#I get the appeal of comedy antics but there is only so much of this I'm willing to take

[tofixtheshadows]

Whenever another Labru shipper can only conceive of their relationship as Laios driving Kabru crazy and Kabru constantly wanting to strangle Laios but also wanting to fuck him I'm like. That's nice. I like to imagine them being mutually attracted to each other and also enjoying one another's company the way they do in the manga.

[reluctantjoe]

Mathew Baynton: ‘I sometimes think the culture wars only happen in people’s minds’

As he prepares to play Bottom at the RSC, the Ghosts star talks about why making comedy in the UK is no laughing matter

Before I meet Mathew Baynton I’m half expecting to encounter a version of the Regency poet he played with such expressive romanticism in the BBC’s exquisite hit sitcom Ghosts. Or the flamboyant rapping Charles II, just one of the many historical characters the collective reimagined with antic gusto in the children’s TV series Horrible Histories. Or even the fabulously reptilian Mr Fickelgruber from the recent blockbuster hit Wonka. In other words, surely an actor renowned for playing delicious Technicolour caricatures would be a bit outsized himself?

Instead when we meet at the RSC rehearsal studios in Clapham, Baynton slides along the wall as though trying to disappear into the paintwork. “I don’t like entertaining people socially,” he says apologetically. “At a recent wedding I was too shy to dance. I’d have no hesitation dancing my socks off in a show and looking very silly, but not at a wedding thank you very much.”

Baynton, 43, is about to play one of the silliest characters in the western canon, Bottom, the hapless, deluded wannabe actor in A Midsummer Night’s Dream at the RSC. It’s Baynton’s first theatre gig in 10 years. The reasons he hasn’t trod the boards for so long are perhaps predictable – the combination of screen and family commitments, he says: he has two children, 12 and eight, with his partner, the film historian Kelly Robinson. But also perhaps because no other stage role until now has made him think that “if I said no, I might spend the rest of my life wondering if I’d made a massive mistake”.

He’s been relieved to discover the Mechanicals, the amateur acting troupe of whom Bottom is arguably the least talented, are not the “beer-swilling rotund yokels with West Country accents” he remembers from mediocre productions in his youth. “My feeling with Bottom is that someone once said to him he was quite good at acting, and that’s been enough to make a monster out of him. He has precious little experience but just enough to make him think he can do it all. My Bottom will be ridiculous. But there is a real sweetness to his enthusiasm.”

Baynton is very good at finding the sweetness in the patently ridiculous. It’s there in Ghosts (which he co-created) about a mismatched bunch of spectral beings trapped together in a crumbling old house and whose final episode after five seasons last Christmas attracted 6.6 million viewers. There was an endearing bumbling charm to his pathologically helpless Berkshire county council worker Sam Pinkett in the 2013 cult sitcom The Wrong Mans, which he developed with James Corden. Even Fickelgruber wasn’t too menacing.

Surely, though, he would have been even better casting as Wonka himself? “Er, I don’t quite have the global reach of Timothée Chalamet,” he splutters. “Although, a bit like Bottom, I always think: I’d have a go at that!” He adores the way the film embraces old-fashioned spectacular storytelling. “It’s lovely to see budget being used for big choreography and lots of people dancing in a town square, and not just explosions and fights which are usually the things budget buys.”

He deplores, though, how hard it is now to get original family blockbuster entertainment greenlit. “I grew up in a golden era of that sort of thing – ET; Back to the Future. These days you can’t do anything in that area that doesn’t have existing IP. You need to give the financiers a pre-existing brand. You can’t say ‘I’ve written this idea about this kid who is friends with a crazy scientist’ and hope to make it into a big film. And that is very sad.”

You can, though, just about, still pitch original ideas with cross-generational appeal to TV. Ghosts was a rare example of a TV sitcom that enthralled adults as much as it did their children. What’s more, it did so with almost surreal placidity. In a cultural climate that seems to trade on people being as loud and divisive as possible, Baynton’s faith in an inclusive gentle comic mayhem feels positively subversive.

“Everything these days is designed to agitate because agitation is the quickest way to get someone’s attention,” he says dispiritedly. “In season two of Ghosts, we had an episode featuring a gay marriage, much to the outrage of Lady Button. But eventually she realised that the unhappiness in her own marriage stemmed from her sexually repressed homosexual husband. Softly softly, there is a thesis there. Which is that if we could just put our f---ing phones away and sit down with each face to face and talk, then [these polemical attitudes] will loosen.”

Baynton grew up in Southend, the youngest of three brothers, and spent an awful lot of time watching Monty Python and Dad’s Army with his father. He attended Rose Bruford College and then trained in clowning at the Ecole Philippe Gaulier in Paris. His first major professional success was Horrible Histories, which ran for five years from 2009; around the same time he started working with James Corden. 

“We immediately hit it off,” Baynton tells me. “We were laughing at similar things,” Corden wrote him a part in Gavin and Stacey and Baynton then approached him with the idea for The Wrong Mans. A classic British sitcom pretending to be a Hollywood thriller, in which two jobsworths find themselves inadvertently embroiled in a fast-spinning web of crime and conspiracy, like much of his work it’s quietly radical.

“I had this bee in my bonnet about how comedy at the time was never allowed to have high production values. You had single-camera family sitcoms and you had brightly lit studio sitcoms but never anything that looked like a Coen brothers movie because the budgets are so low. So we thought, if we write something along those lines with James in it, maybe someone would take a punt. But the BBC said they couldn’t afford it. They said, either you rewrite it, or we junk a lot of it. So we went to America. In the end, it became one of the first America/UK co-productions [it was a co-production between BBC Two and the US streaming platform Hulu]. And that’s now become a widespread model.”

Baynton seems to be permanently busy: he’s currently writing a comedy film, which he can’t discuss, and this year will appear in the BBC’s forthcoming adaptation of Holly Jackson’s young adult thriller A Good Girl’s Guide to Murder. He worries, though, for the future of comedy on TV. “For the sixth year running Ofcom has labelled scripted comedy [at the BBC] to be at risk,” he says. “The amount being produced is at an all-time low. I know commissioners wish they could commission more, but for whatever reason they aren’t given the budgets. Which is mad when you think about how much comedy means to people over other sorts of programmes. No one puts ‘good sense of drama’ on dating apps.” Does he think comedy has become a casualty of the culture wars in which people are increasingly fearful of causing offence?

“You might think that if you only paid attention to the culture wars,” he says. “I sometimes think the culture wars only happen in people’s minds. Comedy is wide enough to accommodate many voices. And if you just get out there and go to a comedy gig, you will see brilliant people being funny all the time.”

[the-rewatch-rewind]

My love for this movie is difficult to express, but here is my attempt.

