaks.

(I loved the transformation he went through... Aww.)

5. Yuki’s ‘Confession’ in the Beach Arc (Season 2 episode 7)

I knew that I couldn’t cool myself off till I get to know about the true meaning behind this scene. And so I did. 

Yuki and Tohru are great as friends, their dynamics are so pure, enjoyable, but one can actually figure out that they are not meant to be for each other. One instance is in season 2 episode 7. Tohru was in inner conflict about her dad but didn’t let it show on her face. No one actually pointed out her gloom either, except for Kyo. And we can’t blame Yuki for not noticing this, because he was suffering internally at that time too. 

In a particular scene where Tohru was covering sleeping Momiji, Kisa and Hiro with a blanket, a smile blossoms on Yuki’s face. But upon seeing Kyo being with Tohru, he gets a little jealous and makes an excuse to Haru to leave the spot.  But this is not defined as him being ‘romantically’ jealous. He was confused about his actual feeling for Tohru, and just to not get any misunderstanding, he takes this step. The reason being, Kyo had more interactions with Tohru because he genuinely understood her. And after Tohru running after Kyo, which Yuki considered more of a womanly step, he couldn’t stand seeing him getting more distanced from someone he cared about.

There’s a great imagery when Yuki returns from the Sohma meeting. Tohru was waiting for him by the beach, and she sees him coming from far in pitch dark night. This sky covered with clouds is his past traumas that he has been dealing with. But when Yuki sees Tohru, the clouds slowly start to dissipate and moonlight shines, which implies the way Tohru helped him out in his hard times.

Remember when he said about the closed lid to his feelings? Let me tell you what do I think of that concept. Yuki didn’t actually know what he wanted or what were his exact feelings for Tohru. He had a little bit hint about the ‘motherly’ feeling, because she always listened to him, worried for him and cared for him. (Although in my point of view, this is more like a close friend helping another, not motherly affection). But he didn’t want this possibility to be the answer to his confusion. That’s why he kept distancing himself from her, trying to see her in a romantic light, but he couldn’t see the affection that she had for Kyo, for others. By this episode, he has already come to the conclusion about his true relationship with Tohru. Even though he didn’t want to accept it, but he couldn’t refuse it either. That’s why he said that he was sad. She was like a vast expanse of sky, and that meant that Yuki couldn’t have her all to himself. Thinking of this situation as goodbye to his former feelings and the beginning of a new feeling, he cries on her shoulder. (And thinking about he strong he must have been at that scene makes my tears well up too T~T).

About all the things he said in that scene, be it comparing her to the sky or how she was dear to him, I think that he didn’t say it out loud. That’s because he just silently kisses her forehead and leans on her shoulder. If he had tried to say all that, then Tohru must have been confused. (and she was even confused when he didn’t say anything.) So, in that prospect also, Yuki took the decision perfectly. And that change in him which he accepts is seen when he shares such a warm relationship with Kakeru and student council, and his developing feelings for Machi.

6. Why their ending up together would have been difficult to understand.

I was thinking at some point that how similar Tohru and Yuki are to each other. Which is another reason why they didn’t end up together, and it’s for the best.

Tohru was raised by Kyoko to such a sweet girl. Similarly, Yuki was changed by Tohru and was able to find his true self. 

Both their partners, i.e. Kyo and Machi were helped by both of them to get over their traumas and to grab to the joy that they were both providing.

Both wish for the happiness of others. 

Both are selfless. 

That’s why one can see that their dynamics are so good, yet they are unable to complete each other, because they are similar. Both are nice to others, but have lot of pent up emotions inside. These hidden emotions can only be seen by Kyo in case of Tohru and Machi in case of Yuki. So I loved how it turned out.

(Both Kyo’s and Yuki’s expressions are so soft!)

7. The essence of the last conversation of Yuki and Tohru

Ah, so we have reached the end, huh? Anyway, at some point we had to say goodbye to this, and now is the time. 

I absolutely loved how this made it end in a complete circle. The series started with Yuki and Shigure discovering Tohru in the woods, giving her shelter in their house, and Yuki taking care of her fever with Tohru thanking him the next day. And the series ends with Yuki now thanking Tohru for being a part of their family, and helping every Sohma member. The change that she brought to them is something which makes her irreplaceable in their hearts. Even though she will  leave with Kyo, but everyone will remember her everyday, if she has been doing well and whether she is happy or not. 

Yuki further says that he will be sad, now that no one will be there to say him ‘welcome home’. But he will also be happy because he was able to meet her, who had the vital role in making him realize his importance. Yuki’s dialogues with Shimazaki-san’s voice will bring anyone to tears. Yuki also reveals that she is like a mother to him. 

Now I know that many readers might ask me why I am not accepting the fact that she was like a mother to him, even though he himself said that. The reason is, I just don’t know how to digest this. After all the beautiful moments that they shared, him helping her with every little chore, their conversations, I just can’t. It feels more as what a close friend would do for him/her. And I never found any scene which truly depicted that they are related just like a mother and child. In fact, this relationship they have is something more.

Tell me, if he saw her as a mother, then why did he profusely blush when she called him by his first name (he didn’t even blush that much when Machi said it), or Shigure asking him about his rushing along with Kyo to bring her back from her relatives? Or many other short moments? You can see the same deep blush of Tohru when she is with Kyo. Yuki’s this cute side changes by the second half of the second season, with his blush now accompanied by a happy face, which makes us understand how much he values her as a friend. Honestly, some bonds have no words to define them. They are just bonds, but they will always be special to the ones who have it. It will reflect selflessness, care, worry and each one wishing happiness to the other.

(Tohru helping him with his tie.)

(When Shigure asks Yuki about his unusual behavior.)

(His eyes were shining with joy... HNGH, so beautiful!)

The last part when he extends his hand to her for a handshake has again such a pretty touch to it. In the manga, it is seen that Yuki and Tohru handshake with their right hands, but the same scene here is with their left hands. Actually, left hand is close to the heart right? Handshaking with left hand symbolises the deep friendship that both the sides have, which will always remain close to their heart. 

(Darn you Furaba team, you really want me to sob, don’t you... Also, look how beautiful they look! Yuki and Tohru look so much more mature and their blushing is like a cherry on the cake ^^)

And this series is brought to an end with our female protagonist saying “I will see you again” which again implies that they are just getting separated from the family due to change in their environment and situation, but they will make sure to see each other once again. 

(Team, you won... *sobs*)

One thing I want to add is how Kyo and Yuki became friends too... It’s so precious! I really liked how Yuki helped Kyo to move on and leave negative thoughts behind when he was not visiting Tohru in the hospital. That scene portrayed how much both idolise and adore each other. The last conversation that they share is Yuki addressing him as stupid cat and Kyo addressing him as stupid rat, which is so sweet in itself. 

(I wish all of you happiness.)

Also, I felt so bad for Momiji and Kagura with their unrequited love... Please let them have a great significant other!

All in all, I enjoyed the moments and the values that the anime inculcated in me, and this will always have a special place in my heart. Thank you from the bottom of my heart to the creators, team, and of course, all the characters. Good bye, Fruits Basket,

and thank you for giving me such a great time. 

~Lys

P.S. Dear Yuki, thank you so much for letting us know about such a sweet and kind character, that’s you. You deserve all the happiness in the world. 

[thegunlady]

Movies I watched in 2021:

Was this a largely pointless exercise that reveals too much about the painfully boring inner machinations of my mind? Probably! But I have to do something with my film degree, so please enjoy this list of the 70 movies I saw this year, complete with IMDB links and my own deeply insightful (and spoiler-free) commentary:

January: 

The DUFF (2016) - This movie is so dumb but it brings me such joy and I’ve seen it a bunch of times because Mae Whitman and Robbie Amell are so obviously having a great time and enjoying the hell out of each other.

Austenland (2007) - Do the plot details of this movie make any sense? Certainly not. Do I care? Also certainly not. It’s the very epitome of genre-savvy, Austen-inspired, parodic delight and I watch it regularly. 

Lord of the Rings: The Fellowship of the Ring (2001) - I have not sat and watched these movies in full since they came out, and I also decided I wanted to watch a bit more Seminal Classic Cinema this year (in theory) so here we are. It was a great decision, actually. I expected to appreciate it, but be a little bored/confused because complicated high fantasy is not my bag and neither is a 3-hour movie, but I thoroughly enjoyed it! It was much easier to follow and more relationship-driven than I remembered. 

February:

Leap Year (2010) - I have a vague memory of disliking this movie, but it’s been so long and tumblr seems to really like it so I thought I’d try again. Turns out my memory was Correct and I did not like it, which is a bummer because this movie has a lot of really good things going on! There’s a version of the same script that could have been a classic IMHO, we just didn’t quite get there.

In Time (2011) - I saw this in theaters and haven’t even thought about it since then so I’m not sure what triggered it, but I just had the sudden urge to watch this movie. So much so I literally paid 4 of my actual, personal dollars to rent it. And listen, this movie was critically eviscerated for being terrible and I get it. But I still think the designing principle is unique and interesting—and you guys know I’m a sucker for anything aesthetically ultra-stylized. This would be GREAT updated as a limited series.

Booksmart (2019) - A delightfully conceived teen comedy with stellar performances top to bottom. A very few brief moments slightly more gross and slapstick-y than I personally find entertaining, but good work all around.

March:

Safety Not Guaranteed (2012) - A very short and quirky romp that’s a little dated but I enjoyed very much. Plus time travel! (sort of) which is a personal favorite. I really appreciate the emotional through-line of this one.

Falling Inn Love (2019) - I can’t explain what made me randomly hit this on Netflix. It’s absolutely every single thing you think it is and nothing more but I had fun.

The Illusionist (2006) - I watched this so many times in high school, and I saw a random gifset of it recently and wanted to know if it held up. Honestly, it kinda doesn’t. It’s a little cringe, as the kids say, and the VFX are...not that great. But I still love it?

April:

The Craft (1996) - Okay, don’t take away my tumblr cred but this was actually the first time I’ve seen this movie! I'm sure I would have loved it more had I seen it during my formative years, but nonetheless it is a vibe™ and deserves it’s high place in the lexicon. I am overcome with the desire to purchase black tights and burgundy lipstick. 

Thunder Force (2021) - This one got a little gross and slapstick-y for me, especially the extremely weird and pointless romantic b-plot but I LOVE the premise of middle-aged lady superhero best friends being hilarious with each other.  

The Stand-In (2020) - I can’t believe this movie slipped my notice all this time but we love a bonkers dark comedy with important themes about identity and two (2) Drew Barrymores!

The Dig (2021) - I really wanted to love this movie and I can appreciate it’s whole theme and aesthetic but it just did not do anything for me at all. I just watched it and I can barely remember it.

Bill and Ted’s Excellent Adventure (1989) - A classic! I’ve seen this one a few times and it’s aged...not super great, but weirdly well for what it is? It just cheers me to watch. And y’all know how much I like almost anything about time travel.

Bill and Ted’s Bogus Journey (1991) - A double feature!! Hmm, this was my first time seeing this one and it is...markedly less charming and evergreen than its predecessor. Barely even any time travel! The poor ladies are just beyond fridged. And I was bored. Also there was so much screaming. I did love the whole grim reaper thing, though.

Bill and Ted Face the Music (2020) - A triple feature!!! The first movie is still the best, and I’m not always the biggest fan of the years-later franchise continuation but this one was really fun! Also, I know it’s not the point, but I would have liked it if this movie was even more (or exclusively) about the daughters.

Dazed and Confused (1993) - Listen, I love ‘70s music and a loosely-structured cruising movie so I fully appreciate what made this film so special. But I am too old and too square to be watching 28-year-old stoner teen movies for the first time. That love and nostalgia just doesn’t really pull through over the slow, un-PC weirdness when you don’t have an existing relationship with the movie. I really enjoyed parts of it though.

Jumper (2008) - Probably because it’s so akin to the beats of my beloved time travel, I find the premise of this (admittedly kind of silly) movie to be rad and I’ve seen it several times. I’m still disappointed that they didn’t adapt the next book.

May:

One For the Money (2012) - I used to love these novels so I was STOKED that they finally started making movies. I’m still upset that this movie bombed and we didn’t get any more, because I think it’s extremely well-made and delightful, and it’s one of my go-to comfort movies. Is it not enough for Katherine Heigl to be endearingly vengeful, comically reckless, and surprisingly good at bounty hunting??

June:

The Mirror Has Two Faces (1996) - Oh-ho-ho this one hit. I clicked it on a whim and discovered an unfortunately titled but endlessly endearing, slightly unconventional romance that got me right between the ribs. It’s dreamy and witty and mildly existential and quite affirming for me, personally. I can’t recommend it enough.

Corpse Bride (2005) - Another one of those classics-among-my-people-that-I’d-never-actually-seen. I ADORED the style, character design, and general concept but I am DISPLEASED with the ending. The mechanics of the world also make little sense and the movie is suspiciously short. Having read nothing else about it, I’m wondering if it did not go through fairly extensive cuts and rewrites. A shame. And perhaps worthy of being adapted again in some form?

After (2019) - It’s no secret that I LOVE bonkers melodramatic romances and will gladly watch and read even the worst ones. Also I needed something to put on while terraforming in Animal Crossing so I thought this would be perfect—and it worked out on that front I guess, but wow this movie is unwatchable. Even for me. In so many ways. It’s so bad. 

After We Collided (2020) - OKAY FINE Netflix queued up the sequel and I let it because a.) I was not done terraforming and b.) I was so shocked the first movie did well enough to warrant the sequel (and apparently a three-quel??) that I had to see what it was about. Honestly, I still don’t really know or care what happened in either movie, but this one was slightly better than the first. 

Luca (2021) - A most joyous and colorful adventure! I wish to visit Italy, and I wish for more Sea Monster Cinema (which is the name of my new pop punk band). 

July:

Barb and Star Go to Vista Del Mar (2021) - I may have watched most of this movie through my fingers in awkwardness but it was SUCH a delight in every way. I haven’t laughed that much in a long time. My only note is that I kinda wish they could have continued to be a poly couple but it’s fine, I get it.

Hysteria (2010) - A genius premise! This movie was so much fun and delightfully unique. The events happened really fast though I almost wish it was a series. Also a bit tonally unsure of itself I think, but joy was had and that’s really my main rubric for anything.

Suicide Squad (2016) - I almost didn’t add this to the list because I just threw it on in the background while working, but I did watch the whole thing. It’s perfectly enjoyable. Gosh I love Joel Kinnaman. Also Leto’s joker is /barf emoji thanks.

Home Again (2017) - What have I been doing since 2017 that I missed this movie entirely?!?!? It is SUCH a cute story and my heart is so unbelievably full!! More justice for middle-aged ladies! And more chad-like film-bro-style characters who are actually sweet and decent dudes!

Midnight Sun (2018) - Following in the trend of After from last month I’m going for the ridiculous teen romance melodramas again. This was your standard YA tearjerker fare if not worse, but I guess I picked an emotional day to watch it because I cried anyway.

Isi & Ossi (2020) - Absolutely chaotic fake dating shenanigans! I actually thought this was a series when I started watching it and I’m disappointed that it’s not because I would absolutely watch these characters do more things.

Lucky Number Slevin (2006) - Loved this! It was my first time seeing it and I knew very little about it even though I know it’s a cult classic. Maybe a tad too much Old Dudes Talking but still a blast. Lucy Liu really makes the whole thing.

The Twilight Saga (2008-2012) - Yes, all 5 movies. I think we can agree they don’t need individual entries. These all dropped on Netflix while I was trapped in my brother’s disgusting apartment after agreeing against my better judgement to dog-sit his (blameless, still beloved) demon corgi for a week, so it was the perfect self-indulgent movie marathon. The first movie is objectively the best but I think New Moon is my favorite? Eclipse is definitely better than New Moon but IMHO it’s just kinda there. And the Breaking Dawn movies are so goddamn weird.

The Kissing Booth (2018) - I’m really outing myself with this whole list re: secretly enjoying ridiculous teen movies. This is definitely that, but it’s so cheery and rote that it’s a great comfort watch.

Ever After (1998) - A classic in every sense of the word! I can’t resist a Cinderella retelling and this one is easily top 3 of all time. The earnest romance! The French countryside! Anjelica Huston!

August:

Jolt (2021) - This movie is purely capitalizing on the success of Atomic Blonde with almost none of the artistry or gravitas, but it’s also purely about Kate Beckinsale wearing great outfits and wrecking many buildings and dudes under neon lights and I am not opposed to this.

Freaky (2020) - Clearly someone in a pitch meeting said “what if Freaky Friday, but a serial killer and his would-be victim instead of a mother and daughter”— and they had a point. I would have liked some more interaction between the two of them and also I’m not really sure what the killer’s goal or motivation was at any point but I still had fun. Also I was engrossed in trying to paint a lil strawberry with my new watercolors for most of this movie so I might not be the best judge.