Script below the break

Hello and welcome back to the Rewatch Rewind. My name is Jane, and this is the podcast where I count down my top 40 most frequently rewatched movies in a 20-year period. Today I will be talking about number three on my list: Paramount Pictures, Guber-Peters Company, PolyGram Pictures, and Debra Hill Productions’ 1985 comedy mystery Clue, directed by Jonathan Lynn, written by John Landis and Jonathan Lynn based on the board game Cluedo designed by Anthony E Pratt, and starring Eileen Brennan, Tim Curry, Madeline Kahn, Christopher Lloyd, Michael McKean, Martin Mull, and Lesley Ann Warren.

Six strangers are invited to an ominous, secluded mansion to meet the man who has been anonymously blackmailing them. But someone wants to protect their secret badly enough to kill for it, and as the bodies begin to pile up, the butler, maid, and guests race to discover the culprit before the police arrive.

I grew up in a board game playing family, so I learned how to play Clue soon after I learned how to read. We also had a slightly more complicated version of the game called Master Detective, which had more possible suspects, weapons, and rooms and included a couple extra features, and that has pretty much always been my favorite board game. What I particularly loved about it, especially as a child who never had much hope of beating my parents at games that required any skill, was that it was fun regardless of who the winner ended up being. I just liked seeing how close I could get to the solution before someone else inevitably solved it. I remember my parents mentioning that there was a movie version of Clue that had three different endings, and that they had seen Ending B in a theater, which confused and intrigued me.

The first time I ever watched this movie was when it happened to come on TV when I was visiting my grandparents. I think I was around 10 years old, and I actually thought it was kind of scary. Watching seven murders take place in a creepy old house was a bit much for me. But even then, there was something about it that grabbed me. The characters were all kind of despicable, and yet I liked them. I wanted to see more from them. So we started renting this movie from our local Hollywood Video, over and over again, and eventually we bought it on VHS and later on DVD. Once I got over my initial fright and started appreciating it as a brilliant comedy, I could not get enough of this movie. I can’t even begin to guess how many times I watched Clue before I started tracking my views in 2003, but I know it was a lot because every moment of the movie was already committed to my memory. If I was ever bored, I could close my eyes and play the film for myself with the projector of my mind. I wrote out the entire script so I could count how many words each character spoke. I used toys to act out the entire movie, along with the only person I knew who was more obsessed with Clue than I was: my brother, who was also fascinated by these characters and their antics, although as a preschooler he certainly did not fully understand the plot. But that was fine because ultimately, this movie’s appeal is not its plot, which is basically nonsense; it’s the ensemble. And it was so great having somebody close to me who understood that the same way I did. I think the rest of our family liked this movie too, but they definitely ended up watching it way more than they would have without my brother’s and my insistence.

My need to rewatch this movie was already beginning to wear off before I started keeping track, since the whole thing already lived rent-free in my brain, but even so, I watched it six times in 2003, four times in 2004, once in 2005, three times in 2006, twice in 2007, once in 2008, once in 2009, four times in 2010, twice in 2011, once in 2012, three times in 2013, once in 2014, twice in 2015, once in 2016, once in 2017, once in 2018, and once in 2021. I think part of why I’ve been watching it less in recent years is because ever since 2016, when I’ve felt like watching something like this, I’ve tended to watch Poe Party instead of Clue. But that’s not to say that I don’t still absolutely love Clue. I’ve just seen it enough that I don’t need to actually sit down in front of a screen to experience it.

One thing that I learned relatively recently that explains a lot is that apparently, Jonathan Lynn screened the movie His Girl Friday for the cast of Clue to demonstrate the feel he wanted for this movie. Even though Clue was made in the 1980s, it takes place in the 1950s, and was intentionally mimicking the style of fast-talking screwball comedies from the 1930s and ‘40s. So while I still consider watching Singin’ in the Rain in 2002 my proper introduction to Old Hollywood, falling in love with Clue a couple years earlier really prepared me to fall in love with old movies. Characters who look glamorous and sophisticated but are actually goofballs getting involved in ridiculous situations is my jam, and Clue takes what classic screwballs did with that to a whole new level. The script brilliantly combined several different types of both old-fashioned and updated comedy, and the perfect cast brought it to life in the best possible way. I don’t know if the His Girl Friday screening had any real impact, but regardless, every member of the cast fully understood the assignment and absolutely crushed it. A big part of what makes this movie so rewatchable is that everybody is so on all of the time that it’s fun to focus on what they’re doing in the background. Martin Mull is an amazing confidently clueless Colonel Mustard. Lesley Ann Warren gives Miss Scarlet just the right amount of sass. Christopher Lloyd makes Professor Plum sleazy enough that we get the picture without it ever getting too uncomfortable. Eileen Brennan nails Mrs. Peacock’s barely-holding-it-together-but-can-still-judge-you temperament. Mr. Green is accident prone which means he brings in the physical comedy, and Michael McKean fully commits to it. Of the main characters, Mrs. White has the fewest lines, but Madeline Kahn makes her presence known, doing absolutely everything possible with what she’s given, and improvising one of the greatest, funniest speeches in movie history. Jonathan Lynn discouraged improvisation on the set in general, but Kahn going on and on about the flames on the side of her face was too hilarious not to include. This devotion to delivering the lines exactly as written meant that Tim Curry as the butler Wadsworth, who ultimately figures out what happened and explains the whole thing, had to basically memorize a dictionary, and he killed it and I love him for it. When I was younger, I used to think I had a crush on Wadsworth, but I eventually came to realize that I just wanted to be Wadsworth, with the confidence to solve a puzzle and the eloquence to explain the solution in a highly entertaining, if long-winded, way.

The supporting cast is also excellent, and I wish that we could have seen more from them. Lee Ving’s name alone made him the perfect murder victim, but I also love the way he plays Mr. Boddy as sort of a cool mobster type of guy. Colleen Camp as the voluptuous, scantily clad maid Yvette is almost a throwaway joke of a character, but Camp manages to make her seem like a real person, or as real as any of these other ridiculous characters anyway. When I took French in high school and we all had to pick a French name, I chose Yvette because of this movie, even though I never even remotely identified with this character. Bill Henderson as the cop is an excellent straight man for the shenanigans with the bodies, which is either one of the funniest or most disturbing parts of the film, depending on how you look at it. Jeffrey Kramer, Kellye Nakahara, and Jane Wiedlin barely had anything to do, but they made their brief moments as memorable as possible. Basically, as fun as the script is, this movie would not have worked without an incredible cast, and thankfully, it has that. In some ways I wish the actors had been allowed to play around a bit more because then maybe we could have gotten other moments as epic as the flames speech, but at the same time, I feel like the pressure to say everything exactly as written in long takes added to the stress the characters were meant to be feeling. And the script is full of great jokes and excellent banter; it’s just that since the mystery aspect doesn’t really track anyway, I feel like the director could have let the actors have more fun with it.