The Suicide Squad (2021) - Ok in fairness, James Gunn brought some much-needed Guardians of the Galaxy flair to the whole show and I appreciate that. I am however NOT remotely okay with the death of my beloved [REDACTED], and this movie in general was. Very bizarre.

Jackie & Ryan (2014) - This movie was pretty slow and not super well-structured, but it was sweet and simple with lovely scenery and Ben Barnes singing country music. Also movie endings in general I find are the weakest part of them but I think it was the strongest part of this one. It’s been a while since I loved the way a movie ended. 

Fantastic Fungi (2019) - So I thought this was going to be more of a nerdy sci-comm thing about how fungus works, and it sort of is, but it’s also mostly for aesthetic and entertainment purposes, and is very pro-psychedelics. Which is fine! I confess I am a bit skeptical of some of the science and experts they have, but it was still cool! Mushrooms are the best!

Tenet (2020) - You guys know I love stuff that messes with time and time travel and this movie did a lot of cool things but it was also Very Serious and Very Long and the story engine felt pretty flimsy to me. I wanted to see way more of Neil and the Protagonist interacting and doing emotionally-grounded character things, and way less of extras running around in gas masks and wide shots of helicopters. I should really watch it a second time to get a better grip on it but I’m not sure I care enough to do it.

Roman Holiday (1953) - A charming and fashionable romp that changed cinema forever! Despite myself, I’d never actually seen it from credits to credits and I’m very glad to add it to my repertoire. Also I intend to wear far more swishy skirts and Gibson rolls.

September:

Bo Burnham: Inside (2021) - I guess this isn’t a movie per se, but I make the rules here. I visited my best friend for my 30th birthday and she couldn’t believe I hadn’t seen this and she insisted we watch it immediately and she was right. Bo Burnham gets it. I felt things. I already downloaded the album. Oof.

Cruella (2021) - This movie is preposterous but honestly about 30% less preposterous than I expected. I actually thought the punk rock ‘70s backdrop was kind of a cool idea. It was very long and very silly but I am always willing to watch charismatic leading ladies wearing bonkers outfits and being cinematically unhinged™. 

Buffaloed (2019) - Not only is this a clever and poignant premise for a movie, highlighting the insanity of American household debt, but I just got the vibe that the whole cast really got along and was having a blast getting to do so much screaming, scuffling, and dramatically slamming phones down. 

Savages (2012) - Hoo boy. This movie is painfully 2012 and super weirdly paced, but for the first half I thought I would like it anyway because it’s a pretty slick and compelling concept with a fun cast. But it’s way too long, and the second half goes bizarrely off the rails for no reason, and the pointless double ending (?) does nothing to resolve the themes the movie set up and it was just a vaguely unpleasant time all around.

Guys and Dolls (1955) - Despite myself, I just love the frothy midcentury musicals. Not to mention, my dad used to sing songs from this one to me all the time when I was a kid so it’s got a special place in my heart. I haven’t watched the movie in a long time though and I was struck anew by 1. how cool the sets are, and 2. how entirely delightful the chemistry is between Marlon Brando and Jean Simmons.

Love and Monsters (2020) - A very gross bug movie but very worth it. I love a romantic adventure quest! I love an underdog story! I love an actual dog! I love Dylan O’Brien! 

October:

Crimson Peak (2015) - Starting October off strong! Although a spooky and highly-aesthetic fairytale is a good idea anytime of year. I’ve seen this movie a few times and tbh the story doesn’t hold up to too much scrutiny but who cares! Ghosts! Incredible gowns! Crumbling mansions! Blood red snow! It’s got everything.

A Little Chaos (2014) - Having watched them mere hours apart, it strikes me that this movie is kind of....reverse Crimson Peak? It’s incredibly bright and polished and lush with endless pastels and flowers and golden sunlight, featuring a common woman who is lovingly accepted by high society. It was honestly just okay but I liked it! 

Free Guy (2021) - Oh man did I not expect the Ryan Reynolds video game action comedy to have such heart! I just wanted to throw on something goofy, but this movie had my full attention. It’s so sweet and clever and so much more than I hoped for.

Paradise Hills (2019) - This was the flowered, color-soaked, half-futuristic and half-victorian dreamy and deranged horror thriller I never knew I needed. Is it kinda ridiculous? Sure. Does it leave so many questions entirely unanswered? Oh yeah. But it’s cool as hell.

The Aeronauts (2019) - I saw this when it first came out, and it is, surprisingly, just as spellbinding on a second viewing. This movie plays like the most beautiful old time-y storybook, complete with ball gowns and brass telescopes, but it’s also an IMPOSSIBLY HARROWING hot air balloon adventure. I love it so much.

Love and Other Drugs (2010) - Jake Gyllenhaal and Anne Hathaway are both great and thus fun as a banter-y couple, but this movie takes the bizarre stance of a romantic dramedy with the designing principle of...pharmaceutical sales? It also takes place in 1996 literally just so the invention of Viagra can be part of the plot but doesn’t really do anything with it story-wise that couldn’t easily be done a million other ways, or do anything else to make the movie look and feel ‘90s (I know it’s based on a book but the book is from 2005). Relatedly, some of the 2010 humor is a pretty darn yikes. 

Casablanca (1942) - I swore I was gonna watch more Important Classic Films this year and I haven’t really been doing it so here we are. It’s no surprise that this movie is a staple of Hollywood history because it is incredibly stylish and well-observed.

Twister (1996) - Frick I love this movie. It’s another shining star in the firmament of movies with a lived-in, nuanced, and delightful ensemble  working together against a cool ‘monster’ of sorts, with the monster being fun and aesthetic but sufficiently background to the character stuff at play. An unbeatable dynamic also found in movies like The Mummy and Ocean’s Eleven.

Happy Death Day (2017) - This might be my favorite horror movie ever. It’s so clever and funny and well-constructed. It’s Scream updated for the new generation. And of course, I am always on board for a time loop.

Shaun of the Dead (2004) - Have I been calling myself an Edgar Wright fan all these years even though I’d never seen this movie? Yes. But I have rectified the situation. This movie is so funny and I’m never over the way almost every bit happens twice, in a pre- and post- zombie context. It’s brilliant.

November:

Fool’s Gold (2008) - I saw a some random gifs of this and inexplicably decided on a whim that I was going to watch it immediately. It’s surprisingly good for being a mid-2000s romcom. More romcoms should be adventure-based.

The Maltese Falcon (1941) - Once again I attempt to add Classic Cinema™ to the list and once again, despite my literal film degree (and having seen this movie before), I don’t have that much to say about it. This movie is striking to look at and a huge part of movie history and I have total appreciation for that. But hanging out in 2021, it’s just not super fun to watch. 

All Too Well: The Short Film (2021) - This is my first short film this year, and I’ve decided that they count for this list - even if this one is more of a music video, but whatever. Loved it. I was quite struck by the awareness that I, like Taylor Swift, was Sadie Sink’s age when the song was first released, and am Dylan O’Brien’s age now. The video was poetic and beautiful and painful and it’s just an amazing song. 10/10. 

Contact (1997) - You guys know I love alien shit so I truly can’t believe one of the most famous alien movies of all time was barely even in my cultural awareness. My total loss, too, because this movie rules so hard. 

Mr. Right (2016) - A forever favorite! This movie is so colorful and hilarious and romantic and weird and I never get sick of it. More surprisingly wholesome action comedies about feral paleontologists and their reverse-hitman boyfriends!

Chaos Walking (2021) - This movie wasn’t really good enough for it’s Dark Seriousness or clever enough for it’s Jokiness (which was really just the same joke over and over). It set up a bunch of interesting things that never paid off, and threw in a bunch of random stuff that didn’t really matter. It’s a decent concept and an impressive cast, but we are not in the strand of the multiverse where this movie worked.

December:

The Amazing Spider-Man (2012) - I saw someone on twitter recently say that Tobey Maguire was a mediocre spider-man in a franchise that really understood and loved spider-man. And that Garfield was a truly spectacular, god-tier spider-man in a franchise that sorta-kinda understood spider-man. Where Tom Holland is a close second to Garfield, in a franchise that doesn’t really give a shit about spider-man OG themes and lore at all. Watching this movie for the first time in several years, I must concur. Story-wise it’s perfectly fine but nothing special - except that Andrew Garfield and Emma Stone are absolutely flawless in their roles.

The Amazing Spider-Man 2 (2014) - Oof That Part™ of this movie is still a soulcrusher. This movie also has markedly less fun and interesting side characters than the first movie. But still a cool watch and also this version of peter x gwen 4ever!

The Hating Game (2021) - Ok, technically I watched this after midnight on New Year’s Eve, but I didn’t want to end my night on the minor bummer that was TASM2, or end up with 69 total movies. I just couldn’t. This is your fault, internet! But anyway! The Hating Game is one of my absolute favorite romance novels of all time, and I’ve always thought it could make a great movie (which I actually DON’T think about most romance novels), and survey says it was: so good! It’s a really faithful adaptation and I actually think a lot of the changes they made are even an improvement. Highly recommend. And Happy New Year!

[godlymvmi]

Donald Trumps racism through the years

Since there's always Trump supporters arguing on my post, I thought I’d make a nice post they'd be able to understand :)

1973: The US department of Justice sued the Trump Management Corporation for violating the Fair Housing act. Evidence was found that Trump had lied to black tenants about available apartments and refused to rent to black tenants.

1980s: According to a former employee, Trump would have all the black people in the casino ordered off the floor when Ivana and himself came to visit.These black employees would be moved to the back. In 1992 a $200,000 fine was issued towards the Trump Plaza Hotel and Casino for moving black men and women off tables. This was to accommodate a gamblers views and prejudices.

1989: During the infamous Central Park Five case, Trump ran an ad in a local paper stating they needed to “bring the death penalty back.” Even after the release of all five males, a settlement of $41 million paid by the city and DNA evidence proving they could not be guilty of this crime, Trump still believed they were guilty as late as October 2016. Oh, did I mention? Four of these teenagers were black and the fifth was latino. 

1991: A former president of Trump Plaza Hotel and Casino in Atlantic City, John O’Donnell, quoted Trumps comments on a black accountant. “Black guys counting my money! I hate it. The only kind of people I want counting my money are short guys that wear yarmulkes every day. … I think that the guy is lazy. And it’s probably not his fault, because laziness is a trait in blacks. It really is, I believe that. It’s not anything they can control.” Later on, Trump claimed “the stuff O’Donnell wrote about me is probably true,” while doing an interview for Playboy in 1977. 

1993: In a confessional testimony, Trump stated he didn't think some Native American reservations should be allowed to operate casinos as “they don't look like Indians to me.” In 2000, Trump secretly ran a series of ads after the St. Regis Mohawk tribe proposed a casino that he deemed to be a direct financial threat to his own establishments in Atlantic City. In these ads, Trump suggested the tribe had a “record of criminal activity (that) is well documented.” 

2005: After season two of Apprentice where Trump famously fired Kevin Allen, a black man, for seemingly being too educated, Trump publicly pitched the idea for what was essentially The Apprentice: White people vs black people.

2010: “Ground Zero Mosque” caused a lot of controversy during the year of 2010. This was a plan to build a Muslim community centre in Lower Manhattan, this being near the area of the 9/11 attacks in 2001. Trump offered to buy out one of the investors, claiming that this plan was insensitive and publicly opposed to the project. Later, on The Late Show with David Letterman, Trump argued his point further and said, “Well, somebody’s blowing us up. Somebody’s blowing up buildings, and somebody’s doing lots of bad stuff.”

2011: Trump, among others, played a huge role in pushing the false rumours that Obama, the first black president, was not born in the United States and still reportedly continues to push and believe this theory in private despite Obama releasing his birth certificate. In the same year, Trump also argued that Obama wasn't a good enough student for Columbia or Harvard Law school to accept him. “I heard he was a terrible student. Terrible. How does a bad student go to Columbia and then to Harvard?”

2015: When Trump started his campaign in 2015, it was largely focused around his desire and promise to build a wall to keep Mexican immigrants out of the United States and he called Mexican immigrants “rapists” and that they were “bringing drugs” and “bringing crime” to the United States. 

Also in 2015: During his time as a candidate 2015, Trump called for a ban on all Muslims coming into the US. Eventually, his administration did implement a watered down version of this policy. 

2016: Judge Gonzalo Curiel was overseeing the Trump University lawsuit in 2016 when Trump argued he should step down from the case. This was due to his Mexican heritage and his membership in a Latino lawyers association. 

Also in 2016: “You’re living in poverty, your schools are no good, you have no jobs, 58 percent of your youth is unemployed. What the hell do you have to lose?” Trump said as he tried to get black voters on his side. 

During this year, he also tweeted a picture of Hillary Clinton in front of a pile of money and a Jewish Star of David that said “Most corrupt candidate ever!” Despite the obviously anti-semitic imagery, Trump insisted the star was a sheriffs badge and maintained his campaign should not have deleted it.

He has repeatedly referred to Elizabeth Warren as “Pocahontas;” using her controversial and then walked back claims that she had Native American heritage as a punchline. 

2017: Trump attacked NFL players who chose to take the knee during the national anthem numerous times.

Also in 2017: Following the white supremacist protests in Charlottesville, Virginia, Trump claimed “both sides” were to blame for the violence and chaos that occurred. This suggests that the counter protestors protesting against racism and white supremacy were morally equivalent to the white supremacist protestors. He also claimed there were “some very fine people” among the white supremacists. White nationalist, Richard Spencer praised Trump for defending the truth.

Also in 2017: Trump reportedly claimed everyone who came to the US from Haiti “all have AIDS” and that people who came from Nigeria to the US “would never go back to their huts.” The following year (2018), Trump reportedly asked “Why are we having all these people from shithole countries come here?” He has since denied these comments but some senators attending the same meeting did claim this happened. 

2019: Trump mocked Elizabeth Warren and her presidential campaign, calling her Pocahontas again in a 2019 tweet before adding “See you on the campaign TRAIL, Liz!” The capitalisation of “Trail” is seemingly a reference to the Trail of Tears. This was a horrific ethnic cleansing of the Native Americans where they were forcibly relocated. This caused thousands of deaths.

Also in 2019: Trump took to twitter to tweet that several black and brown members of Congress: Reps. Alexandria Ocasio-Cortez (D-NY), Ayanna Pressley (D-MA), Ilhan Omar (D-MN), and Rashida Tlaib (D-MI), are from countries whose governments are a complete and total catastrophe” and that they should “go back” to said countries. Three of the four members of Congress targeted by Trump were, in fact, born in the US. 

2020: Trump has referred to COVID-19 as the “Chinese virus” and “kung flu.” This is highly offensive and large numbers of Asian Americans have reported hateful incidents targeting them due to the virus.

Also in 2020: Trump suggested that Kamala Harris, a black and south asian woman, “doesn't meet the requirements” to be Vice President. 

Trump has always been slow to condemn white supremacists who endorse him and during his 2016 campaign he retweeted multiple tweets from Neo-Nazis and white supremacists.

This is not even the full list and the article itself states its not a comprehensive list. But it does speak to his pattern of racism and bigotry. The article this list is from is linked below, I’d recommend everyone to read it and educate yourself using other resources as well. This isn't even the tip of the iceberg. I will also be making a post of his inappropriate, problematic and vile behaviour towards women. 

The article: https://www.vox.com/2016/7/25/12270880/donald-trump-racist-racism-history

[dorkshadows]

JTTW Series Masterpost

While we suffer from JTTW absence (can you guys believe we haven’t had a new adaptation in over 6 months?? terrible!), I’ve decided to compile some masterposts for adaptation links! Here’s the first one, dedicated to our new friends in the jttw tag ;) For anyone looking for adaptations to start with, here’s a master list of the Big JTTW TV serials, limited to live action adaptations. I’ll do a separate post for films and animation (there are at least 3 donghua series that adapt jttw) in the future.

CCTV Journey to the West (starring Liu Xiao Ling Tong):

ALL Seasons (official dual Eng/Chinese subs)

*notes: Eps. 1-25 are season 1 (originally broadcast 1986); 26-40 are season 2, with (mostly) the same main cast but broadcast 2001; this is the most accurate to the book and the most monkeyish Wukong

40 Episodes

TVB Journey to the West:

1996 Season 1 (Dicky Cheung) Cantonese, ENG sub 

1998 Season 2 (Benny Chan) Cantonese, ENG sub

S1 Cantonese link (Chinese subs only)

S2 Cantonese link (Chinese subs only)

S1 Mandarin dub

S2 Mandarin dub

Youtube playlist: S1 + S2 Mandarin dub (No Subs)

**notes: S2 is basically crack fanfiction, but if you enjoyed S1, it’s fun to watch at least once; be wary that the Eng. subs are not great

S1: 30 Eps  S2: 42 Eps

TVB The Monkey King: Quest for the Sutra (2002):

Full Season ENG sub (Mandarin dub)

Full Season ENG sub (Cantonese)

40 Episodes

**notes: Technically, this is a reboot of the TVB series, but it’s extremely different from it and veers from the original plot even more; on the plus side, it stars Dicky Cheung again

Zhejiang New Journey to the West (2010):

Full Season with Chinese subs and Eng. captions

Full Season (Chinese subs only)

**notes: this one calls itself “Pilgrimage to the West” and tends to... wildly veer from the plot

51 Episodes

CCTV Journey to the West reboot (2011):

Full Season with Chinese subs and Eng. captions

HD Full Season (Chinese subs only)

66 Episodes

Innocent Troupe 天真派西游记 Journey to the West (2019):

Full Season 16 Eps (Chinese subs only)

Youtube playlist link (CH subs only)

**notes: originally streamed online, this one isn’t meant to be taken too seriously; it stars children in every single role and takes cues from the 86 version

NOTE: I’ll update this with every new series that comes out (or just new links I can find)!