I understand that they were trying to use the multiple endings to represent how the game is different every time, and also as a bit of a publicity stunt, but it kind of backfired. Theater-going audiences found it confusing, and the movie initially flopped. Thankfully with the home video version that included all three endings, Clue eventually did gain the cult following it deserves. But the problem is, in trying to accommodate three different solutions, the mystery gets lost in the middle, and none of the endings actually track. Yvette’s death is the part that makes the least sense – we clearly see that Mrs. Peacock and Mrs. White were both elsewhere seconds beforehand, so endings B and C don’t work, and in ending A Yvette was working with the killer so what she says right before she is killed doesn’t make any sense. For all of Wadsworth’s explanations, each ending leaves many unanswered questions, and they kind of draw attention to this in two of the endings, with one character saying, “There’s still one thing I don’t understand” and somebody else interjecting, “ONE thing?” Clearly this was meant to be a comedy rather than a serious murder mystery, but I do feel like if they weren’t trying to be so gimmicky, they could have made the mystery part work too (see Poe Party). Although in some ways, I kind of love that Clue doesn’t make sense. It feels perfectly consistent to have these characters who are pretending to be serious and dignified when they’re really all very silly people get caught up in a murder mystery with three endings that don’t work. When I point out Clue’s plot holes, it’s more like gently ribbing a friend than cinematic critique. I have to analyze the flaws in the story because of who I am as an overthinker, but I don’t think the flaws make it bad; if anything, they increase my enjoyment of the movie. It’s like a game: spot all the inconsistencies, and then realize that none of them matter. Because ultimately, fans of this movie aren’t here for the story; we’re here for the cast and the vibes. I don’t really know how to describe it, but while there are certainly other fun mystery-parody-type comedies out there, none of the others I’ve seen has quite the same tone as Clue, and that’s another reason I keep rewatching it.

And from an aroace perspective, Clue is great because there really is no love story. I mean, people mention spouses and affairs, and jealousy is floated as a possible motive for murder, but none of the characters that we see fall in love with each other during the course of the movie. Professor Plum does hit on Miss Scarlet a bit, but her reaction is very, “What the hell is wrong with you? We have way more important things to worry about right now.” When the cop shows up, in order to prevent him from finding out about the murders, some of the characters pretend to be making out with the bodies as if they’re alive, which is very weird on many levels, but it’s kind of a great illustration of the ridiculousness of allonormativity. If the cop had looked twice at them he would have noticed something was off, but of course adults at a party are going to be making out, nothing to see here, moving on. I always thought this part was hilarious when I was younger, and now that I understand my identity better I can articulate my appreciation for the way this movie portrays people who are focused on romance as the weird ones. Obviously that’s specific to this situation – like, I think most alloromantic people would agree that being locked in a murder house is not the best time to pursue romance. But aromantic stories are so rare that I’ll take whatever I can find. When Clue mentions sex, it’s usually either as a punchline (“Life after death is as improbable as sex after marriage”) or part of a motive, since most of the blackmail victims are being blackmailed for something to do with sex. The sexual content is mostly in the background, adding to the vibes without pulling too much focus, kind of like some of my favorite classic films noirs. And this whole movie is so silly that I don’t feel like the sexiness is really meant to be taken seriously. Asking how an asexual person could possibly enjoy a film filled with so many blatantly allosexual characters would be just as ridiculous as asking how a person who had never killed anyone could possibly enjoy a film filled with so much murder. These characters clearly weren’t meant to be too relatable. But I still appreciate getting to see them on an evening when they’re at least mostly focused on things besides romance and sex.

I know I keep going on about how this movie is just silly fun, but one aspect that I do think was meant to be taken kind of seriously is the satirical criticism of McCarthyism. The exaggeratedly horrified gasps in response to Wadsworth's revelation that his wife had friends who were socialists is funny, but also, people’s lives were legitimately ruined because of that attitude. The only line that all three endings have in common is “Communism is just a red herring,” which is relevant to the movie because characters were trying to tie the murders into Cold War-related motives that ended up being irrelevant, but also kind of describes how trying to stop communism was used as an excuse for atrocities that didn’t always have much if anything to do with communism. It’s a little odd to stick that message in this movie, and I don’t exactly know why it’s there, but I like the way it adds to the Old Hollywood connection. Filmmakers in the 1950s had to be very careful about the messages they put in their movies, and what they said outside of their movies, for fear of being blacklisted as suspected communists, so it seems fitting that this movie set in the 1950s would be calling that out. Although there were very much still Cold War tensions in the 1980s as well, which is perhaps why this message is all but buried in silliness. And maybe I’m wrong and this aspect was meant to be silly as well, but it feels rather pointed to me, so I wanted to bring it up as one of the many fascinating aspects of this film.

I truly believe that Clue is a great movie that has something for everyone, and highly recommend it to anyone listening who hasn’t seen it, but at the same time, I am incapable of separating the movie from my own nostalgia. I can’t imagine what I would think of this movie if I watched it today for the first time because I would be a fundamentally different person if I hadn’t seen Clue a zillion times when I was young. Not only did it inform my taste in movies going forward, but it also shaped my understanding of the world, in a way. I think like most children, I once assumed adults knew what they were doing, but this movie showed me a bunch of adults who didn’t have the slightest idea, which was simultaneously terrifying and comforting. It also changed the way I talked, because I used to quote this movie constantly. I do it less now, but there was a time when instead of “I wasn’t talking to you” I would always say, “I was asking Miss Scarlet!” Or when somebody was looking for a key, I’d go, “Never mind about the key; unlock the door!” If anybody said, “Maybe…” with a long pause, I’d have to follow it with “Mr. Boddy killed the cook!” And similarly, “Oh who cares?” always had to be followed by, “That guy doesn’t matter! Let him stay locked up for another half an hour! The police will be here by then, and there are TWO DEAD BODIES IN THE STUDY!!!” And if anyone got confused about numbers, I’d helpfully chime in, “Even if you were right, that would be one plus one plus two plus one, not one plus two plus one plus one.” I could go on, but I’d end up quoting the whole movie, because I’m pretty sure I’ve managed to work every single line into a non-Clue-related conversation at least once. Often people just stare at me blankly, but it’s fun quoting it to my siblings because they usually respond with the next line, and we can go through whole scenes if nobody stops us. I have so many fun memories of reciting and analyzing this movie with them, arguing about things like whether Mr. Boddy says, “It’s only glass” or “It’s hunky glass” about the conservatory wall – it’s definitely “only” but my sister will not be convinced. Memories of my little brother adorably misunderstanding lines, thinking that Mrs. White’s husband had a “big fair” with Yvette, or that Mrs. Peacock said, “Oh I got a horse!” instead of “Oh my god of course!” or that blackmail was what those dark brown UPS trucks delivered. At one point, I wrote a script for Master Detective, which had the same basic premise as Clue – a bunch of blackmail victims congregated in a house to confront their blackmailer and his accomplices – but made even less sense. I didn’t back it up so it disappeared when that computer died, thankfully, but I still remember enough of it to cringe about. Since all the suspects had color names, I decided all the murder victims needed themed names as well, so I named them all after body parts to go with Mr. Boddy and thought I was so clever. I don’t remember most of them anymore, but I know there was a Mr. Elbow and a Mrs. Toenail. I also remember at one point I wrote in the directions something like, “It’s so quiet you could hear a pin drop. In fact, Miss Peach drops a pin” and again was delighted by my own cleverness. My brother and I used to act it out with toys, and one time, after the dead body of the butler had been thrown out the window for some reason right before somebody else was arriving, my brother was being silly and had the new person pick up the dead body and say, “I brought your butler back!” seemingly without realizing that the butler was dead, and I thought that was so hilarious that I added it into the script, and it’s still my favorite part that I remember. It was a bad script, but in my defense I was very young, and anyway my point is, Clue inspired me to be creative in a fun way, without worrying about taking my work or myself too seriously, which is the attitude I’ve tried to take into making this podcast.

I feel like there is so much more I could say about Clue, but it’s hard to find words to adequately express how deeply I love this film. It feels wrong to call this a “comfort movie” when there are so many murders in it, but somehow it does feel comforting. It’s like an old friend, whose jokes I’ve heard a hundred times but still make me laugh, whom I love in spite of, and in some ways because of, their flaws. I know not everybody is into movies the way I am, but I think everybody needs at least one story or piece of art that they feel that way about. Not that experiencing art is a substitute for real friendship, but art is a form of human expression and connection that I think we all need in addition to relationships. And yes, I consider Clue to be a work of art. It’s a frickin masterpiece.

Thank you for listening to me discuss another of my most frequently rewatched movies. I fear these episodes are becoming less coherent as I get into my top films that I can’t even with, but I hope they’re still enjoyable. Next up will be my second most rewatched movie, which I have seen 37 times in its entirety even though it is by far the longest movie in my entire top 40. As always, I will leave you with a quote from that next movie: “Shelves in the closet. Happy thought indeed.”

[deusexlachina]

Feels like blasphemy but Infinity Train might have dethroned Garden Wall as my favourite cartoon. First season is quite good, but starting in the second season it's crazy good. So far it feels like the seasons get darker as they go. Haven't finished the third season yet, no idea about the fourth one.

The characters are in pretty tight competition for who's best, but a few truly stand out. Cat's my favourite in S1, with Atticus as a very very close second; MT's my favourite in S2, and Grace is my favourite in S3. Which is good because MT and Grace are the protagonists. You're supposed to enjoy the protagonists. They should be fun. They're not just there to be boring relatable everymen. I promise.

The only recurring characters I can take or leave are One-One and Randall. They're not horrible, but they're not as funny as the writers seem to think (whereas the other comedy is quite strong), and their antics mostly just undercut scenes with other, better characters. I wonder if that's intentional (or subconscious), avoiding the show getting too heavy. I feel like this is the kind of character kids might like more than adults. Too much kid appeal in this kid show, thinks grouchy grump for the dozenth time.

[smokeandrosemary]

With what we’ve seen so far as an audience, we know that Izzy Hands is far from stupid.  He’s cunning enough to play a long game to it’s conclusion, to get Ed out of trouble every single time it comes to call.  He’s wicked smart, or he wouldn’t have survived this long.

But to see this man desperately cling to the idea of his god is damn near painful.  OFMD is a clear rom-com in many places, but played from the POV of Izzy it’s a tragedy in two parts.

  The first part is what we’ve already seen in season 1.  OFMD goes dark in places, but we only see glimpses of the person Ed was before he met Stede--a man who burned entire ships with the crew still onboard, a man who loves a good maim and takes no shit from anyone.  Izzy has fought next to that Blackbeard for years, and he respects him so much that he will do anything to protect him.  He engages with Ed in the only way he knows how, in the only way that is allowed in his world--you can fight and die for each other, but vulnerability is weakness.  Kindness and stupidity are the same damn thing, and they’ll both get you killed.  Izzy has built his world around Blackbeard, and seeing Ed on the Revenge throws his entire universe off its axis.

  In a matter of days, Izzy is watching the legendary Blackbeard dress up in frilly shirts and spend all his time with a silly little dandy who doesn’t know port from starboard.  The logic of the universe has imploded, and instead of being a real pirate, Blackbeard is reduced to cartoon antics and domesticity.  To be a pirate is to go against the grain of acceptable society, but as far as Izzy can see there is a right way to go against the grain.  Stede and his crew implode that worldview. Their lack of respect for everything he holds dear is made all the worse by a few things: open queerness, for one, shown by his targeting of Lucius almost as soon as they meet.  The other is the Muppet logic we all know and love.  By nature of it’s comedy, OFMD makes fun of the gritty pirate genre that Izzy lives in, and it pisses him off. So. Bad.

  The pressure of all this sends him into Dramatic Homoerotic Mode, in all it’s “and they were roommates” glory.  Look at his fighting during the duel on the Revenge: he’s absolutely ruthless, striking like a snake. He wants Stede dead, and he runs the little shit through because when you get stabbed you’re supposed to die.  That’s how the world works.

Except that it doesn’t.  Stede fucking Bonnet dodges a stab in the gut and comes out the other side unscathed.  Again.  So Izzy decides to outsource to someone he knows can’t be easily swayed by the twilight zone: the Royal Navy.  Piracy was deeply illegal in 1717, the Navy would down a ship without hesitation for flying Blackbeard’s flag.  Think how desperate he must have been to sell out to an enemy like that.  He risked his own neck betting that they would want Stede Bonnet more than they’d want Blackbeard’s right hand man.

  In his mind, getting rid of Stede will solve the problem at hand: his god is disappearing in front of his eyes, but he can’t look away.  He has to watch the man he loves turn into something unrecognizable.  And then finally, finally, it seems to be over.  Calico Jack will appeal to Blackbeard’s sense of nostalgia and get him out while Stede gets shot (can’t dodge a firing squad, eh Bonnet?) and dies like he was supposed to all along.  The world will return to it’s axis.

  Instead, the legendary Blackbeard stands in front of his boyfriend with naked fear in his eyes and screams for grace.  Like a coward.  Like a stranger.  Then the beard is shaved away (the SYMBOLISM I SWEAR), Ed becomes a weeping widow, and Izzy loses his mind. 

It’s no surprise that after all that, Izzy is in absolute religious bliss when his Ed “returns” to him with an act of violence so brutal, so familiar.  Stede is gone.  Blackbeard is Blackbeard again.  The world makes sense to this crooked little man, for now.