[northoftheroad]

What’s in a retcon, anyway?

The more I think about, the less I believe that comic book writers feel compelled to be bound by earlier writing. Unless an editor is keeping them under their thumb to get coherent writing – and if DC had that, things wouldn't be such a mess – it seems to me they are happy to blend their personal variant of a canon backstory. I will present a number of examples to support my hypothesis.

Pre-Crisis, Marv Wolfman wrote Dick saying he was Robin from age 8 (New Teen Titans #39, 1984), and he’s about 19 at the time. 

New Teen Titans # 39. By Marv Wolfman, art George Pérez. (1984)

When Crisis on Infinite Earths reached Batman, Jim Starlin wrote the retcon that said that Dick was Robin for six years, presumably from age 13 to 19. (Batman # 416, 1987). This version also included that Bruce fired Dick from Robin, but more on that later.

Batman # 416. By Jim Starlin, art Jim Aparo and Mike DeCarlo. (1987)

And then Marv Wolfman wrote Batman Year Three (Batman # 436–439, 1989), and all of a sudden, it was ten years since Dick's parents were killed when Jason had recently died. That has to imply that Dick was Robin for longer than six years, right? And that Dick was about ten when he came to Bruce.

The following year, 1990, Dennis O'Neal wrote an illustrated short story about Dick's origin where he was ten when his parents were murdered. (The Glimpse. In Secret Origins vol 2 # 50, 1990)

Dennis O'Neal, by the way, was the editor of Batman # 416 and co-editor of Batman Year Three (Batman 436–439). He should be the guy to keep track of details like this, shouldn't he?

Then we have Chuck Dixon's version of Dick's origin in Robin vol 2 Annual # 4 (1995). This retcon includes that Dick spent time at a youth centre before he came to Bruce (the "juvie origin"), but his age is never mentioned. He doesn't look old enough to be 13, in my opinion.

The next decade, Devin Grayson had Dick say, in at least two different issues, that he was orphaned at 8. (Batman: Gotham Knights # 21. By Devin Grayson, art Roger Robinson and John Floyd (2001), and Nightwing vol 2 # 76. 2003) Just as in (the Pre-Crisis) NTT # 39.

Nightwing vol 2 # 76. By Devin Grayson, art Mike Lilly and Andy Owens. (2001)

Does that mean Devin Grayson also intended to rewrite other retcons that came after the Crisis – so that Dick wasn't fired from Robin and/or Dixon's "juvie origin"?

It’s difficult to say, since she never did write her own version of Dick’s origin. I can't remember her Nightwing run mentioning either how Dick left Robin or what had happened before he moved in with Bruce. (Actually, I can't remember any writer, besides Chuck Dixon himself, referencing the "juvie origin".) But Devin Grayson wrote Dick talking about being left in an orphanage in Gotham Knight # 21, in a context where he surely would have said “left at the youth centre” if she had ment to stick with Dixon’s version. 

Batman: Gotham Knights # 21. By Devin Grayson, art Roger Robinson and John Floyd. (2001)

After Flashpoint, in the new origin story, Dick was 15 when he was orphaned. (Nightwing vol 3 # 0, 2012) But in Rebirth Batman # 54 (2018), by Tom King, Dick is drawn way younger in a flashback, and he’s been shown younger in the Nightwing title too. 

Two more examples of canon jumping all over the place are Jason Todd's origin and how Dick left Robin to become Nightwing. Dick originally left by his own decision, because he felt Robin was the junior partner to Batman while he had outgrown that, but the Post-Crisis on Infinite Earth retcon was that Bruce fired Dick. First, in Batman # 408, because he got scared when the Joker shot Robin. Later, in Chuck Dixon's version (in Nightwing: Secret Files and Origin, and Nightwing Year One, Nightwing vol 2 100–106), Bruce fired Dick at ostensibly because Robin wasn't available enough when Batman needed assistance.

Again, after Dixon, I can't remember any writer referencing that Dick should have been outright fired as Robin.

Jason Todd was introduced as a strawberry blond, circus kid Dick Grayson clone but after Crisis on Infinite Earths he was a black-haired street kid. And when Dick originally left Robin, it was his choice to let Jason become Robin. Post-Crisis, Batman made Jason Robin – and while Dick might not have been on good terms with Bruce, he did accept Jason as Robin.

Fast forward to the 2010s. When Grant Morrison wrote Batman, and Batman and Robin vol 1, he re-introduced Jason Todd with red-blond hair – but not his Pre-Crisis personality (the Dick Grayson clone.) 

Morrison's era Jason Todd was the street kid and he had always liked trouble which made him "a juvie" (Batman and Robin vol 1 # 23, 2011, written by Judd Winick). In the same issue, there is a flashback that shows that Dick was on good terms with Bruce and working with Batman and JasonRobin – as if it were the Pre-Crisis version. 

Batman and Robin vol 1 # 23, by Judd Winnick, art Guillem March and Andrei Bresson. (2011)

In the very last issue of Batman before Flashpoint and New 52 (Batman # 713, by Fabian Nicieza, 2011) a flashback seems to confirm that it was Dick's decision to leave Robin.

Batman # 713. By Fabian Nicieza, pencillers Steve Scott, Daniel Sampere, Andrei Bressan. 2011.

The Morrison era Batman was, very much, built on a mix of Pre- and Post-Crisis material.

Pre-Crisis, by the way, Jason Todd was the first boy that Bruce adopted, and that was still the case when he was killed Post-Crisis. But he's been referred to as his ward in Batman: Gotham Knights # 44 (2003, written by Devin Grayson), as well as Batman and Robin vol 1 # 23 (2011, written by Judd Winick). (I'm sure other writers/other issues have put Jason down as adopted son...)

Batman and Robin vol 1 # 23, by Judd Winnick, art Guillem March and Andrei Bresson. (2011)

Neither Devin Grayson nor Grant Morrison wrote, as far as I can remember, a "visible" retcon where their ideas of the character's backstories are laid out. But it's nevertheless clear that they did not work with the same version of the character's history as writer/s who preceded them.

Then there's Robin Dies at Dawn from 1963 (Batman # 156), where Batman took part in a psychological experiment. That was canon and the unnamed doctor, who seemed pretty harmless at the time, became a major adversary, Doctor Hurt, during Grant Morrison’s run. Doctor Hurt has also been active as a Nightwing villain in Rebirth.  

Batman # 673. Written by Grant Morrison, pencil Tony S. Daniel, ink Jonathan Glapion and Sandu Florea. (2008)

Nightwing vol 4 # 19. By Tim Seeley, art Javier Fernandez and Minkyu Jung. (2017) 

Another recent example of cherrypicking is Tom King who, in his Batman/Catwoman mini series, uses the character Andrea Beaumont/Phantasm from the DC Animated Universe (she was created for an animated film in 1993). Of course, she's far from the first character who has been created in the animated universe and made their way over to comic book canon.

Tom King also used Hush in Batman vol 3 # 80 (2019), even though the man was last seen being killed in another universe (Batman: Prelude to the Wedding, Nightwing vs Hush, 2018). 

Batman: Prelude to the Wedding. Nightwing vs Hush. By Tim Seeley, art Travis G Moore. 

Sam Humphries, who wrote Nightwing vol 4 for a short period – I don’t know why he left early – had plans to use Dick’s Uncle George, whose one and only appearance was in 1944, in Batman vol 1 # 20. This is from an interview on Batman-news.com: https://batman-news.com/2017/11/27/a-nightwing-before-christmas-an-interview-with-sam-humphries/

SH: I will… I will say that’s a very intriguing pick.  I’ve not thought about that.  I do have a list of characters I want to bring in on the run, most of which I’ve gotta keep close to my chest.

JY: Sure, sure.

SH: You know, I do… Dick Grayson has an uncle, George Grayson, and there’s a story I want to tell about him that I’m really excited about.

In conclusion. It seems to me that official comic book writers are just as prone to pick and choose from earlier canon and disregarding whatever retcon they dislike as us ordinary fans... 

[x0401x]

Asahi Shinbun Interview with Akane Kazuki

“Original animes are now showing their true value.” - On the feelings that director Akane Kazuki has put into his latest work, “Hoshiai no Sora”.

One challenging TV animation began airing in October 2019. The title of the series is “Hoshiai no Sora”.

In the past, many TV animes were original works, but as of late, animes often have a source material. It can be said that the ratio of “anime adaptations” of source materials is between over 60% and over 80%. “Hoshiai no Sora” is an original anime, which is rare nowadays.

Akane Kazuki-san, the director, original creator and screenwriter, had made three original animes until now. Yet all of them were sci-fi and fantasy, their stories unfolding through “unrealistic” themes. However, unlike Director Akane’s works up to this point, “Hoshiai no Sora” is a “realistic” story that has the youth of middle school boys as its theme.

Why did he decide to make one more original anime, with a theme that he had never written about before? The motive was hidden in the roots of Director Akane’s entry in the anime industry.

Raw || Index

Coming in contact with the possibility of an original anime through “Gundam”

One of the reasons why Director Akane decides to aim for the anime industry was that he “felt the potential of anime”. At the time, many directors, such as Miyazaki Hayao and Tomino Yoshiyuki, were creating original works that did not have a source material and enlivening the anime industry. Director Akane was greatly influenced by them.

“When I was a child, after watching Steven Spielberg’s ‘Encounter with the Unknown’ and George Lucas’s ‘Star Wars’, I began looking up to international live action movies. There were many works amongst the live action movies from overseas that were exciting, fun and insane to watch, and I could feel an essence of entertainment from them. On the other hand, several of the Japanese live action movies were focused on realistic artistry and not very entertaining.”

“Then, I watched the works of Miyazaki-san and Tomino-san and they had me going, ‘This is entertainment! Japan can also make entertainment-type works!’. At the same time, I felt that we could be entering an anime era from that point onward.”

After graduating from university, Director Akane joined Sunrise. Under Director Tomino Yoshiyuki, father of the “Kidou Senshi Gundam” series and one of the people who motivated Director Akane to aim for the anime industry, he was in charge of the production progress of original robot anime works.

Starting with the Gundam series, Director Tomino created countless original animes. Director Akane was charmed by the way that Director Tomino made his series.

“In Tomino-san’s settings, I already required to insert my own ideas. With Tomino-san’s plots as base, the writers would make the scenarios, and the responsibility for their content fell upon the storyboard writers, but if we made storyboards that were exactly like the screenplay, Tomino-san would get angry. ‘Put more ideas into it,’ he would say. ‘I’m already giving so many ideas, so why won’t you guys give some too?!’ (laughs). For original animes, in order to make the series interesting, we had the duty of sprinkling and hammering our ideas into it while having constant questions about it. Witnessing this at twenty years of age, I came in contact with the enjoyment of making original animes.”

From this experience, Director Akane started to think that making original animes was something natural for animation directors.

The decline of original animes | The sense of two impeding crises that he had been observing

Having left Sunrise and turned into a freelancer, Director Akane birthed original animes one after another. He worked as the director, original creator and series composer of “Geneshaft” (2001), “Heat Guy J” (2002) and “Noein: Mou Hitori no Kiki e” (2005). However, along with the passage of time, the difficulties of creating an original anime increased. This was because the fact that the public became able to purchase anime films (VHS and DVD) gave rise to a climate of concern for the film sales in the industry as a whole.

“Original animes take a great deal of workload and costs for the production and advertisement. Still, you have to release them in order to know if they will be a success. On one hand, animes that have a popular source material such as mangas, light novels and games have their stories and characters ready, and you know they will sell to a certain extent even if there is not much propaganda for them.”

And so, the number of projects for original animes saw a steady decrease. Currently, most of the animes being broadcasted are series that have source materials. In these circumstances, Director Akane claims that he can sense two impeding crisis.

“The first is: I feel that the viewers have begun to grow tired of anime. When they have a source material, people can get excited over the developments even without watching it in earnest. I wonder if they are becoming unable to watch anime seriously. If I had to say it, anime is turning into a sashimi accompaniment nowadays. Social medias are the sashimi and anime is the grated radish. People watch anime in order to talk about it in social medias. Anime is becoming a tool for communication. For us, the creators, this is destructive.

The second is the decline of the anime industry. That is because the people who have the know-how for making original animes are disappearing. Many of today’s young animators enter this industry after watching animes that have source materials. The number of people who aimed for this industry out of wanting to create original animes has truly decreased. It is exactly because things are this way now that we need original animes.”

Breaking the patterns of traditional animation and opening up a new path

“Hoshiai no Sora” is the original anime that Director Akane took roughly fourteen years to make after “Noein: Mou Hitori no Kimi e”. With the sense of impeding crisis as his trigger, the thought that “we must advance with new ramifications and possibilities of animation” sprouted within Director Akane himself.

“When I thought about what young people use their money for these days, I concluded that they use it for ‘experiences’. That they might be paying to experience things they would not be able taste anywhere else, such as live concerts and events. When I pondered what could be the equivalent to a live concert in terms of anime, I figured that original animes feel like lives. Original animes, I thought, can create experiences that you can only have a taste of through them, since nobody has seen them before, so there is excitement when they are watched for the first time upon being broadcasted, and all sorts of emotions stir up because you cannot predict the future developments.”

In order to have the viewers feel that “experience”, what he was particularly conscious of was the “story”. Until now, he had been the creator, director and series composer of his original animes, but this time, he was the creator, director and screenwriter. Moreover, the setting this time was not a fanciful world of sci-fi or fantasy, but instead is a “realistic” story that depicts the youth of students. As “unrealistic” stories about the isekai theme have been increasing in number in the past years, Director Akane has put into it his intentions of being able to further amplify the feeling of a live concert through a realistic story.

“In ‘Hoshiai no Sora’, the story is portrayed through breaking the barriers of conventional anime. Several of the animes being aired nowadays have the role of ‘a place to escape to’. Many series depict impossible things in hilarious and crazy ways, forgetting about common life. That is by no means bad, but I believe anime should also have other functions. I aimed for a story that would not be simply funny, comfortable to watch or emotional, but that would throw themes at the viewers and make them ponder on ‘What do you think of this phenomenon?’ with me. I want to reflect the conflicts and troubles shouldered by the people who are living in the present, as well as the current era, through anime. Additionally, I want to show a new path not just for the audience but also for the people currently involved with anime production, that ‘this way of making anime also exists’.”

“Hoshiai no Sora” portrays children of the current times

And so, on October 2019, “Hoshiai no Sora” aired at last. Starting with its project, this work took a period of about three years to be made. In regards to its production, Director Akane states that he interviewed young people who are from the same generation and environment as the featured characters.

“This time, when I received the story, I reminisced to my childhood first-thing. The child characters who appear in anime look like they are having fun and are portrayed as though they symbolize nostalgia, but is it really like that in real life? When I looked back into my childhood, there was a lot of constraint, irritation towards myself and others, those kinds of things. So above all, I wanted to depict this properly. But this time, even though I could write as much as I felt like about my own childhood frustrations, I wanted to write about the frustrations of present-time children. The environment that children are put in nowadays is becoming much more complicated than in the era I was raised. I wanted to write about the children who live in it through anime.”

“That is why I did interviews first of all. In those interviews, I found that, along with the evolution of the times, children felt things that adults are incapable of feeling. Nevertheless, when adults do not understand this, I noticed that they often disavow young kids without listening to them. I thought that, if I also portrayed this part of it, the younglings might watch the anime seriously as if it were them.”

What livens up this crafted story is the “art style”, which gives off a soft impression. It is said that the adoption of anime-like cutesy illustrations in contrast with the realistic story was the producer’s suggestion. Since people cannot tell what kind of story an original anime with no source material will be until they watch it, he made use of the idea that they would be drawn into the anime by its art and gradually get pulled into the story. Introducing people to a realistic story through an unrealistic element - one could take this as a form of expression that can be achieved exactly because it is an anime.

In 2005’s “Noein: Mou Hitori no Kimi e”, “new” techniques were adopted, such as the CGI outlines and the fact that the animation style changed on every episode, which was rare for the animes of the time. Just like that, Director Akane always shows us viewers a new “something”. This deepened the expectations that “Hoshiai no Sora” would also surely show us something novel.

“When watching the series, one might at first have the impression that it is about the activities of a middle school boys’ soft tennis club, a sports thing. However, it is a drama that depicts not just this, but also the frustrations and troubles that middle schoolers shoulder these days, including the adults who cause them. It reflects the nature of the current times and presents questions, as we have tried all kinds of devices to make people think, regardless of whether they are young children or adults. It is different from the patterns of anime that people have being seeing until now, so there might be viewers who were at loss. I think they could not have imagined how the story would turn out (laughs). With this included, I want everyone to have fun watching it.”

[mrtmdpro]

People create their own problems, then suffer because of it

And let us be honest, this is quite a common issue. I have known the taste of it, and so do you, I believe.

I have seen people of such qualities, you know. I have this roommate guy, name’s Ivan. He is the “that annoying guy” in almost every story that I can tell about my life in Russia. And to be clear, no, I do not hate him. He is quite a cute guy. In fact, you might even like him without the language barrier. But the thing about cute guys is that other than being a lazy couch potato, they don’t do much. Now this dude, he have been actively telling me that he HATES dirty. So, perfectionist, some mr.clean, just like me. That is good. Problem is, that is not what he is. He is literally the dirtiest guy in the room, with dirty clothes piling up to the top before he took them to the laundry. So why does he keeps telling me that he is a clean guy, and he loves cleanliness, so on so on? Because, that is the person he wants to be. That is his “mirror”, by the way of our saying.

So what point am I trying to make clear? Well, I am trying to make clear that I am done with you. Finished. Ended. No more “creepy” following, no more holding on to a dead relationship. Because that is exactly what I want, after the day that you were being rude to me. The day that you sort of tell me to fuck off.

So where is the line between being a creep and a one-sided lover?

Not very bright ans clear, to be fair. I myself can’t really draw a straight line, but I know one thing. That is, at that time, and even now, I still love you. To a degree, of course. But as long as I wish to see you being happy, as long as I wish to make your life better and happier, I will count that as love. But you don’t love me anymore, so why m I doing this? I have been writing this question over and over again too many times, that I myself lost count. Does not matter tho. One can only hope for a day of a return signal.

But anyway...remember our last convo? That you told me that i was such a creep, and that I better “go get a life”? Well you offended me hard with those words. You used to tell me that you do not understand me. I guess you still kinda aren’t. You used to tell me that nobody can’t live with anybody. Well yes I am living a happy, energetic, full of love and passion-ish life right here. You see the point? I failed miserably in almost everything I did after our breakup. What in the f... I totally lost that cocky attitude of the age 18, because I lost too much. I felt the pain. I have been there and I understand how you mattered to me, how largely you affected me. I longed so hard for your caring hands. I loved them. Your hands are beautiful. So that is my life. That is the life that I got, and kinda deserved. And I stopped being that creepy ex of yours. You happy now? You should be happy. I felt a lot of pain, thinking about your words.

...or so you thought. Well, I stopped actively seeking informations about you. I had to stop myself from doing so, so as not to become a concern to you anymore. I have to fabricate another me, that is, the me that you see today. Some independent, harsh, cold blooded Russo-Vietnamese dude on the street of the capital of depression itself. But things have changed a bit, and I must confess...

I did seek your informations. Yesterday.

And please don’t hate me for it. There was this feeling... this weird one, kept pushing me to do so. I discovered some infos, like your new address, your boyfriend’s name, address, his history, the time and activities you shared with him,... For a while I did felt like a creep. But...what am I supposed to do? What would you do, were you in my shoes? Just chilling in some corners, believing things will be fine, and not starting to look out for your loved one? Anyway, I was wrong about he being younger than you. Or at least you two are of 2001-era. Which is fine, I totally get it. For a second there I actually thought I will lose you forever, after your endevour with him. But...you know what am I thinking? Don’t hate me for this, I’m just being honest on what I think about your new boyfriend. He is cute. One big fatty boy, kinda lovely-ish quality. His family is not the top dog of the city, but lives a fairly easy life. I did not found any other of his older relationships, meaning you were the first one that he actually loves. In fact, you said yourself that you felt like he did not understand the love that you are giving him. That is a huge mark for a downfall, and I am speaking from experience... Anyway, he has a liberal-eccentric mindset, just like you. So I believe your first moments with him were easy. You two had some real good time, I guess. He is CH2, meaning he can help you with your major studies. And that is good. But your anniversary were on 21/11/2019, and that is...strange. Since the guy is the same age as yours, I thought that he is no longer a freshman. So why did you have to ask me about what I studied for a CS major? My guess is that he arrived a year later than you, and had to start off everything from the beginning. Also, he is study discrete mathematics, so that is another clue. Oh and his whole Facebook profile is publicly open. Which is... not a good thing, if not stupid, especially for a CS major, and I am talking very honestly. It was neat if there were a creep who wants to find his informations tho.

And, his physique. Gotta say, you really have a taste for big, chubby guys. But you said yourself that this guy could not even lift you up. And when I asked for your weight...well let’s say that was not a smart question. Anyway, a 19 years old guy is a guy in his prime. If he cannot lift a tiny, 60kg-ish girl like you up, then what can he do, physically speaking? I really wonder.

And please don’t hate me for this

Who in their right mind would want to become a creep? Nope, nobody. But some...biochems had driven me to this stage, I believe. And since this is your field, may be you can be of help. I am just suggesting.

Anyway, short story before I have to sleep. It is almost 2AM, and I have to leave quickly tomorrow.

I once knew a big bro, who lives in Perth, Australia. His Steam profile name is Neo Jim Meownor. Which is sort of cute. He is a tall, thin guy. But a good person, from what I observed. He is like a brother to me. And today he texted me, on Steam, of course. He asked me why did he not spot me on Facebook anymore? Well, I closed the account, so that is a fair question. I answered the fact, and wished him a happy new year. Now the thing about him is that... he is living the dream. Almost my dream. He lives far away from the “communities”, with his beautiful and caring wife, who he already had a lovely child with. And he can play games almost everyday. He even has a channel for sharing his gaming footages. Also, he is an artist, and a very good one at that. Now I know, I always tell you that I will be some sort of computer engineer. But I used to love being an artist too. Living a peaceful life like that...that is the dream, my dear.

And that dream will never be fulfilled without you. Because you know me. You understand me more than you think. I love you.

That’s it for today. I’ll see you again, soon.

[blackkudos]

Janet Jackson

Janet Damita Jo Jackson (born May 16, 1966) is an American singer, songwriter, actress, and dancer. A prominent figure in popular culture, she is known for sonically innovative, socially conscious and sexually provocative records, and elaborate stage shows.

The tenth and youngest child of the Jackson family, she began her career with the variety television series The Jacksons in 1976 and went on to appear in other television shows throughout the 1970s and early 1980s, including Good Times, Diff'rent Strokes, and Fame. After signing a recording contract with A&M Records in 1982, she became a pop icon following the release of her third and fourth studio albums Control (1986) and Rhythm Nation 1814 (1989). Her collaborations with record producers Jimmy Jam and Terry Lewis incorporated elements of rhythm and blues, funk, disco, rap and industrial beats, which led to crossover success in popular music.

In 1991, Jackson signed the first of two record-breaking multimillion-dollar contracts with Virgin Records, establishing her as one of the highest-paid artists in the industry. Her fifth album Janet (1993) saw her develop a public image as a sex symbol as she began to explore sexuality in her music. That same year, she appeared in her first starring film role in Poetic Justice, and has since continued to act in feature films. Jackson then released her sixth studio album The Velvet Rope (1997), which is distinguished for its innovative production and dark lyrical content. By the end of the 1990s, she was named by Billboard magazine as the second most successful recording artist of the decade after Mariah Carey. Her seventh album All for You (2001) coincided with a celebration of her impact on the recording industry as the inaugural MTV Icon. After parting ways with Virgin Records, she released her tenth album Discipline (2008), her first and only album with Island Records. In 2015, she partnered with BMG Rights Management to launch her own record label, Rhythm Nation, and released her eleventh album Unbreakable the same year.

Having sold over 100 million records, Jackson is one of the world's best-selling music artists of all time. She has amassed an extensive catalog, with singles such as "Nasty", "Rhythm Nation", "That's the Way Love Goes", "Together Again" and "All for You"; she holds the record for the most consecutive top-ten entries on the US Billboard Hot 100 singles chart by a female artist with 18. In 2008, Billboard placed her number seven on its list of the Hot 100 All-Time Top Artists, and in 2010 ranked her fifth among the "Top 50 R&B/Hip-Hop Artists of the Past 25 Years". In December 2016, the magazine named her the second most successful dance club artist of all-time after Madonna. She has been cited as an inspiration among numerous performers. Jackson was inducted to the Rock and Roll Hall of Fame in 2019.

Life and career

1966–1985: Early life and career beginnings

Janet Jackson was born on May 16, 1966 in Gary, Indiana, the youngest of ten children, to Katherine Esther (née Scruse) and Joseph Walter Jackson. The Jacksons were lower-middle class and devout Jehovah's Witnesses, although Jackson would later refrain from organized religion. At a young age, her brothers began performing as the Jackson 5 in the Chicago-Gary area.

In March 1969, the group signed a record deal with Motown, and soon had their first number-one hit. The family then moved to the Encino neighborhood of Los Angeles. Jackson had initially desired to become a horse racing jockey or entertainment lawyer, with plans to support herself through acting. Despite this, she was anticipated to pursue a career in entertainment and considered the idea after recording herself in the studio.

At age seven, Jackson performed at the MGM Casino on the Las Vegas Strip. A biography revealed her father, Joseph Jackson, was emotionally withdrawn and told her to address him solely by his first name as a child. She began acting in the variety show The Jacksons in 1976.

In 1977, she was selected to have a starring role as Penny Gordon Woods in the sitcom Good Times. She later starred in A New Kind of Family and later got a recurring role on Diff'rent Strokes, portraying Charlene Duprey from seasons three to six. Jackson also played the role of Cleo Hewitt during the fourth season of Fame, but expressed indifference towards the series, largely due to the emotional stress of her secret marriage to R&B singer, James DeBarge. Jackson later elaborated on her time on the show in an interview with Anderson Cooper, revealing that the cast would occasionally play pranks on her, but she spoke fondly of them.

When Jackson was sixteen, her father and manager Joseph Jackson, arranged a contract for her with A&M Records. Her debut album, Janet Jackson, was released in 1982. It was produced by Angela Winbush, René Moore, Bobby Watson of Rufus and Leon Sylvers III, and overseen by her father Joseph. It peaked at No. 63 on the Billboard 200, and No. 6 on the publication's R&B albums chart, receiving little promotion. The album appeared on the Billboard Top Black Albums of 1983, while Jackson herself was the highest-ranking female vocalist on the Billboard Year-End Black Album Artists.

Jackson's second album, Dream Street, was released two years later. Dream Street reached No. 147 on the Billboard 200, and No. 19 on the R&B albums chart. The lead single "Don't Stand Another Chance" peaked at No. 9 on Billboard's R&B singles chart. Both albums consisted primarily of bubblegum pop music.

1986–1988: Control

After her second album, Jackson terminated business affairs with her family, commenting "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do." Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. The album shot to No. 1 on the Billboard 200, and was certified fivefold platinum by the Recording Industry Association of America (RIAA), selling over ten million copies worldwide.

Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to Donna Summer's position of "unwilling to accept novelty status and taking her own steps to rise above it." The album spawned five top five singles, "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year". It also won four American Music Awards from twelve nominations, an unbroken record.

At this point, Jackson was successfully "shaking off the experience of being a shadow Jackson child", becoming "an artist in her own right". The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment, with Jackson recalling "the danger hit home when a couple of guys started stalking me on the street and instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."

Its innovative fusion of dance-pop and industrial music with hip-hop and R&B undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul a recording contract for her choreography work with Jackson. Billboard stated "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix."

1989–1992: Janet Jackson's Rhythm Nation 1814

Jackson released her fourth album, Rhythm Nation 1814, in September 1989. Although her record label desired a direct sequel to Control, Jackson chose to include a socially conscious theme among various musical styles. She stated, "I know an album or a song can't change the world. I just want my music and my dance to catch the audience's attention, and to hold it long enough for them to listen to the lyrics." The album's central theme of unity was developed in response to various crimes and tragedies reported in the media.

Peaking at No. 1 on the Billboard 200, the album was certified sixfold platinum by the RIAA and sold over 12 million copies worldwide. Rolling Stone observed Jackson's artistic growth shifted from "personal freedom to more universal concerns—injustice, illiteracy, crime, drugs—without missing a beat." The album was also considered "the exclamation point on her career", consisting of a "diverse collection of songs flowing with the natural talent Jackson possesses", which effectively "expanded Janet's range in every conceivable direction", being "more credibly feminine, more crucially masculine, more viably adult, more believably childlike." With singles "Miss You Much", "Rhythm Nation", "Escapade", "Alright", "Come Back to Me", "Black Cat" and "Love Will Never Do (Without You)", it became the only album in history to produce number one hits in three separate calendar years, as well as the only album to achieve seven top five singles on the Hot 100.

Famous for its choreography and warehouse setting, the "Rhythm Nation" video is considered one of the most iconic and popular in history, with Jackson's military ensemble also making her a fashion icon. The video for "Love Will Never Do (Without You)" is notable for being the first instance of Jackson's transition into sexual imagery and midriff-baring style, becoming her trademark. Rhythm Nation 1814 became the highest selling album of 1990, winning a record fifteen Billboard Awards. The long-form "Rhythm Nation" music video won a Grammy Award.

Jackson's Rhythm Nation World Tour 1990 became the most successful debut tour in history and set a record for the fastest sell-out of Japan's Tokyo Dome. She established the "Rhythm Nation Scholarship," donating funds from the tour to various educational programs. As Jackson began her tour, she was acknowledged for the cultural impact of her music. Joel Selvin of the San Francisco Chronicle wrote "the 23-year-old has been making smash hit records for four years, becoming a fixture on MTV and a major role model to teenage girls across the country", and William Allen, then-executive vice president of the United Negro College Fund, told the Los Angeles Times, "Jackson is a role model for all young people to emulate and the message she has gotten to the young people of this country through the lyrics of 'Rhythm Nation 1814' is having positive effects."

She also received a star on the Hollywood Walk of Fame in recognition of her impact on the recording industry and philanthropic endeavors. The massive success experienced by Jackson placed her in league with Michael Jackson, Madonna, and Tina Turner for her achievements and influence. Ebony magazine remarked: "No individual or group has impacted the world of entertainment as have Michael and Janet Jackson," arguing that despite many imitators, few could surpass Jackson's "stunning style and dexterity."

With her recording contract under A&M Records fulfilled in 1991, she signed a multimillion-dollar deal with Virgin Records—estimated between thirty-two to fifty million dollars—making her the highest paid recording artist at the time. The recording contract also established her reputation as the "Queen of Pop." In 1992, Jackson provided guest vocals on Luther Vandross's "The Best Things in Life Are Free", becoming a top ten Billboard hit and reaching the top ten internationally.

1993–1996: Janet, Poetic Justice, and Design of a Decade

Jackson's fifth studio album Janet, was released in May 1993. The record opened at number one on the Billboard 200, making Jackson the first female artist in the Nielsen SoundScan era to do so. Certified sixfold platinum by the RIAA, it sold over 14 million copies worldwide.

Janet spawned five singles and four promotional singles, receiving various certifications worldwide. The lead single "That's the Way Love Goes" won the Grammy Award for Best R&B Song and topped the Billboard Hot 100 for eight consecutive weeks. "Again" reached number one for two weeks, while "If" and "Any Time, Any Place" peaked in the top four. "Because of Love" and "You Want This" charted within the top ten.

The album experimented with a diverse number of genres, including contemporary R&B, deep house, swing jazz, hip hop, rock, and pop, with Billboard describing each as being "delivered with consummate skill and passion." Jackson took a larger role in songwriting and production than she did on her previous albums, explaining she found it necessary "to write all the lyrics and half of the melodies" while also speaking candidly about incorporating her sexuality into the album's content. Rolling Stone wrote "[a]s princess of America's black royal family, everything Janet Jackson does is important. Whether proclaiming herself in charge of her life, as she did on Control (1986), or commander in chief of a rhythm army dancing to fight society's problems (Rhythm Nation 1814, from 1989), she's influential. And when she announces her sexual maturity, as she does on her new album, Janet., it's a cultural moment."

In July 1993, Jackson made her film debut in Poetic Justice. While the film received mixed reviews, her performance was described as "beguiling" and "believably eccentric." Jackson's ballad "Again", which was written for the film, received Golden Globe and Academy Award nominations for "Best Original Song."

In September 1993, Jackson appeared topless on the cover of Rolling Stone, with her breasts covered by her then-husband, René Elizondo, Jr. The photograph is the original version of the cropped image used on the Janet album cover, shot by Patrick Demarchelier. The Vancouver Sun reported, "Jackson, 27, remains clearly established as both role model and sex symbol; the Rolling Stone photo of Jackson ... became one of the most recognizable, and most lampooned, magazine covers."