Season 2 Izzy may see that his Blackbeard is back, but his loyalty may have cost him everything.  Stede is gone, but the problem remains--Ed has changed, no matter what mask he throws on.  He’s experienced a world that he so desperately wanted to be a part of, a world of marmalade and fine fabrics and melon spoons and Stede.  And thanks in part to Izzy, that world is gone.  He’s been left the jilted widow.  As heartbreaking as it was, I think seeing Ed’s absolute grief at that loss gives us hope that he does want it all back--no matter how many bridges he’s trying to burn along the way. 

Izzy Hands is not a stupid man.  He will see Blackbeard engage in his expected duties of cruelty and rage, and I think that will bring him joy for a while.  Despite that, Ed will slip further away from him after everything that’s happened. 

The thing is, Ed will slip away as someone recognizable this time, as “himself”, and Izzy will be forced to realize that Stede Bonnet was not the whole problem.  Ed has changed course on a fundamental level, and Izzy will see his god choosing to abandon him after every act of devotion, after all his efforts and all their history.

I’ll just...leave that here.

[xoruffitup]

Annette: The AD Devotee Review

So I saw Annette on its premiere night in Cannes and I’m still trying to process and make sense of those 2.5 hours of utter insanity. I have no idea where to begin and this is likely going to become an unholy length by the time I’m finished, so I apologize in advance. But BOY I’ve got a lot to parse through!!

Let’s start here: Adam’s made plenty of weird movies. The Dead Don’t Die? The Man Who Killed Don Quixote? There are definitely Terry Gilliam-esque elements of the unapologetically absurd and fantastical in Annette, but NOTHING comes close to this film. To put it bluntly, nothing I write in this post can prepare you for the eccentric phantasmagoria you’re about to sit through.

While the melodies conveying the story – at times lovely and haunting, at times whimsical, occasionally blunt and simple – add a unique sense of the surreal, the fact that it’s all presented in song somehow supplies the medium for this bizarre concoction of disparate elements and outlandish storytelling to all coalesce into a single genre-defying, disbelief-suspending whole. That’s certainly not to say there weren’t a few times when I quietly chortled to myself and mouthed “what the fuck” from behind my mask when things took an exceeding turn to the outrageous. This movie needs to be permitted a bit of leeway in terms of quality judgments, and traditional indicators certainly won’t apply. I would say part of its appeal (and ultimately its success) stems from its lack of interest in appealing to traditional arbiters of film structure and viewing experience. The movie lingers in studies of discomfiture (I’ll return to this theme); it presents all its absurdities with brazen pride rather than temperance; and its end is abrupt and utterly jarring. Yet somehow, at the end of it, I realized I’d been white-knuckling that rollercoaster ride the whole way through and loved every last twist and turn.

A note on the structure of this post before I dive in: I’ve written out a synopsis of the whole film (for those spoiler-hungry people) and stashed it down at the bottom of this post, so no one trying to avoid spoilers has to scroll through. If you want to read, go ahead and skip down to that before reading the discussion/analysis. If I have to reference a specific plot point, I’ll label it “Spoiler #___” and those who don’t mind being spoiled can check the correlating numbers in my synopsis to see which part I’m referencing. Otherwise, my discussion will be spoiler-free! I do detail certain individual scenes, but hid anything that would give away key developments and/or the ending.

To start, I’ll cut to what I’m sure many of you are here for: THE MUSICAL SEX SCENES. You want detailed descriptions? Well let’s fucking go because these scenes have been living in my head rent-free!!

The first (yes, there are two. Idk whether to thank Mr. Carax or suggest he get his sanity checked??) happens towards the end of “We Love Each Other So Much.” Henry carries Ann to the bed with her feet dangling several inches off the floor while she has her arms wrapped around his shoulders. (I maybe whimpered a tiny bit.) As they continue to sing, you first see Ann spread on her back on the bed, panting a little BUT STILL SINGING while Henry’s head is down between her thighs. The camera angle is from above Ann’s head, so you can clearly see down her body and exactly what’s going on. He lifts his head to croon a line, then puts his mouth right back to work. 

And THEN they fuck – still fucking singing! They’re on their sides with Henry behind her, and yes there is visible thrusting. Yes, the thrusting definitely picks up speed and force as the song reaches its crescendo. Yes, it was indeed EXTREMELY sensual once you got over the initial shock of what you’re watching. Ann kept her breasts covered with her own hands while Henry went down on her, but now his hands are covering them and kneading while they’re fucking and just….. It’s a hard, blazing hot R rating. I also remember his giant hand coming up to turn her head so he can kiss her and ladkjfaskfjlskfj. Bring your smelling salts. I don’t recommend sitting between two older ladies while you’re watching – KINDA RUINED THE BLATANT, SMOKING HOT ADAM PORN FOR ME. Good god, choose your viewing buddy wisely!

The second scene comes sort of out of nowhere – I can’t actually recall which song it was during, but it pops up while Ann is pregnant. Henry is again eating her out and there’s not as much overt singing this time, but he has his giant hands splayed over her pregnant belly while he’s going to town and whew, WHEW TURN ON THE AIR CONDITIONING PLEASE. DID THE THEATER INCREASE IN TEMPERATURE BY 10 DEGREES, YOU’RE DAMN RIGHT IT DID.

Whew. I think you’ll be better primed to ~enjoy~ those scenes when you know they’re coming, otherwise it’s just so shocking that by the time you’ve processed “Look at Adam eating pussy with reckless abandon” it’s halfway over already. God speed, my fellow rats, it’s truly something to witness!!

Okay. Right. Ahem. Moving right on along….

I’ll kick off this discussion with the formal structure of the film. It’s honestly impossible to classify. I have the questionable fortune of having been taken to many a strange avant-garde operas and art exhibitions by my parents when I was younger, and the strongest parallel I found to this movie was melodramatic opera stagings full of flamboyant flourishes, austere set pieces, and prolonged numbers where the characters wallow at length in their respective miseries. This movie has all the elevated drama, spectacle, and self-aggrandizement belonging to any self-professed rock opera. Think psychedelic rock opera films a la The Who’s Tommy, Hair, Phantom of the Paradise, and hell, even Rocky Horror. Yes, this film really is THAT weird.

But Annette is also in large part a vibrant, absurdist performance piece. The film is intriguingly book-ended by two scenes where the lines blur between actor and character; and your own role blurs between passive viewer and interactive audience. The first scene has the cast walking through the streets of LA (I think?), singing “So May We Start?” directly to the camera in a self-aware prologue, smashing the fourth wall from the beginning and setting up the audience to play a direct role in the viewing experience. Though the cast then disburse and take up their respective roles, the sense of being directly performed to is reinforced throughout the film. This continues most concretely through Henry’s multiple stand-up comedy performances.

Though he performs to an audience in the film rather than directly to live viewers, these scenes are so lengthy, vulgar, and excessive that his solo performance act becomes an integral part of defining his character and conveying his arc as the film progresses. These scenes start to make the film itself feel like a one-man show. The whole shtick of Henry McHenry’s “Ape of God” show is its perverse irreverence and swaggering machismo. Over the span of what must be a five minute plus scene, Henry hacks up phlegm, pretends to choke himself with his microphone cord, prances across the stage with his bathrobe flapping about, simulates being shot, sprinkles many a misanthropic, charmless monologues in between, and ends by throwing off his robe and mooning the audience before he leaves the stage. (Yes, you see Adam’s ass within the film’s first twenty minutes, and we’re just warming up from there.) His one-man performances demonstrate his egocentrism, penchant for lowbrow and often offensive humor, and the fact that this character has thus far profited from indulging in and acting out his base vulgarities.

While never demonstrating any abundance of good taste, his shows teeter firmly towards the grotesque and unsanctionable as his marriage and mental health deteriorate. This is what I’m referring to when I described the film as a study in discomfiture. As he deteriorates, the later iterations of his stand-up show become utterly unsettling and at times revolting. The film could show mercy and stop at one to two minutes of his more deranged antics, but instead subjects you to a protracted display of just how insane this man might possibly be. In Adam’s hands, these excessive, indulgent performance scenes take on disturbing but intriguing ambiguity, as you again wonder where the performance ends and the real man begins. When Henry confesses to a crime during his show and launces into an elaborate, passionate reenactment on stage, you shift uncomfortably in your seat wondering how much of it might just be true. Wondering just how much of an animal this man truly is.

Watching this film as an Adam fan, these scenes are unparalleled displays of his range and prowess. He’s in turns amusing and revolting; intolerable and pathetic; but always, always riveting. I couldn’t help thinking to myself that for the casual, non Adam-obsessed viewer, the effect of these scenes might stop at crass and unappealing. But in terms of the sheer range and power of acting on display? These scenes are a damn marvel. Through these scenes alone, his performance largely imbues the film with its wild, primal, and vaguely menacing atmosphere.

His stand-up scenes were, to me, some of the most intense of the film – sometimes downright difficult to endure. But they’re only a microcosm of the R A N G E he exhibits throughout the film’s entirety. Let’s talk about how he’s animalistic, menacing, and genuinely unsettling to watch (Leos Carax described him as “feline” at some point, and I 100% see it); and then with a mere subtle twitch of his expression, sheen of his eyes, or slump of his shoulders, he’s suddenly a lost, broken thing.  

Henry McHenry is truly to be reviled. Twitter might as well spare their breath and announce he’s already cancelled. He towers above the rest of the cast with intimidating, predatory physicality; he is prone to indulgence in his vices; and he constantly seems at risk of releasing some wild, uncontrollable madness lingering just beneath his surface. But as we all well know, Adam has an unerring talent for lending pathos to even the most objectively condemnable characters.

In a repeated refrain during his first comedy show, the audience keeps asking him, “Why did you become a comedian?” He dodges the question or gives sarcastic answers, until finally circling back to the true answer later in the film. It was something to the effect of: “To disarm people. It’s the only way I can tell the truth without it killing me.” Even for all their sick spectacle, there are also moments in his stand-up shows of disarming vulnerability and (seeming) honesty. In a similar moment of personal exposition, he confesses his temptation and “sympathy for the abyss.” (This phrase is hands down my favorite of the film.) He repeatedly refers to his struggle against “the abyss” and, at the same time, his perceived helplessness against it. “There’s so little I can do, there’s so little I can do,” he sings repeatedly throughout the film - usually just after doing something horrific.

Had he been played by anyone else, the first full look of him warming up before his show - hopping in place and punching the air like some wannabe boxer, interspersing puffs of his cigarette with chowing down on a banana – would have been enough for me to swear him off. His archetype is something of a cliché at this point – a brusque, boorish man who can’t stomach or preserve the love of others due to his own self-loathing. There were multiple points when it was only Adam’s face beneath the character that kept my heart cracked open to him. But sure enough, he wedged his fingers into that tiny crack and pried it wide open. The film’s final few scenes show him at his chin-wobbling best as he crumbles apart in small, mournful subtleties.

(General, semi-spoiler ahead as to the tone of the film’s ending – skip this paragraph if you’d rather avoid.) For a film that professes not to take itself very seriously (how else am I supposed to interpret the freaky puppet baby?), it delivers a harsh, unforgiving ending to its main character. And sure enough, despite how much I might have wanted to distance myself and believe it was only what he deserved, I found myself right there with him, sharing his pain. It is solely testament to Adam’s tireless dedication to breathing both gritty realism and stubborn beauty into his characters that Henry sank a hook into some piece of my sympathy.

Not only does Adam have to be the only actor capable of imbuing Henry with humanity despite his manifold wrongs, he also has to be the only actor capable of the wide-ranging transformations demanded of the role. He starts the movie with long hair and his full refrigerator brick house physique. His physicality and size are actively leveraged to engender a sense of disquiet and unpredictability through his presence. He appears in turns tormented and tormentor. There were moments when I found myself thinking of Conan the Barbarian, simply because his physical presence radiates such wild, primal energy (especially next to tiny, dainty Marion and especially with that long hair). Cannot emphasize enough: The raw sex appeal is off the goddamn charts and had me – a veteran fangirl of 3+ years - shook to my damn core.

The film’s progression then ages him – his hair cut shorter and his face and physique gradually becoming more gaunt. By the film’s end, he has facial prosthetics to make him seem even more stark and borderline sickly – a mirror of his growing internal torment. From a muscular, swaggering powerhouse, he pales and shrinks to a shell of a man, unraveling as his face becomes nearly deformed by time and guilt. He is in turns beautiful and grotesque; sensual and repulsive. I know of no other actor whose face (and its accompanying capacity for expressiveness) could lend itself to such stunning versatility.

Quick note here that he was given a reddish-brown birthmark on the right side of his face for this film?? It becomes more prominent once his hair is shorter in the film’s second half. I’m guessing it was Leos’ idea to make his face even more distinctive and riveting? If so, joke’s on you, Mr. Carax, because we’re always riveted. ☺

I mentioned way up at the beginning that the film is bookended by two scenes where the lines blur between actor and character, and between reality and performance. This comes full circle at the film’s end, with Henry’s final spoken words (this doesn’t give any plot away but skip to the next paragraph if you would rather avoid!) being “Stop watching me.” That’s it. The show is over. He has told his last joke, played out his final act, and now he’s done living his life as a source of cheap, unprincipled laughs and thrills for spectators. The curtain closes with a resounding silence.

Now, I definitely won’t have a section where I talk (of course) about the Ben Solo parallels. He’s haunted by an “abyss” aka darkness inside of him? Bad things happened when he finally gave in and stared into that darkness he knew lived within him? As a result of those tragedies, (SPOILER – Skip to next paragraph to avoid) he then finds himself alone and with no one to love or be loved by? NO I’M DEFINITELY NOT GOING TO TALK ABOUT IT AT ALL, I’M JUST FINE HERE UNDER MY MOUNTAINS OF TISSUES.