The Janet World Tour launched in support of the studio album garnered criticism for Jackson's lack of vocal proficiency and spontaneity, but earned critical acclaim for her showmanship. It was described as erasing the line between "stadium-size pop music concerts and full-scale theatrical extravaganzas."

During this time, her brother Michael was immersed in a child sex abuse scandal, of which he denied any wrongdoing. She provided moral support, defending her brother, and denied abuse allegations regarding her parents made by her sister La Toya.

She collaborated with Michael on "Scream", the lead single from his album HIStory, released 1995. The song was written by both siblings as a response to media scrutiny. It debuted at number five on the Hot 100 singles chart, becoming the first song ever to debut within the top five. Its music video, directed by Mark Romanek, was broadcast to approximately 64 million viewers and listed in Guinness World Records as the "Most Expensive Music Video Ever Made", costing $7 million. The clip won the 1996 Grammy Award for Best Short Form Music Video.

Jackson's first compilation album, Design of a Decade: 1986–1996, was released in 1995. It peaked at number three on the Billboard 200. The lead single, "Runaway", became the first song by a female artist to debut within the top ten of the Hot 100, reaching number three. Design of a Decade 1986/1996 was certified double platinum by the RIAA and sold ten million copies worldwide.

Jackson's influence in pop music continued to garner acclaim, as The Boston Globe remarked "If you're talking about the female power elite in pop, you can't get much higher than Janet Jackson, Bonnie Raitt, Madonna and Yoko Ono. Their collective influence ... is beyond measure. And who could dispute that Janet Jackson now has more credibility than brother Michael?"

Jackson renewed her contract with Virgin Records for a reported $80 million the following year. The contract established her as the then highest-paid recording artist in history, surpassing the recording industry's then-unparalleled $60 million contracts earned by Michael Jackson and Madonna.

1997–1999: The Velvet Rope

Jackson began suffering from severe depression and anxiety, leading her to chronicle the experience in her sixth album, The Velvet Rope, released October 1997. Jackson returned with a dramatic change in image, boasting vibrant red hair, nasal piercings, and tattoos. The album is primarily centered on the idea that everyone has an intrinsic need to belong. Aside from encompassing lyrics relating to social issues such as same-sex relationships, homophobia and domestic violence, it also contains themes of sadomasochism and is considered far more sexually explicit in nature than her previous release, Janet.

The record was hailed as "her most daring, elaborate and accomplished album" by The New York Times, while Billboard ranked it as "the best American album of the year and the most empowering of her last five." The album debuted at number one on the Billboard 200 and was certified triple platinum, selling over ten million worldwide.

The lead single "Got 'til It's Gone" was released in August 1997, featuring guest vocals from folk singer Joni Mitchell and rapper Q-Tip. The song's music video, depicting a pre-Apartheid celebration, won the Grammy Award for Best Short Form Music Video. "Together Again" became Jackson's eighth number-one hit on the Billboard Hot 100, placing her on par with Elton John, Diana Ross, and the Rolling Stones. It spent a record forty-six weeks on the Hot 100 and nineteen weeks on the United Kingdom's singles chart. It sold six million copies worldwide, becoming one of the best-selling singles of all time. "I Get Lonely" peaked at number three on the Hot 100, and received a Grammy nomination for Best Female R&B Vocal Performance. It was Jackson's eighteenth consecutive top ten hit, making her the only female artist to garner that achievement; and surpassed only by Elvis Presley and the Beatles.

Several other singles were released, including "Go Deep" and the ballad "Every Time", which was controversial for the nudity displayed in its music video. The album fully established Jackson as a gay icon for its themes regarding homosexuality and protesting homophobia. "Together Again", a "post-Aids pop song", and "Free Xone", considered "a paean to homosexuality" and an "anti-homophobia track", were praised for their lyrical context, in addition to Jackson's lesbian reinterpretation of Rod Stewart's "Tonight's the Night".

The Velvet Rope received an award for "Outstanding Music Album" at the 9th Annual GLAAD Media Awards and was honored by the National Black Lesbian and Gay Leadership Forum. A portion of the proceeds from "Together Again" were donated to the American Foundation for AIDS Research.

Jackson embarked on The Velvet Rope Tour, traveling to Europe, North America, Asia, Africa, New Zealand, and Australia. The tour received praise for its theatrics, choreography, and Jackson's vocal performance. It was likened to "the ambition and glamour of a Broadway musical", and exclaimed as "only fitting that the concert program credits her as the show's 'creator and director'."

The tour's HBO special, The Velvet Rope: Live in Madison Square Garden, garnered more than fifteen million viewers. It surpassed the ratings of all four major networks among viewers subscribed to the channel. The concert won an Emmy Award from a total of four nominations. Jackson donated a portion of the tour's sales to America's Promise, an organization founded by Colin Powell to assist disenfranchised youth.

As the tour concluded, Jackson lent guest vocals to several collaborations, including Shaggy's "Luv Me, Luv Me", used for the film How Stella Got Her Groove Back, as well as "Girlfriend/Boyfriend" with Teddy Riley's group Blackstreet, and "What's It Gonna Be?!" with Busta Rhymes. The latter two music videos are both among the most expensive music videos ever produced, with "What's It Gonna Be?!" becoming a number-one hit on the Billboard Hip-Hop Singles and Hot Rap Tracks charts, reaching the top three of the Hot 100.

Jackson also contributed the ballad "God's Stepchild" to the Down in the Delta soundtrack. Jackson recorded a duet with Elton John titled "I Know the Truth," included on the soundtrack to Elton John and Tim Rice's Aida. At the 1999 World Music Awards, Jackson received the Legend Award for "outstanding contribution to the pop industry". Billboard ranked Jackson as the second most successful artist of the decade, behind Mariah Carey.

2000–2003: Nutty Professor II: The Klumps and All for You

In July 2000, Jackson appeared in her second film, Nutty Professor II: The Klumps, as the role of Professor Denise Gaines, opposite Eddie Murphy. Director Peter Segal stated "Janet Jackson was a natural fit, and an obvious choice." The film became her second to open at number one, grossing an estimated total of nearly $170 million worldwide. Jackson's single "Doesn't Really Matter", used for the film's soundtrack, became her ninth number-one single on the Hot 100.

Preceding the release of her seventh album, MTV honored Jackson with the network's inaugural "MTV Icon" ceremony, honoring her "significant contributions to music, music video and pop culture while tremendously impacting the MTV generation." The event paid tribute to Jackson's career and influence, including commentary from Britney Spears, Jennifer Lopez, Aaliyah, and Jessica Simpson, and performances by 'N Sync, Pink, Destiny's Child, Usher, Buckcherry, Mýa, Macy Gray, and Outkast. The American Music Awards also honored Jackson with the Award of Merit for "her finely crafted, critically acclaimed and socially conscious, multi-platinum albums."

Jackson's seventh album, All for You, was released in April 2001. It opened at number one on the Billboard 200 with 605,000 copies sold, the highest first-week sales of her career, and among the highest first-week sales by a female artist in history. The album was a return to an upbeat dance style, receiving generally positive reception. Jackson received praise for indulging in "textures as dizzying as a new infatuation", in contrast to other artists attempting to "match the angularity of hip-hop" and following trends. All for You was certified double platinum by the RIAA and sold nine million copies worldwide.

The album's lead single, "All for You", debuted on the Hot 100 at number fourteen, setting a record for the highest debut by a single that was not commercially available. Jackson was titled "Queen of Radio" by MTV as the single made airplay history, being "added to every pop, rhythmic and urban radio station" within its first week. The song broke the overall airplay debut record with a first week audience of seventy million, debuting at number nine on the Radio Songs chart. It topped the Hot 100 for seven weeks, also reaching the top ten in eleven countries. The song received a Grammy Award for Best Dance Recording. "Someone to Call My Lover" peaked at number three on the Hot 100. Built around a sample of the iconic 1972 hit "You're So Vain" by Carly Simon, "Son of a Gun (I Betcha Think This Song Is About You)" featured Simon herself, along with Missy Elliott on remixes of the single.

In July 2001, Jackson embarked on the All for You Tour, which was also broadcast on a concert special for HBO watched by twelve million viewers. The tour traveled throughout the United States and Japan, although European and Asian dates were required to be canceled following the September 11 terrorist attacks. The Los Angeles Times complimented Jackson's showmanship. Richard Harrington of the Washington Post said Jackson's performance surpassed her contemporaries, but Bob Massy of Spin thought her dancers "threw crisper moves" and her supporting singers were mixed nearly as high, though declared "Janet cast herself as the real entertainment." Jackson donated a portion of the tour's proceeds to the Boys & Girls Clubs of America.

The following year, Jackson began receiving media attention for her rumored relationships with Justin Timberlake, actor Matthew McConaughey, and record producer Jermaine Dupri. Upon the release of Timberlake's debut solo album Justified, Jackson provided vocals on "(And She Said) Take Me Now" per Timberlake's request, with the song initially planned as a single. Jackson collaborated with reggae artist Beenie Man for the song "Feel It Boy", produced by the Neptunes.

2004–2005: Super Bowl XXXVIII controversy and Damita Jo

Jackson was chosen by the National Football League and MTV to perform at the Super Bowl XXXVIII halftime show in February 2004. She performed a medley of "All for You", "Rhythm Nation", and an excerpt of "The Knowledge" before performing "Rock Your Body" alongside surprise guest Justin Timberlake. As Timberlake sang the lyric "I'm gonna have you naked by the end of this song", he tore open her costume, exposing her right breast to 140 million viewers.

Jackson issued an apology after the performance, saying that the incident was accidental and unintended, explaining that Timberlake was only meant to pull away a bustier and leave the red-lace bra intact. She commented, "I am really sorry if I offended anyone. That was truly not my intention ... MTV, CBS, the NFL had no knowledge of this whatsoever, and unfortunately, the whole thing went wrong in the end." Timberlake also issued an apology, calling the accident a "wardrobe malfunction." The incident became the most recorded and replayed moment in TiVo history, enticing an estimated 35,000 new subscribers. Jawed Karim has stated that the incident inspired the creation of YouTube, as he noted that it was difficult for him to find videos of the incident online.

It is regarded as one of the most controversial television events in history, and Jackson was later listed in Guinness World Records as the "Most Searched in Internet History" and the "Most Searched for News Item". CBS, the NFL, and MTV denied any knowledge of the incident and all responsibility for it. The Federal Communications Commission heavily fined all companies involved and continued an investigation for eight years, ultimately losing its appeal for a $550,000 fine against CBS.

Following the incident, CBS permitted Timberlake to appear at the 46th Grammy Awards ceremony but did not allow Jackson to attend, forcing her to withdraw after being scheduled as a presenter. The controversy halted plans for Jackson to star in the biographical film of singer and activist Lena Horne, which was to be produced by American Broadcasting Company. Horne was reportedly displeased by the incident, but Jackson's representatives stated that she withdrew from the project willingly. A Mickey Mouse statue wearing Jackson's iconic "Rhythm Nation" outfit was mantled at Walt Disney World theme park the previous year to honor her legacy, but it was removed following her controversial performance.

Jackson's eighth studio album Damita Jo was released in March 2004, titled after her middle name. It debuted at number two on the Billboard 200. The album received mixed to positive reviews, praising the sonic innovation of selected songs and Jackson's vocal harmonies, while others criticized its frequent themes of carnality. However, several critics' reviews focused on the Super Bowl incident, rather than critiquing the album itself. It was certified platinum by the RIAA within a month, and sold over three million copies worldwide.

The album's performance was affected by blacklisting from radio and music channels, in part at the behest of CBS CEO Les Moonves. Conglomerates involved in the boycott included Viacom and CBS, subsidiaries MTV, Clear Channel Communications, and Infinity Broadcasting, the latter two among the largest radio broadcasters. The blacklist was placed into effect preceding the release of Damita Jo and continued throughout the course of Jackson's following two albums. Entertainment conglomerate Viacom owns MTV, VH1, and many radio formats, and a senior executive commented that they were "absolutely bailing on the record. The pressure is so great, they can't align with anything related to Janet. The high-ups are still pissed at her, and this is a punitive measure."

Prior to the incident, Damita Jo was expected to outsell prior release All for You. Its three singles received positive reviews but failed to achieve high chart positions, although each was predicted to perform extremely well under different circumstances. Billboard reported that Damita Jo "was largely overshadowed by the Super Bowl fiasco.... The three singles it spawned were blacklisted by pop radio—they were also the album's biggest highlights".

For the album's promotion, Jackson appeared as a host on Saturday Night Live performing two songs, and she was also a guest star on the sitcom Will & Grace portraying herself. Jackson received several career accolades upon the album's release, including the "Legend Award" at the Radio Music Awards, "Inspiration Award" from the Japan Video Music Awards, "Lifetime Achievement Award" at the Soul Train Music Awards, and a Teen Choice Awards nomination for "Favorite Female."

In November 2004, she was honored as a role model by 100 Black Men of America, Inc. and presented with the organization's Artistic Achievement Award saluting "a career that has gone from success to greater success." The organization responded to criticism for honoring Jackson in light of the Super Bowl incident by saying that "an individual's worth can't be judged by a single moment in that person's life." In June 2005, she was honored with a Humanitarian Award by the Human Rights Campaign and AIDS Project Los Angeles as recognition for her involvement in raising money for AIDS charities.

2006–2007: 20 Y.O. and Why Did I Get Married?

Jackson began recording her ninth studio album, 20 Y.O., in 2005. She recorded with producers Dupri, Jam and Lewis for several months during the following year. The album's title was a reference to the two decades since the release of her breakthrough album Control, representing the album's "celebration of the joyful liberation and history-making musical style."

To promote the album, Jackson appeared in various magazines, and performed on the Today Show and Billboard Awards. Jackson's Us Weekly cover, revealing her slim figure after heavy media focus was placed on her fluctuations in weight, became the magazine's best-selling issue in history. 20 Y.O. was released in September 2006 and debuted at number two on the Billboard 200. The album received mixed reviews, with multiple critics chastising the production and involvement of Jermaine Dupri. Rolling Stone disagreed with the album's reference to Control, saying "If we were her, we wouldn't make the comparison."

Jackson's airplay and music channel blacklist remained persistent, massively affecting her chart performance and exposure. However, lead single "Call on Me", which featured rapper Nelly, peaked at number twenty-five on the Hot 100, number one on the Hot R&B/Hip-Hop Songs chart, and number six in the United Kingdom. The video for the album's second single, "So Excited", was directed by Joseph Kahn and portrayed Jackson's clothes disappearing through a complex dance routine.

20 Y.O. was certified platinum by the RIAA and sold 1.5 million worldwide, also receiving a Grammy nomination for Best Contemporary R&B Album.After the album's release, Dupri was condemned for his production and misguidance of the album, and subsequently was removed from his position at Virgin Records. Slant Magazine stated, "After promising a return to Janet's dance-pop origins, [Dupri] opted to aim for urban audiences, a colossal mistake that cost Dupri his job and, probably, Janet her deal with Virgin."

Jackson was ranked the seventh richest woman in the entertainment industry by Forbes, having amassed a fortune of over $150 million. In 2007, she starred opposite Tyler Perry as a psychotherapist in the film Why Did I Get Married?. It became her third consecutive film to open at number one at the box office, grossing $60 million in total. Jackson's performance was praised for its "soft authority", though also described as "charming, yet bland".

2008–2009: Discipline and Number Ones

Jackson signed with Island Records after her contract with Virgin was fulfilled. She interrupted plans for touring and began recording with various producers, including Rodney "Darkchild" Jerkins, Tricky Stewart, and Stargate. Her tenth studio album, Discipline, was released in February 2008, opening at number one. Despite radio blacklisting, the album's first single "Feedback" peaked at number nineteen on the Hot 100 and nine on Pop Songs, her highest charting single since "Someone to Call My Lover".

Also in February 2008, Jackson won an Image Award for "Outstanding Supporting Actress in a Motion Picture" for the role. Jackson was also approached to record the lead single for the film Rush Hour 3. Jackson was awarded the Vanguard Award at the 19th annual GLAAD Media Awards, honoring her contributions in promoting equal rights among the gay community. The organization's president commented, "Ms. Jackson has a tremendous following inside the LGBT community and out, and having her stand with us against the defamation that LGBT people still face in our country is extremely significant."

Jackson's fifth concert tour, the Rock Witchu Tour, began in September 2008. Jackson parted with Island Records through mutual agreement. Billboard disclosed Jackson was dissatisfied with LA Reid's handling of the album and its promotion, saying "the label agreed to dissolve their relationship with the artist at her request." Producer Rodney Jerkins expressed "I felt like it wasn't pushed correctly.... She just didn't get her just-do as an artist of that magnitude."

In June 2009, Jackson's brother Michael died at age fifty. She spoke publicly concerning his death at the 2009 BET Awards, stating "I'd just like to say, to you, Michael is an icon, to us, Michael is family. And he will forever live in all of our hearts. On behalf of my family and myself, thank you for all of your love, thank you for all of your support. We miss him so much." In an interview, she revealed she had first learned of his death while filming Why Did I Get Married Too?.