Let’s talk about the music! The film definitely clocks in closer to a rock opera than musical, because almost the entire thing is conveyed through ongoing song, rather than self-contained musical numbers appearing here and there. This actually helps the film’s continuity and pacing, by keeping the characters perpetually in this suspended state of absurdity, always propelled along by some beat or melody. Whenever the film seems on the precipice of tipping all the way into the bleak and dark, the next whimsical tune kicks in to reel us all blessedly back. For example, after (SPOILER #1) happens, there’s a hard cut to the bright police station where several officers gather around Henry, bopping about and chattering on the beat “Questions! We have a few questions!”

Adam integrates his singing into his performance in such a way that it seems organic. I realized after the film that I never consciously considered the quality of his singing along the way. For all that I talked about the film maintaining the atmosphere of a fourth wall-defying performance piece, Adam’s singing is so fully immersed in the embodiment of his character that you almost forget he’s singing. Rather, this is simply how Henry McHenry exists. His stand-up scenes are the only ones in the film that do frequently transition back and forth between speaking and singing, but it’s seamlessly par for the course in Henry’s bizarre, dour show. He breaks into his standard “Now laugh!” number with uninterrupted sarcasm and contempt. There were certainly a few soft, poignant moments when his voice warbled in a tender vibrato you couldn’t help noticing – but otherwise, the singing was simply an extension of that full-body persona he manages to convey with such apparent ease and naturalism.

On the music itself: I’ll admit that the brief clip of “We Love Each Other So Much” we got a few weeks ago made me a tad nervous. It seemed so cheesy and ridiculous? But okay, you really can’t take anything from this movie out of context. Otherwise it is, indeed, utterly ridiculous. Not that none of it is ever ridiculous in context either, but I’m giving you assurances right now that it WORKS. Once you’re in the flow of constant singing and weirdness abound, the songs sweep you right along. Some of the songs lack a distinctive hook or melody and are moreso rhythmic vehicles for storytelling, but it’s now a day later and I still have three of the songs circulating pleasantly in my head. “We Love Each Other So Much” was actually the stand out for me and is now my favorite of the soundtrack. It’s reprised a few times later in the film, growing increasingly melancholy each time it is echoed, and it hits your heart a bit harder each time. The final song sung during (SPOILER #2), though without a distinctive melody to lodge in my head, undoubtedly left me far more moved than a spoken version of this scene would have. Adam’s singing is so painfully desperate and earnest here, and he takes the medium fully under his command.

Finally, it does have to be said that parts of this film veer fully towards the ridiculous and laughable. The initial baby version of the Annette puppet-doll was nothing short of horrifying to me. Annette gets more center-stage screen time in the film’s second half, which gives itself over to a few special effects sequences which look to be flying out at you straight from 2000 Windows Movie Maker. The scariest part is that it all seems intentional. The quality special effects appear when necessary (along with some unusual and captivating time lapse shots), which means the film’s most outrageous moments are fully in line with its guiding spirit. Its extravagant self-indulgence nearly borders on camp.

...And with that, I’ve covered the majority of the frantic notes I took for further reflection immediately after viewing. It’s now been a few days, and I’m looking forward to rewatching this movie when I can hopefully take it in a bit more fully. This time, I won’t just be struggling to keep up with the madness on screen. My concluding thoughts at this point: Is it my favorite Adam movie? Certainly not. Is it the most unforgettable? Aside from my holy text, The Last Jedi, likely yes. It really is the sort of thing you have to see twice to even believe it. And all in all, I say again that Adam truly carried this movie, and he fully inhabits even its highest, most ludicrous aspirations. He’s downright abhorrent in this film, and that’s exactly what makes him such a fucking legend.

I plan to make a separate post in the coming days about my experience at Cannes and the Annette red carpet, since a few people have asked! I can’t even express how damn good it feels to be globetrotting for Adam-related experiences again. <3

Thanks so much for reading! Feel free to ask me any further questions at all here or on Twitter! :)

*SYNOPSIS INCLUDED BELOW. DO NOT READ FURTHER IF AVOIDING SPOILERS!*

Synopsis: Comedian Henry McHenry and opera singer Ann Defrasnoux are both at the pinnacle of their respective success when they fall in love and marry. The marriage is happy and passionate for a time, leading to the birth of their (puppet) daughter, Annette. But tabloids and much of the world believe the crude, brutish Henry is a poor match for refined, idolized Ann. Ann and Henry themselves both begin to feel that something is amiss – Henry gradually losing his touch for his comedy craft, claiming that being in love is making him ill. He repeatedly and sardonically references how Ann’s opera career involves her “singing and dying” every night, to the point that he sees visions of her “dead” body on the stage. Meanwhile, Ann has a nightmare of multiple women accusing Henry of abusive and violent behavior towards them, and she begins growing wary in his presence. (He never acts abusively towards her, unless you count that scene when he tickles her feet and licks her toes while she’s telling him to stop??? Yeah I know, WILD.)

The growing sense of unease, that they’re both teetering on the brink of disaster, culminates in the most deranged of Henry’s stand-up comedy performances, when he gives a vivid reenactment of killing his wife by “tickling her to death.” The performance is so maudlin and unsettling that you wonder whether he’s not making it up at all, and the audience strongly rebukes him. (This is the “What is your problem?!” scene with tiddies out. The full version includes Adam storming across the stage, furiously singing/yelling, “What the FUCK is your problem?!”) But when Henry arrives home that night, drunk and raucous, Ann and Annette are both unharmed.

The couple take a trip on their boat, bringing Annette with them. The boat gets caught in a storm, and Henry drunkenly insists that he and Ann waltz in the storm. She protests that it’s too dangerous and begs him to see sense. (SPOILER #1) The boat lurches when Henry spins her, and Ann falls overboard to her death. Henry rescues Annette from the sinking boat and rows them both to shore. He promptly falls unconscious, and a ghost of Ann appears, proclaiming her intention to haunt Henry through Annette. Annette (still a toddler at this point and yes, still a wooden puppet) then develops a miraculous gift for singing, and Henry decides to take her on tour with performances around the world. He enlists the help of his “conductor friend,” who had been Ann’s accompanist and secretly had an affair with her before she met Henry.

Henry slides further into drunken debauchery as the tour progresses, while the Conductor looks after Annette and the two grow close. Once the tour concludes, the Conductor suggests to Henry that Annette might be his own daughter – revealing his prior affair with Ann. Terrified by the idea of anyone finding out and the possibility of losing his daughter, Henry drowns the Conductor in the pool behind his and Ann’s house. Annette sees the whole thing happen from her bedroom window.

Henry plans one last show for Annette, to be held in a massive stadium at the equivalent of the Super Bowl. But when Annette takes the stage, she refuses to sing. Instead, she speaks and accuses Henry of murder. (“Daddy kills people,” are the actual words – not that that was creepy to hear as this puppet’s first spoken words or anything.)