Amidst mourning with her family, she focused on work to deal with the grief, avoiding any news coverage of her sibling's death. She commented, "it's still important to face reality, and not that I'm running, but sometimes you just need to get away for a second." During this time, she ended her seven-year relationship with Jermaine Dupri.

Several months later, Jackson performed a tribute to Michael at the 2009 MTV Video Music Awards, performing their duet "Scream". MTV stated "there was no one better than Janet to anchor it and send a really powerful message." The performance was lauded by critics, with Entertainment Weekly affirming the rendition "as energetic as it was heartfelt".

Jackson's second hits compilation, Number Ones (retitled The Best for international releases), was released in November 2009. For promotion, she performed a medley of hits at the American Music Awards, Capital FM's Jingle Bell Ball at London's O2 arena, and The X-Factor. The album's promotional single "Make Me", produced with Rodney "Darkchild" Jerkins, debuted in September. It became Jackson's nineteenth number one on the Hot Dance Club Songs chart, making her the first artist to have number-one singles in four separate decades.

Later that month, Jackson chaired the inaugural benefit of amfAR, The Foundation for AIDS Research, held in Milan in conjunction with fashion week. The foundation's CEO stated "We are profoundly grateful to Janet Jackson for joining amfAR as a chair of its first event in Milan.... She brings incomparable grace and a history of dedication to the fight against AIDS." The event raised a total of $1.1 million for the nonprofit organization.

2010–2014: Film projects and True You

In April 2010, Jackson reprised her role in the sequel to Why Did I Get Married? titled Why Did I Get Married Too?. The film opened at number two, grossing sixty million in total. Jackson's performance was hailed as "invigorating and oddly funny", and praised for her "willingness to be seen at her most disheveled". Her performance earned an Image Award for "Outstanding Actress in a Motion Picture". Jackson recorded the film's theme, "Nothing", released as a promotional single. The song was performed on the ninth season finale of American Idol along with "Again" and "Nasty".

In July, Jackson modeled for the Blackglama clothing line featuring mink fur, which was criticized by the animal rights organisation PETA. Jackson then helped design a signature line of clothing and accessories for Blackglama, to be sold at Saks Fifth Avenue and Bloomingdales. Universal Music released the hits compilation Icon: Number Ones as the debut of the Icon compilation series.

In November 2010, Jackson starred as Joanna in the drama For Colored Girls, the film adaptation of Ntozake Shange's 1975 play For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf. The Wall Street Journal stated Jackson "recites verses written by Ntozake Shange, the author of the play that inspired the film ... But instead of offering up a mannered coffeehouse reading of the lines, Jackson makes the words sound like ordinary—though very eloquent—speech." Jackson's portrayal the film was likened to Meryl Streep as Miranda Priestly in The Devil Wears Prada. Her performance earned Black Reel Awards nominations in the categories of Outstanding Supporting Actress and Outstanding Ensemble.

Jackson announced plans to embark on her largest world tour in support of her second hits collection, Number Ones. The tour, entitled Number Ones, Up Close and Personal, held concerts in thirty-five global cities, selected by fans who submitted suggestions on her official website. During the tour, Jackson performed thirty-five number one hits and dedicated a song to each city. Mattel released a limited-edition Barbie of Jackson titled "Divinely Janet", auctioned for over $15,000, with proceeds donated to Project Angel Food.

Jackson released the self-help book True You: A Journey to Finding and Loving Yourself in February 2011, co-written with David Ritz. It chronicled her struggle with weight and confidence, also publishing letters from fans. It topped The New York Times' Best Seller list the following month. Additionally, she signed a film production contract with Lions Gate Entertainment to "select, develop and produce a feature film for the independent studio."

Jackson became the first female pop singer to perform at the I. M. Pei glass pyramid at the Louvre Museum, raising contributions for the restoration of iconic artwork. Jackson was selected to endorse fashion line Blackglama for a second year, being the first celebrity in the line's history chosen to do so. She partnered with the label to release a fifteen-piece collection of luxury products.

In 2012, Jackson endorsed Nutrisystem, sponsoring their weight-loss program after struggling with weight fluctuations in the past. With the program, she donated ten million dollars in meals to the hungry. She was honored by amfAR for her contributions to AIDS research when chairing the Cinema Against AIDS gala during the Cannes Film Festival. She also participated in a public service announcement for UNICEF to help starving children.

2015–2019: Unbreakable and concert residency

On May 16, 2015, Jackson announced plans to release a new album and to embark on a world concert tour. She outlined her intention to release her new album in the fall of 2015 under her own record label, Rhythm Nation, distributed by BMG Rights Management. The launch of Rhythm Nation established Jackson as one of the few African-American female musicians to own a record label.

On June 15, 2015, Jackson announced the first set of dates for the North American leg of her Unbreakable World Tour. On June 22, the lead single "No Sleeep" was released from the album. Jackson's solo version of the single debuted on the Hot 100 at number 67, marking her 40th entry on the chart. The song went to number 1 on the Billboard + Twitter Trending 140 immediately following the release. The album version featuring J. Cole enabled it to re-enter the Hot 100 with a new peak position at number 63, while also topping the Adult R&B Songs chart.

BET presented Jackson with their inaugural Ultimate Icon: Music Dance Visual award at the BET Awards 2015, which also featured a dance tribute to her performed by Ciara, Jason Derulo and Tinashe. It was announced she would launch a luxury jewelry line called the "Janet Jackson Unbreakable Diamonds collection," a joint venture between herself and Paul Raps New York. On August 20, she released a preview of a new song "The Great Forever," while also confirming the title of her eleventh studio album as Unbreakable.

Jimmy Jam and Terry Lewis stated that Jackson's concept for the album was developed simultaneously with the accompanying tour's production and that its composition will differ from the majority of her catalog. They also stated that the album's theme reflects "being able to be vulnerable and to be able to withstand what comes to you," drawing on Jackson's experiences over the past several years. The album's title track "Unbreakable" was released on September 3, 2015, debuting on Apple Music's Beats 1 radio station, hosted by Ebro Darden. The album was also made available for pre-order on iTunes the same day. "Burnitup!" featuring Missy Elliott debuted on BBC Radio 1 on September 24, 2015. Unbreakable was released on October 2, 2015. It received largely positive reviews, including those by The Wall Street Journal, The New York Times, USA Today, Los Angeles Times, and The Guardian. The following week, Jackson received her first nomination to be inducted into the Rock and Roll Hall of Fame. Her album debuted at number one on the Billboard 200, becoming her seventh album to top the chart in the United States.

On April 6, 2016, Jackson announced that she was "planning her family" with husband Wissam Al Mana, resulting in her postponing her tour. On May 1, 2017, Jackson announced she would resume her Unbreakable World Tour, now known as the State of the World Tour. The revamped tour launched on September 7, 2017. Refocusing the tour's theme to reflect socially conscious messages from Jackson's entire music catalog, a number of songs selected for the concert set list along with corresponding imagery depicted on stage address racism, white supremacy, fascism, xenophobia and police brutality. The tour opened to positive critical reception, with several commentators praising Jackson's post-pregnancy physical fitness, showmanship and socially conscious messages.

Her emotional rendition of "What About", a song about domestic violence originally recorded for The Velvet Rope, drew media attention highlighting her recent separation from her husband; Jackson's brother Randy alleges she suffered verbal abuse by Al Mana which contributed to the breakdown of their marriage. Proceeds from the concert of September 9, 2017 at the Toyota Center in Houston, Texas were donated to relief efforts supporting evacuees of Hurricane Harvey. Jackson met with Houston mayor Sylvester Turner and evacuees at the George R. Brown Convention Center prior to the performance. In May 2018, it was announced that Jackson would received the Billboard Icon Award at the 2018 Billboard Music Awards. In an interview for Billboard magazine, Jackson revealed that she was currently working on new music. On August 16, 2018, it was announced that Jackson and Rhythm Nation had entered into a partnership with Cinq Music. The next day, Jackson released the single "Made for Now", a collaboration with Daddy Yankee.

In October 2018, she received her third nomination for induction into the Rock and Roll Hall of Fame. On December 13, 2018, Jackson was announced as one of the seven inductees of the 2019 class of the Rock and Roll Hall of Fame.

On February 26, 2019, Jackson announced a four-month Las Vegas residency entitled Metamorphosis. The initial schedule comprised fourteen shows at the Park Theater at Park MGM resort; three additional shows were announced in May. In September and November 2019 Jackson performed a series of concerts in support of the 30th anniversary of the Rhythm Nation album in Welch Treasure Island Resort & Casino, San Francisco and Hawaii. In 2019, Jackson played a variety of festivals in the US and abroad, including The Glastonbury Festival.

On June 25, 2019, The New York Times Magazine listed Janet Jackson among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

2020: Black Diamond

On February 10, 2020, Jackson announced her upcoming Black Diamond World Tour as well as her upcoming twelfth studio album Black Diamond due sometime in 2020.

Artistry

Music and voice

Jackson has a mezzo-soprano vocal range. Over the course of her career, she has received frequent criticism for the limits of her vocal capabilities, especially in comparison to contemporary artists such as Whitney Houston and Mariah Carey. In comparing her vocal technique to Houston and Aretha Franklin, vocal coach Roger Love states that "[w]hen Janet sings, she allows a tremendous amount of air to come through. She's obviously aiming for a sexy, sultry effect, and on one level that works nicely. But actually, it's fairly limited." He adds that while her voice is suitable for studio recording, it doesn't translate well to stage because despite having "great songs, incredible dancing, and her star like presence, the live show is still magnificent. But the voice is not the star."

Biographer David Ritz commented, "on Janet's albums—and in her videos and live performances, which revealed a crisp, athletic dance technique [...] singing wasn't the point," saying emphasis was placed on "her slamming beats, infectious hooks, and impeccable production values." Eric Henderson of Slant magazine claimed critics opposing her small voice "somehow missed the explosive 'gimme a beat' vocal pyrotechnics she unleashes all over 'Nasty' ... Or that they completely dismissed how perfect her tremulous hesitance fits into the abstinence anthem 'Let's Wait Awhile'." Classical composer Louis Andriessen has praised Jackson for her "rubato, sense of rhythm, sensitivity, and the childlike quality of her strangely erotic voice." Several critics also consider her voice to often be enveloped within her music's production.

Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."

Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."

Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin."

On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram."

Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as "an artist who has reshaped the sound and image of rhythm and blues" within the first decade of her career. Critic Karla Peterson remarked that "she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves—an ace pop-song writer." Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments "except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns."

Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, "like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain." Much of her success has been attributed to "a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge." Ritz also stated, "The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear."

During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as "an autobiographical tale about her life with her parents, her first marriage, and breaking free." Jessie Carney Smith wrote "with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity." Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote "It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people."

On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade "brand[ed] her as one of the most sexually stimulating vocalists of the 1990s." Lilly J. Goren observed "Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue." The Washington Post declared Jackson's public image over the course of her career had shifted "from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds—figuratively and literally—of love and lust."

The song "Free Xone" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as "a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics." During promotion for Janet, she stated "I love feeling deeply sexual—and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process."

Upon the release of Damita Jo, Jackon stated "Beginning with the earlier albums, exploring—and liberating—my sexuality has been an ongoing discovery and theme," adding "As an artist, that's not only my passion, it's my obligation." Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating "while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music—as with anything, it all depends on the artist."

Videos and stage

Jackson drew inspiration for her music videos and performances from musicals she watched in her youth, and was heavily influenced by the choreography of Fred Astaire and Michael Kidd, among others. Throughout her career, she has worked with and brought numerous professional choreographers to prominence, such as Tina Landon, Paula Abdul, and Michael Kidd. Veronica Chambers declared, "Her impact on pop music is undeniable and far-reaching," adding, "A quick glance at the Billboard chart reveals any number of artists cast in the Janet Jackson mold." Chambers observed numerous videos which "features not only Ms. Jackson's dancers but choreography and sets remarkably like those she has used."

Janine Coveney of Billboard observed that "Jackson's musical declaration of independence [Control] launched a string of hits, an indelible production sound, and an enduring image cemented by groundbreaking video choreography and imagery that pop vocalists still emulate." Ben Hogwood of MusicOMH applauded the "huge influence she has become on younger pretenders to her throne," most notably Britney Spears, Jennifer Lopez and Christina Aguilera. Qadree EI-Amin remarked that many pop artists "pattern their performances after Janet's proven dance-diva persona." Beretta E. Smith-Shomade wrote that "Jackson's impact on the music video sphere came largely through music sales successes, which afforded her more visual liberties and control. This assuming of control directly impacted the look and content of her music videos, giving Jackson an agency not assumed by many other artists—male or female, Black or White."

Parallel Lines: Media Representations of Dance (1993) documents that her videos have often been reminiscent of live concerts or elaborate musical theater. However, in her 30-minute Rhythm Nation 1814 film, Jackson utilizes street dancing techniques in contrast to traditional choreography. The group dynamic visually embodies a gender neutral equality, with Jackson "performing asexually and anonymously in front of, but as one of the members of the group." Her music videos have also contributed to a higher degree of sexual freedom among young women, with Jackson "heavily implying male-on-female oral sex in music videos by pushing down on a man's head until he's in exactly the right position." However, accusations of cosmetic surgery, skin lightening, and increasingly hypersexual imagery have led to her being viewed as conforming to a white, male-dominated view of sexuality, rather than liberating herself or others.

Jackson received the MTV Video Vanguard Award for her contributions to the art form, and she became the first recipient of the MTV Icon tribute, celebrating her impact on the music industry as a whole. In 2003, Slant Magazine named "Rhythm Nation" and "Got 'til It's Gone" among the 100 Greatest Music Videos of all time, ranked at number 87 and number 10, respectively. In 2011, "Rhythm Nation" was voted the tenth best music video of the 1980s by Billboard.

Independent Journalist Nicholas Barber stated "Janet's concerts are the pop equivalent of a summer blockbuster movie, with all the explosions, special effects, ersatz sentimentality, gratuitous cleavage and emphasis on spectacle over coherence that the term implies."Jet magazine reported "Janet's innovative stage performances during her world tours have won her a reputation as a world-class performer." Chris Willman of Los Angeles Times stated the "enthralling" choreography of Jackson's Rhythm Nation 1814 Tour "represents the pinnacle of what can be done in the popping 'n' locking style—a rapid-fire mixture of rigidly jerky and gracefully fluid movements." When Jackson was asked "do you understand it when people talk about [The Velvet Rope Tour] in terms of Broadway?", she responded, "I'm crazy about Broadway ... That's what I grew up on."

Her "Number Ones: Up Close and Personal" tour deviated from the full-scale theatrics found in her previous concert arena settings in favor of smaller venues. Critics noted being scaled down did not affect the impact of her showmanship, and in some cases, enhanced it. Greg Kot of the Chicago Tribune wrote, "In past tours, Jackson's thin voice was often swallowed up by the sheer size of her production ... In the more scaled-down setting, Jackson brought a warmth and a passion that wasn't always evident in stadiums ... the best Janet Jackson performance I've covered in 20-plus years."

Thor Christensen of The Dallas Morning News reported Jackson often lip syncs in concert; he wrote: "Janet Jackson—one of pop's most notorious onstage lip-syncers—conceded ... she uses 'some' taped vocals to augment her live vocals. But she refused to say what percentage of her concert 'voice' is taped and how much is live." Michael MacCambridge of the Austin American-Statesman, who reviewed Jackson's Rhythm Nation World Tour, described lip-syncing as a "moot point", stating "Jackson was frequently singing along with her own pre-recorded vocals, to achieve a sound closer to radio versions of singles." MacCambridge also observed "it seemed unlikely that anyone—even a prized member of the First Family of Soul Music—could dance like she did for 90 minutes and still provide the sort of powerful vocals that the '90s super concerts are expected to achieve."

Similarly, Chris Willman commented, "even a classically trained vocalist would be hard-pressed to maintain any sort of level of volume—or, more appropriately, 'Control'—while bounding up and down stairs and whipping limbs in unnatural directions at impeccable, breakneck speed." Critics observed that in the smaller scale of her "Number Ones: Up Close and Personal" tour, she forwent lip-syncing. Chris Richards of The Washington Post stated "even at its breathiest, that delicate voice hasn't lost the laserlike precision."

Influences

Jackson describes Lena Horne as a profound inspiration, for entertainers of several generations as well as herself. Upon Horne's death, she stated "[Horne] brought much joy into everyone's lives—even the younger generations, younger than myself. She was such a great talent. She opened up such doors for artists like myself." Similarly, she considers Dorothy Dandridge to be one of her idols.

Jackson has declared herself "a very big Joni Mitchell fan", explaining: "As a kid I was drawn to Joni Mitchell records [...] Joni's songs spoke to me in an intimate, personal way." She holds reverence for Tina Turner, stating "Tina has become a heroic figure for many people, especially women, because of her tremendous strength. Personally, Tina doesn't seem to have a beginning or an end in my life. I felt her music was always there, and I feel like it always will be." She has also named other socially conscious acts, such as Tracy Chapman, Sly and the Family Stone, U2, and Bob Dylan as sources of inspiration.

In her early career, Jackson credited her brothers Michael and Jermaine Jackson as musical influences. According to Rolling Stone and MTV, other artists attributed as influences include the Ronettes, Dionne Warwick, Tammi Terrell, Diana Ross, Chaka Khan, Stevie Wonder, Teena Marie, Prince, Parliament-Funkadelic, Zapp, and Tina Turner.

Legacy and influence

The youngest sister of the "precious Jackson clan", Janet Jackson has striven to distance her professional career from that of her older brother Michael and the rest of the Jackson family. Steve Dollar of Newsday wrote that "[s]he projects that home girl-next-door quality that belies her place as the youngest sibling in a family whose inner and outer lives have been as poked at, gossiped about, docudramatized and hard-copied as the Kennedys." Phillip McCarthy of The Sydney Morning Herald noted that throughout her recording career, one of her common conditions for interviewers has been that there would be no mention of Michael. Joshua Klein wrote, "[f]or the first half of her recording career, Janet Jackson sounded like an artist with something to prove. Emerging in 1982 just as big brother Michael was casting his longest shadow, Jackson filled her albums not so much with songs as with declarations, from 'The Pleasure Principle' to the radical-sounding 'Rhythm Nation' to the telling statement of purpose, 'Control'."

Steve Huey of Allmusic asserted that despite being born into a family of entertainers, Janet Jackson has managed to emerge a "superstar" in her own right, rivaling not only several female recording artists including Madonna and Whitney Houston, but also her brother, while "successfully [shifting] her image from a strong, independent young woman to a sexy, mature adult." By forging her own unique identity through her artistry and her business ventures, she has been esteemed as the "Queen of Pop". Klein argued that "stardom was not too hard to predict, but few could have foreseen that Janet—Miss Jackson, if you're nasty—would one day replace Michael as true heir to the Jackson family legacy.".

Jackson has also been recognized for playing a pivotal role in crossing racial boundaries in the recording industry, where black artists were once considered to be substandard. Author Maureen Mahon states: "In the 1980s, Whitney Houston, Michael Jackson, Janet Jackson, and Prince were among the African American artists who crossed over ... When black artists cross over into pop success they cease to be black in the industry sense of the word. They get promoted from racialized black music to universal pop music in an economically driven process of racial transcendence." The Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge documented that Jackson, along with other prominent African-American women, had achieved financial breakthroughs in mainstream popular music, receiving "superstar status" in the process.

She, alongside her contemporaries "offered viable creative, intellectual, and business paths for establishing and maintaining agency, lyrical potency, marketing and ownership." Her business savvy has been compared to that of Madonna, gaining a level of autonomy which enables "creative latitude and access to financial resources and mass-market distribution." A model of reinvention, author Jessie Carney Smith wrote that "Janet has continued to test the limits of her transformative power", receiving accolades in music, film and concert tours throughout the course of her career.

Musicologist Richard J. Ripani identified Jackson as a leader in the development of contemporary R&B, as her music created a unique blend of genre and sound effects which ushered in the use of rap vocals into mainstream R&B. He also argues her signature song "Nasty" influenced the new jack swing genre developed by Teddy Riley. Leon McDermott of the Sunday Herald wrote: "Her million-selling albums in the 1980s helped invent contemporary R&B through Jimmy Jam and Terry Lewis's muscular, lean production; the sinuous grooves threaded through 1986's Control and 1989's Rhythm Nation 1814 are the foundation upon which today's hot shot producers and singers rely."

Simon Reynolds described Jackson's collaborations with her record producers as a reinvention of the dance-pop genre, introducing a new sonic palate. Den Berry, Virgin Records CEO and Chairman stated: "Janet is the very embodiment of a global superstar. Her artistic brilliance and personal appeal transcend geographic, cultural and generational boundaries." In July 1999, she placed at number 77 on VH1's "100 Greatest Women of Rock and Roll". She also placed at number 134 on their list of the "200 Greatest Pop Culture Icons of All Time", number seven on the "100 Greatest Women In Music", and at number two on the "50 Greatest Women of the Video Era", behind Madonna.

In March 2008, Business Wire reported "Janet Jackson is one of the top ten selling artists in the history of contemporary music; ranked by Billboard magazine as the ninth most successful act in rock and roll history, and the second most successful female artist in pop music history." She is the only female artist in the history of the Hot 100 to have 18 consecutive top ten hit singles, from "Miss You Much" (1989) to "I Get Lonely" (1998). The magazine ranked her at number seven on their Hot 100 50th Anniversary "All-Time Top Artists", making her the third most successful female artist in the history of the chart, following Madonna and Mariah Carey.

In November 2010, Billboard released its "Top 50 R&B / Hip-Hop Artists of the Past 25 Years" list and ranked her at number five. She ranks as the top artist on the chart with 15 number ones in the past twenty-five years, garnering 27 top ten hits between 1985 and 2001, and 33 consecutive top 40 hits from 1985 through 2004. Recipient of eleven Billboard Music Awards, she is one an elite group of musical acts, such as Madonna, Aerosmith, Garth Brooks and Eric Clapton, whom Billboard credits for "redefining the landscape of popular music."

In November 2014, Jackson was voted 'Queen of Pop' by a poll conducted online by VH1.com. In October 2015, she received her first nomination for induction into the Rock and Roll Hall of Fame and four years later was inducted to the Hall. Jackson's music and choreography have inspired numerous performers.Virgin Records executive Lee Trink expressed: "Janet is an icon and historic figure in our culture. She's one of those gifted artists that people look up to, that people emulate, that people want to believe in ... there's not that many superstars that stand the test of time."

Sarah Rodman of the Boston Herald remarked: "For every hand-fluttering, overwrought, melisma addict out there aping Mariah's dog calls, there's an equal number trying to match Jackson's bubbling grooves and fancy footwork, including Britney Spears, Aaliyah and Destiny's Child." Music critic Gene Stout commented she "has so broadly influenced a younger generation of performers, from Jennifer Lopez ... to Britney Spears, who has copied so many of Jackson's dance moves." 'N Sync and Usher have credited her for teaching them how to develop stage show into theatrical performance. Kesha, Toni Braxton, Aaliyah, Britney Spears, Christina Aguilera, Crystal Kay, Kelly Rowland, Rihanna, Brazilian singer Kelly Key, and Christine and the Queens have all named her an inspiration, while others such as Rozonda "Chilli" Thomas of TLC, Cassie, Nicki Minaj, Keri Hilson, and DJ/singer Havana Brown, have all expressed desire to emulate her.

Elysa Gardner of USA Today wrote: "Jackson claims not to be bothered by the brigade of barely post-adolescent baby divas who have been inspired by—and, in some cases, have flagrantly aped—the sharp, animated choreography and girlish but decidedly post-feminist feistiness that have long been hallmarks of her performance style." Adrienne Trier-Bieniek stated "scholars trace the origins of pleasure as a Black feminist commitment within popular culture to Janet Jackson" who inspired the feminist perspective found in many pop stars' careers. Those who are considered to have followed in her footsteps have been referred to as "Janet-come-lately's."

Other artists who have drawn comparison to her include Mýa, Brandy, Tatyana Ali, Christina Milian, Lady Gaga, Namie Amuro, and BoA. Sociologist Shayne Lee commented that "[a]s Janet enters the twilight of her reign as erotic Queen of Pop, Beyoncé emerges as her likely successor." Joan Morgan of Essence magazine remarked: "Jackson's Control, Rhythm Nation 1814 and janet. established the singer-dancer imprimatur standard in pop culture we now take for granted. So when you're thinking of asking Miss Jackson, 'What have you done for me lately?' remember that Britney, Ciara and Beyoncé live in the house that Janet built."

Personal life

At age 18, Janet Jackson eloped with singer James DeBarge in September 1984. The marriage was annulled in November 1985. On March 31, 1991, Jackson married dancer/songwriter/director Rene Elizondo Jr. The marriage was kept a secret until the split was announced. In January 1999, the couple separated and were divorced in 2000. Elizondo filed a multimillion-dollar lawsuit against her, estimated to have been between $10–25 million, which did not reach a settlement for three years.

From 2002 to 2009, Jackson dated music producer/rapper/songwriter Jermaine Dupri. In 2010, Jackson met Qatari businessman Wissam Al Mana and began dating him shortly after that. The couple became engaged and married privately in 2012. In 2016, Jackson announced that they were expecting their first child together. On January 3, 2017, Jackson gave birth to a son, Eissa Al Mana. In April 2017, it was announced that the couple had separated and were pursuing a divorce.

Discography

Studio albums

Janet Jackson (1982)

Dream Street (1984)

Control (1986)

Janet Jackson's Rhythm Nation 1814 (1989)

janet. (1993)

The Velvet Rope (1997)

All for You (2001)

Damita Jo (2004)

20 Y.O. (2006)

Discipline (2008)

Unbreakable (2015)

Filmography

Good Times (1977–79)

Diff'rent Strokes (1980–84)

Fame (1984–85)

Poetic Justice (1993)

Nutty Professor II: The Klumps (2000)

Why Did I Get Married? (2007)

Why Did I Get Married Too? (2010)

For Colored Girls (2010)

Tours and concerts

Headlining tours

Rhythm Nation World Tour (1990)

Janet. World Tour (1993–1995)

The Velvet Rope Tour (1998–1999)

All for You Tour (2001–2002)

Rock Witchu Tour (2008)

Number Ones, Up Close and Personal World Tour (2011)

Unbreakable World Tour (2015–2016)

State of the World Tour (2017–2019)

Janet Jackson: A Special 30th Anniversary Celebration of Rhythm Nation (2019)

Black Diamond World Tour (2020)

Concert residencies

Janet Jackson: Metamorphosis (2019)

[discovisiondreams]

Top 15 First Watches of 2020

I’ve never been good at staying current on pop culture, and that became especially pronounced in 2020. A year where most of the anticipated theatrical releases were pushed to VOD (and the price nearly tripled) meant that a lot of flicks I was excited for got added to the end of the “Maybe Someday” watchlist. 

But in this strange year, I did manage to watch 245 movies- and 195 of those were first-time watches. Some were new, only available on the (virtual) festival circuit. Some were Criterion mainstays, films I’m horrified to admit I hadn’t seen before. But this year, when movies cemented themself as my biggest joy, I began to really track what I watched- including a “top 5 first watches of the month” roundup for every month. These top 5s weren’t ranked, and weren’t even based on technical ability, strength of dialogue, or critical acclaim. They were just the 5 I loved the best. 

So without further ado, here are my top 15 of the year- one selected from the top 5 of each month, with some bonus entries thrown in as well. As a general rule, I only included features on this list- I was fortunate enough to catch shorts that streamed at Chattanooga Film Fest, Celebration of Fantastic Fest, and more, but to add them to the running would have made writing this listicle absolutely impossible. 

HONORABLE Honorable Mention: The Holiday. Inspired by the fine folks at Super Yaki, I finally watched this Nancy Meyers classic. Why is it two and a half hours long?! Why is that two and a half hours so significantly lacking in Jack Black?! The scenes that Black is in, though, really shine. This one is going to be a Christmas mainstay in the Disco household (and not just because I spent money on the DVD).

15: The Love Witch (Honorable Mention, April). This one came highly recommended to me by friends of all sorts, and like most of my 2020 first watches, I’m deeply embarrassed that it took me this long to get to it. Upon finally watching it, on a rainy Sunday, I described the movie in general (and the color palette, specifically) as “sumptuous,” which is one of the most complimentary visual descriptors I can bestow upon a movie. The plot felt a little convoluted at times, but I still found The Love Witch incredibly enjoyable and am hoping to explore more of writer-director Anna Biller’s filmography in 2021.

14: The Guest (Honorable Mention, October). The Guest is one of the few movies I watched multiple times this year- and the only one I watched twice in one week. From the sultry industrial soundtrack selections to the numerous visual nods to Halloween III: Season of the Witch, The guest was Extremely My Shit. The casting here is truly tremendous- especially Maika Monroe, who was similarly brilliant in It Follows. Also of note: Lance Reddick, one of my current favourite character actors. 

13: The Fast and The Furious (Honorable Mention, May). 2 Fast 2 Furious (and its bespoke theme song, Act A Fool, by Ludacris) came out when I was in the 6th grade. Do you remember the music and movies that entered the world when you were in 6th grade? Do you have an inexplicable zealous love for them? 2F2F was the only film in the Fast Cinematic Universe I had seen for a long, long time. Then I saw Fate of the Furious. Then I bought the series box set, as a joke?? And then, slowly but then also all at once, I genuinely started to love this franchise. Some of them are truly ridiculous. Some of them are genuinely bad. But the first one? The Fast and The Furious (2001)? Timeless. Point Break updated and adapted for the early-aughts, The Fast and the Furious walked so The Italian Job (2003) could run. Without The Fast and The Furious, Paul Walker would just be “the guy from Tammy and The T-Rex” to millions of casual cinemagoers. The cultural impact of The Fast and The Furious simply cannot be denied!! 

12: Come to Daddy (Top 5, July). Honestly, this is the exact flavor of bonkers bullshit I’ve grown to expect from Elijah Wood, and that is not an indictment. Wood’s genuine love for genre film is evident here, in what can only be described as an uncomfortable film of family, reunion, and redemption. The tense and abrasive first half gives way to a surprisingly relieving wave of violence and exposition in this critically-acclaimed flick. 

11: The Stylist (Top 5, September). The feature-length debut of writer-director Jill Gevargizian, based off her short of the same name, is female-led horror that pays homage to genre mainstays like Maniac and Psycho while still being decidedly singular. Not only shot in Kansas City, but set in Kansas City, The Stylist made my midwestern heart happy. This is one that I really, really would have loved to see in a crowded theater auditorium, were this year a different one. 

10: In The Mouth of Madness (Top 5, March). Despite being the beginning of pandemic awareness, March was a slow month for me, movie-wise (even though it’s not like I had anything else going on??). But I finally made time for this Carpenter classic, and I’m so happy I did. I’ve long been fascinated by stories about stories, and the people who find themselves trapped within those stories, and this one is truly, in the most basic sense of the word, horrifying. Sam Neill proves that he belongs in horror here, making his role in Event Horizon seem like a natural fit. Also a highlight: noted character actor David Warner, best known (to me) as “Billy Zane’s bodyguard guy in Titanic,” who never ever fails to be unsettling. 

9: Profondo Rosso (Top 5, April). Before this year, my only Argento exposure was Suspiria (which is phenomenal), but Deep Red goes off the deep end in all the best ways. The score (by frequent Argento collaborators Goblin) is truly groovy. The number of twists and turns the plot takes is kind of mind-boggling, but also delightful. Daria Nicolodi (RIP)  is at the top of her acting game here. This quickly became one of my beloved background movies- if I opened Shudder and Profondo Rosso was playing on one of their live-streaming channels, it stayed on while I was cleaning or cooking or paying bills. Profondo Rosso is a must-watch for those hoping to get into giallo.

8: Crimson Peak (Top 5, November). This one was definitely not what I was expecting, but it was GORGEOUS. I loved the world immediately (a Del Toro trademark, to be honest). As a longtime Pacific Rim stan, it made my heart happy to see Charlie Hunnam and Burn Gorman reunited under Guillermo Del Toro’s vision. 

7: Palm Springs (Top 5, August). I am not typically a time-travel movie enthusiast- but I am a sucker for witty repartee and Andy Samberg. This one made me ugly-cry, which I should probably be a bit more ashamed to admit. August had a lot of really great first watches, but the Hulu exclusive takes the cake due to its novel premise, some truly heart-wrenching reveals, and the amazing casting (is there anything JK Simmons cant do?). 

6: Scare Package (Top 5, May). Is there any format I love more than the horror anthology? While there have been so many over the years (Creepshow, All the Creatures Were Stirring), Scare Package might be my favourite of them all. A variety of fun and inventive stories combined with a genre-lovers dream of an overarching narrative make this one a must-see- in fact, it was the whole reason I bought a pass to this year’s online version of Chattanooga Film Fest. There’s a cameo here that absolutely knocked my socks off (and continued to do so even on repeat viewings). While the scares here are honestly minimal, Scare Package is a great love letter to the genre at large.

5: Do The Right Thing (Top 5, June). Yes, it took me until 2020 to watch Do The Right Thing for the first time. The palpable tension, the interwoven stories of Bed-Stuy’s residents, all seem timeless. Giancarlo Esposito is, as always, a joy to watch. 

4: Knives Out (Top 5, February). “It’s a Rian Johnson whodunnit, duh,” states the SuperYaki! T-shirt famously worn by Jamie Lee Curtis, star of Knives Out (2019). This one has received worlds of critical acclaim, I truly do not know what I could even hope to add to the conversation. I want more old-school murder mystery cinema.

3: The VelociPastor (Top 5, January). It should be testimonial enough that The VelociPastor beat out Miss Americana, Netflix’s Taylor Swift documentary, as the top pick for January- but in case it isn’t, let me end 2020 the way I began it; by evangelizing the HECK out of this movie. Written and directed by up-and-coming triple-threat (Director/songwriter/prolific cat-photo-poster) Brendan Steere, The VelociPastor is a true love letter to genre cinema, complete with a big wink to the criminally underloved Miami Connection. Alyssa Kempinski shines as Carol, a doctor/lawyer/hooker with a heart of gold. The VelociPastor premiered in 2019 but gained tons of attention in 2020 (thanks in part to YouTube sensation Cody Ko)- attention that it truly deserves. A sequel is rumored to be in the works, but mark my words, anything to come from the imagination of Brendan Steere will be worth a watch. 

2: Dinner in America (Top 5, October). I genuinely feel sorry for the other movies I watched in October (there were a lot) (they were all SO GOOD). Dinner in America, which I caught during the Nightstream hybrid festival, was not at all what I was expecting. While the other features were all very solidly genre flicks, this was…. A comedy? A modern love story?? I’mn honestly still not exactly sure, but I do know I loved every second of it. I laughed. I cried. I threw my hands up in the air exuberantly (in front of my laptop, looking like a true fool). I did not shut up about this movie online for weeks. I told anyone and everyone that Kyle Gallner is the most underrated actor of my generation and I still believe it! Dinner in America, the story of a punk band frontman who unwittingly takes refuge from the police in the home of his biggest fan, was an unexpectedly heartwarming tale of family, young love, and arson. Watch it as soon as you can. 

1: Promising Young Woman (Top 5, December). This last-minute debut from Emerald Fennell, originally scheduled to hit theaters in April of this year, finally made its way to the big screen on Christmas Day, and became the 2020 entry on my annual “Christmas Day Trip to the Theater” list.* Carey Mulligan is an icon and deserves all of the awards for this. The soundtrack is sublime. The casting choices are truly incredible. While I have no doubt that the general themes of the movie will be polarizing, I absolutely loved this one- I sat in my car in the theater parking lot for a WHILE, considering just buying a ticket for the next showtime- that’s how badly I felt like I needed to see it again immediately. I look forward to writing its inevitable Criterion essay.

*Nobody else in rural iowa was interested in seeing this movie at noon on Christmas Day. I’m shocked.

[ultraericthered]

Anime Update V2 20

Noragami Aragoto - New arc started with the reveal that Yato made a promise to Tenjin that he’d sever ties with Hiyori, but he does not want to keep that promise since it’d violate the wish Hiyori made to him. Then this Ebisu guy, clearly some dude impersonating a god of the same name, wants to literally buy Yukine off of Yato, but of course Yato ends up declining the offer. Yato being given his own miniature shrine at the end, and his sincere, tearful reaction, was incredibly touching and reminded me of why I love these characters and the bond that they share. Also, in that one part where Bishamon met with a council of unseen gods...was one of them f**king Beerus?

Hunter x Hunter - This part of the plot where Gon, Kurapika, and Leorio are climbing the mountain to reach the Zoldyck Family home honestly isn’t all that much to write about, creepiness of the family butler aside. The real fun will start when they reach where Killua is.

Fruits Basket - This might be the first time where both the 2001 anime and the 2019 anime had virtually identical episodes! While both had their own respective styles and played out some of the scenes a little differently, they both covered the exact same ground of our meeting Hatsuharu Sohma and learning about his past with Yuki after watching him fight with Kyo until Yuki falls ill. Justin Cook voices both sides of Haru’s persona very well in both dubs (he’s basically like Kagura but more in control of his wilder side when it comes out, making him more dangerous). Key dub differences was that his aggressive persona is called “Black Haru” in the first dub but “Dark Haru” in the second, and his Zodiac animal is “the cow” in the first dub but “the ox” in the second. Also, the voice acting for young Haru “exploding” at Yuki was noticably a lot better in the latter dub.

Rozen Maiden - Basically just a calm before the storm of the two-part season finale. Just more cute fun times with the Rozen Maidens, including the visiting Suiseiseki and Souseiseki, while Shinku goes quiet due to the wager she accepted from Suigintou, also getting more backstory on Rozen and his dolls, and why Shinku has come to believe that "to live means to fight". The episode ends with Shinku bidding farewell before departing for a battle that could cost her life.

Fate/Stay Night - Kirei has brought his totally shocking, not at all obvious true sociopathic villainous nature out into the open, revealing that he’s been in control of Lancer (who I legit forgot even existed, it’s been that long since he showed up) this whole time and is also in a pact with Gilgamesh that dates back to the end of the last Grail War. Kirei tries to kill Shirou but Saber comes to his rescue and heals his wounds. Lancer also turned against Gilgamesh due to having been in the dark about him but he got overwhelmed and slain by the Golden Hero. With Ilya falling ill, Saber having a new resolve to live, and Shirou learning the full truth about his father, it’s endgame time!

Revolutionary Girl Utena - This time one of Nanami’s “insect” friends who it turns out always had feelings for her big brother Touga but could never act on them due to the promise of total fealty to Nanami that she and the two others made. When she does get a moment with Touga and as consequence expelled from Nanami’s cliche by a cruel and vengeful Nanami, it makes her ideal prey for Mikage to corrupt into a Black Rose Duelist, leading to a duel that gets a fantastic punchline of Utena having no idea who this girl even is and what her deal was, she’s so secondary. And why do these episodes always end on snap-backs? Is it ever getting explained?

Love Live! Nijigasaki School Idol Club S2 - A lesser episode than the previous three (largely due to a severe lack of Lanzhu in it) but still of a notably higher quality than the usual fare of the first season. It actually brings in a very interesting dilemma - is it okay for a school idol like Ai to live it up to her fullest and have fun when her older normie friend who was such an inspiration to her is now much less active and can barely proccess fun anymore due to her illness? And as Ai’s friendly rival, where does Karin fit in? It was really nice to see play out. Ai and Karin have now formed the next subunit as a pair.

MAR - First round of the War Games concluded with Ginta fighting the big, stony Chesspiece who is also the father of the previous two Chesspieces on his team that got fought by Alviss and Jack. Ginta’s righteous fury over how repugnant the Chesspieces are in their crimes against humanity helped him win the fight, but I also liked how these Chesspieces were humanized in that they’re a family that loves each other. The dad even got so strong with so many powerful ARMs specifically to protect his two kids from harm, which inspires the kids to put more dedication into training and pulling their own weight so that they can help their dad and he won’t have to shoulder it all alone anymore. It was real sweet. Hope to see them again some time. 

AMC: Bakugan Battle Brawlers - Watched both episodes 9 and 10. Episode 9 was mostly centered on Alice, who despite not engaging in any Bakugan brawls herself, knows more about the game and all of its rules, stratetgies, and intricacies than anyone else. She, Runo, and Marucho faced off against a pair of boys wanting to help a girl they’re friends with but in a misguided way that Masquerade gave them, all while Dan and Drago are lost in the airport. Alice clearly worries that her grandfather might be the “Michael” who colluded with Naga (and he is), and also might be harboring more secrets that not even she’s aware of. Episode 10 then takes a detour to the outback where Julie lives, in an episode where Julie spends the midsection of it whining about not needing a talking Bakugran and then only gets one when she admits that she really does want one. That one is kind of weird because Masquerade doesn’t show up in it at all. We got so used to his presence as the bad guy and suddenly he’s MIA? Well it does make sense, he can’t leave Japan that easily ‘cause... reasons.

AND

Happy Sugar Life - I just........uh....OK? Wow. As deeply unsettling and uncomfortable as this show has been so far, Satou’s auntie has to be the most fucking terrifying thing to come out of it yet. I mean, no fucking wonder Satou is as messed up as she is - she was raised by this person who is a thousand times MORE messed up! Like, at first she’s kind of cute and funny in how lovey-dovey and in perpetual good spirits she is, but that exact personality fast turns into a living nightmare when she bears down on the policeman and gets all touchy-feely while psycho-analyzing him and his secret yearning to be loved, loving that she’d happily give such a “good boy!” Eeeugh, it was just so appalling to watch! But while she’s erratic crazy, Satou is calculating crazy. She went to her Aunt’s apartment on purpose not just to throw Shouko off and not expose her living with Shio, but she also knew that creeper teacher was stalking them and had called an investigation team into the matter. The kicker here is not just that she again makes the teacher piss himself in fright and get him to know his place, but she makes Shouko think that she’s been the one who’s acted like a selfish, incompatible friend to her who’d pryed into her private life (which isn’t even her private life anymore and has not been for some time!) - the magnificent bitch! Can anything stop her?

...Maybe Asahi? I mean, he can try if he were to just, y’know, show up more. I demand lots more Asahi for the next 5 episodes, stat!

AND

Shikimori’s Not Just A Cutie - My overall impression is basically this. I fucking love the titular not-just-a-cutie Shikimori herself, and the friends she’s got nice chemistry with like Neko, Hachimitsu, and “Nice Bakugo” are fun as well. But this all ought to be in service to Shikimori to make her stand on her own as a character other than just Izumi’s cute and cool girlfriend who props up his character in his plots. I wanna watch this for the badass bae, not some dweeby guy!

[scary-movies-on-netflix]

THE VAST OF NIGHT (2019)

This is brand new on Amazon Prime!  Everyone is talking about it!  It’s the hot new thing!

Basically, we’re in a small town in New Mexico.  There’s a high school basketball game going on, and we have a fast-talking local radio DJ and a teenage girl who just bought a new-fangled tape recorder.  DJ guy sounds a lot like Matthew McConaughey, star of “The Texas Chainsaw Massacre: The Next Generation” (2001).  Anyway, he walks her to the local telephone switchboard, where she helps her mother routing telephone calls through the local switchboard (that was a thing that happened, kids), and he continues on to his shift at the radio station.

Soon enough, she starts to receive calls about strange happenings and then hears strange noises over the line. She patches it to the dude at the radio station, and he plays it over the air and asks if anyone knows what it is.  Soon enough, a guy calls in and tells an eerie story about secret military projects in the desert, and he heard that same strange noise!  Shit!  He says someone in town has a copy of the noise on a tape, and the girl runs to the library to collect it.  She finds it, they listen, and play it over the air again.  Soon enough, they have another call from an old lady in town who wants to talk.

They drive over and listen to the old lady talk about her life.  Basically, when she was young she heard a woman uttering a strange language before she disappeared.  She then had a son who uttered the same language, and then he disappeared into the sky.  Soon enough, the old lady starts to talk about sky people, and the radio DJ hears enough and leaves.  After some bullshit, the girl collects her baby sister and they all end up in a field outside of town.  Then the ALIUMS appear in their spaceships!  Shit!  A nicely-rendered mothership floats majestically into the sky, much like the vessel at the climax of “Close Encounters of the Third Kind” (1977).

We then see that the basketball game has finished.  Everyone is walking or driving home.  We return to the field, where we see only the radio DJ’s tape recorder, because he, the girl, and her little sister have been abducted!  Shit!  Also, THE END.

This was…good/fine, but not without its weaknesses.  The second two-thirds of the first half does a nice job of building up UFO-related tension, as we first focus on the girl dealing with strangeness over the switchboard and then move over to the military dude calling in with his story.  Through voice alone, he manages to instill a sense of low-level paranoia and weirdness relating to secret military experiments.  This was all nicely done as far too many ALIUM movies lack any sense of horror or paranoia whatsoever.  

However, when the filmmakers attempt to repeat this in the second half with the old lady, it falls flat.  Hers is just one monologue too much, and it doesn’t really tie in with anything else.  (“Something happened to me once and now I believe in AYLMAO.”)  Overall, the characters are nice, but there’s just a little too much Aaron Sorkin-esque banter.  The first 18 minutes of the movie are just walking and talking, and a lot of that is providing overwhelming amounts of information about townspeople that we’ll never hear from again.  It's a narrative conceit, much like a few other scenes in the movie, such as the long tracking shot from the switchboard to the radio station.  The finale circles back to the strangeness, but the trip there was just a little bit too clever for its own good.

[mrsmarymorstan]

Since my Dad’s been home I’ve found myself with more time on my hands! So I thought I’d sit down and work out my predictions for the English Voice Actors for the main un-announced characters of Fruits Basket 2019! 

So in no particular order... 

Sakyiwaa Baah as Kimi Toudou

Known For: Quitterie Raffaëlli (Astra Lost in Space), Melba (Radiant) 

Technically Sakyiwaa has already appeared in Fruits basket as the voice of the Librarian, but I find it unlikely that Caitlin would only cast her as Additional Voices when she’s had speaking roles in both Radiant and Astra Lost in Space! Which are shows you should check out! 

Sakyiwaa has a very upbeat and effeminate voice that I think works perfectly for Kimi! She can do heartfelt AND wholesome, whilst still being a Queen Bee dressed in barbie pink. 

Christopher Llewyn Ramirez as Naohito “chibi-suke” Sakuragi 

Known For: Seth (Radiant),  Asahi (Free! Dive into the Future)  

Another newbie on the block! He’s been doing great work as Seth on Radiant! Whilst Seth is definetly more of a joker than Naohito, I think Christopher has the vocal tones to pull off a more strained and tense character. I can definitely imagine him yelling at his senpai to take him seriously and to NOT call him SHORT!!!!! 

Alejandro Saab as Kureno Sohma 

Known For: Inspector Tsukauchi (My Hero Acadamia),  Takezo Kurata (Kono Oto Tomare! Sounds of Life) 

Alejandro has a really soft tone to his voice that I think would work perfectly for Kureno! He can hold a sadness and seriousness in there, but his normal speaking voice has a much more humours tone to everything! He usually seems to play the “every man” but I think that’s what works for Kureno! And anymore I say about him would be a spoiler.... 

Monica Rial as Mine Kuramae 

Known For: Everything Ever  Bulma (Dragon Ball), Tsuyu Asui (My Hero Academia) 

Mine is one of the very few characters shown in the 2001 series who hasn’t yet made an appearance in the reboot! Unless you count the Second OP for about 2 seconds... So whilst there’s a chance they’ll get back Amber Cotten, I think a re-cast is more likely. Monica has such a wonderful an expressive voice, with perfect comic timing! I think she’d be perfect for Mine! She can also hit all the emotional beats with unexpected force, again, exactly what you need for Mine! Plus she’s acted alongside Sabat a LOT over the years (the Bulma to his Vageta) and so they’ve developed good chemistry together! 

Mark Hamill as Ren Sohma 

Known For: The Joker (Batman: The Animated Series),  Fire Lord Ozai (Avatar The Last Airbender) 

I was really struggling with this one, it has to be said. I first thought that Trina Nishimura would be good since her and Colleen Clinkenbeard have very similar vocal tones! However Caitlin obviously thought the same and cast her as YOUNG Akito. So that fell through. I almost gave up and said “Daman Mills” since every time I don’t know who a voice actor is it’s USUALLY him. 

But no, after a conversation with @lesbiankiliel​ we realised that there could only ever be ONE person for the role... the voice actor who has become synonymous with evil, maniacal bastards you want to punch in the face and lock up forever and a day... Mark Hamill! 

Seriously, who is Ren if not the result of a horrific gene splicing incident between Ozai and The Joker? Come on guys! He’d be PERFECT! 

Brandon McInnis as Kunimitsu Tomoda

Known For: Sir Nighteye (My Hero Academia), Yuu (Stars Align) 

It’s Brandon’s normal speaking voice that I think would be just perfect for Kunimitsu! It’s light hearted, kind and soft with a slight edge that can come in. I honestly don’t really have anything else to say about it... they both look like they’d be “the cute one” from a 90s British Boyband. And they’re both gay. 

Lindsay Seidel as Komaki Nakao 

Known For: Nagisa (Assassination Classroom),  Nejire (My Hero Academia)

TECHNICALLY Lindsay has already been in Fruits Basket as one of the Arisa Fangirls, but it wouldn’t be the FIRST time a Voice Actor has racked up two credits in one series! 

Lindsay has an inherently LIKEABLE tone to her voice, which I think is what Komaki needs. We’re asked to hold a lot of sympathy for her after a few short time knowing her! Plus she has good chemistry with Aaron so I’m sure they could make a very believable lovey-dovey couple in just a few lines! 

Zeno Robinson as Katsuya Honda 

Known For: Hawks (My Hero Academia),  Cyborg (Young Justice: Outsiders) 

Okay, this is my wild card entry. Zeno pretty much has 2 named Voice Acting roles and those are the ones listed above. Katsuya is quite a hard character to pin down, to be honest. And leaving aside all of the questionable, problematic elements to his character what Katsuya needs is charm! And Zeno has that in buckets! He’d give us a very unexpected and fresh feeling Katsuya, one you can truly believe Kyoko would fall in love with so quickly. 

I don’t think his casting is all that likely (not like Mark Hamill who is perfect) but I’d LOVE to see him taking a shot!