Henry stands trial, during which he sees an apparition of Ann from when they first met. They sing their regret that they can’t return to the happiness they once shared, until the apparition is replaced by Ann’s vengeful spirit, who promises to haunt Henry in prison. After his sentencing (it’s not clear what the sentence was, but Henry definitely isn’t going free), Annette is brought to see him once in prison. Speaking fully for the first time, she declares she can’t forgive her parents for using her: Henry for exploiting her voice for profit and Ann for presumably using her to take vengeance on Henry. (Yes, this is why she was an inanimate doll moving on strings up to this point – there was some meaning in that strange, strange artistic choice. She was the puppet of her parents’ respective egotisms.) The puppet of Annette is abruptly replaced by a real girl in this scene, finally enabling two-sided interaction and a long-missed genuine connection between her and Henry, which made this quite the emotional catharsis. (SPOILER #2) It concludes with Annette still unwilling to forgive or forget what her parents have done, and swearing never to sing again. She says Henry now has “no one to love.” He appeals, “Can’t I love you, Annette?” She replies, “No, not really.” Henry embraces her one last time before a guard takes her away and Henry is left alone.

…..Yes, that is the end. It left me with major emotional whiplash, after the whole film up to this point kept pulling itself back from the total bleak and dark by starting up a new toe-tapping, mildly silly tune every few minutes. But this last scene instead ends on a brutal note of harsh, unforgiving silence.

BUT! Make sure you stick around through the credits, when you see the cast walking through a forest together. (This is counterpart to the film’s opening, when you see the cast walking through LA singing “So May We Start?” directly to the audience) Definitely pay attention to catch Adam chasing/playing with the little girl actress who plays Annette! That imparts a much nicer feeling to leave the theater with. :’)

[xhisokas-harleyx]

Your Hisoka headcanons were so good😭 and i completely agree with all of them- I wanted request something, u can ignore if u want. 🏃

I am just thinking of a scenario where Hisoka got hurt, by someone who 'cheated' in the fight maybe, and his first instinct was to go to his 'friend's place. And Reader helps him without hesitation, they're even worried and stuff. And he is just like "are they just so naive or dumb? Kind? What do they get from this? And tf is this feeling in my chest? A poison maybe-" Maybe hcs? Or an oneshot? Whatever you like to do. Have a good day or night!:)💛 damn i wrote too much lol sorry

This warms my heart. Thank you SO MUCH for your support!!! And no, you did not write too much! I love having my ego stroked ;) 😂 seriously tho I love hearing from you guys!

I love this prompt. I hope that I was able to bring this to life for you, please feel free to request more!

To be honest, I’m not really happy with how this turned out, but I haven’t written in a long time and feel really rusty. I may rewrite it at some point, because I thought of a different way this could also go! At any rate, I hope you enjoy it.

Word Count: 2880 (yeh, it’s a long one :o)

A little song inspiration I had:

As The World Caves In: Matt Maltese

Hisoka x Reader One-Shot: The Man Beneath the Monster

...

Well... this wasn't supposed to happen.

Currently, the jester of everyone's nightmares lay on the ground, golden eyes staring up at the dull night sky while shrapnel and debris etched patterns into his back, remnants of the attack he'd just barely survived. Hisoka didn't normally have much of a problem mowing through his opponents- but then again, they usually didn't possess the ability to play with their enemy's mind. It was insanely unfair, the way he'd been attacked, and while it had been an interesting battle to say the least, Hisoka had barely pulled through.

Admittedly, he was invigorated by the feeling of almost being beaten- save for the searing pain that inched its way through every nerve in his body. Hisoka wasn't usually so affected by pain in general- in fact, more often than not, it gave him a certain indescribable gratification. He tended to brush off the feeling of most wounds he obtained during battle, distracting himself with shuffling his cards or fantasizing about the next battle he'd be facing. Only this time, if he didn't get help, he wasn’t sure there would BE another battle.

Hisoka strained himself to sit up, and looked down at his body, analyzing just how much damage he'd sustained. A deep gash opened up his chest, revealing glimpses of the muscular content underneath, and it was oozing a lot of blood. His arms and legs were burned, and some of the skin was a little charred, which smelled just lovely against the night breeze.

This is going to be difficult to cover with Texture Surprise... he thought, forcing himself a bit angrily to his feet, when he heard the cracking of the joints in his left ankle, indications of a break. He needed medical attention, badly. His gash wasn't going to heal itself, and he would bleed to death within hours if it didn’t get bandaged.

But where could he go? Hospitals wouldn't dare take him- even though he was a hunter, most people wouldn't be caught within miles of him, let alone would provide him any remedy. In fact, most people thought the world would be better off if he were dead anyway.

Maybe they were right.

He chuckled a little at the thought, but as he tried to brush those creeping inner fears off, he soon realized that his normal detached approach wasn't going to work this time. Already, his legs were getting weaker, and his vision was getting a little darker by the second. In that moment of weakness, when he felt the most vulnerable, the magician was puzzled by the singular thought that came to his mind.

Y/N.

She was a girl he’d encountered more than a few times in his travels; not by accident, but through carefully orchestrated meetings he initiated himself. She was strong in his eyes, which was not a compliment that he offered freely, especially to someone who didn’t regularly seek out altercations to smash their enemies. She was strong in a different way- not because of her nen or battle tactics- but because of her resolve. He found it intriguing that she didn’t run at the sight of him (even when he popped up behind her in the park), and he liked that she wasn't afraid to tell him exactly where he could shove his cards, if warranted. Y/N was appealing to him in an indescribable way that made him continue to think up excuses to meet her ‘randomly’- but he could never put his finger on what it was that made her unique. However, through brief conversations and what he considered to be highlights of his travels, he’d gotten to know her only a little, but he hardly had enough contact with her to call her a ‘friend’.

It wasn't like she had any special sort of healing nen. She probably couldn't help him anyway. But if he did bleed out, and his last thought had to be of something...l it might as well be of her.

The pink-haired clown looked to the city up ahead in the distance- he was close to her house already. It didn't take him long to get there; Y/N lived on the outskirts of town in a small place away from most other homes.

It was a place he knew well, although he'd never been inside. He'd spent more than a few long nights watching the residence from the rooftop of a distant neighboring home as he denied his human emotions. He often watched her pack groceries, or try to figure out why her porch light wasn't working (which he certainly had nothing to do with), or watch TV on the couch all alone.

Hisoka quite liked those stupid romantic comedies that played late at night on the local channel. His only opportunity to watch them was through her window- and in his mind, he was sure that she left the subtitles on because she can somehow sense his presence. She usually fell asleep watching those, and missed the part where the hero gets the girl. He always watched that part with particular interest, but he can't figure out what makes the protagonists so special to each other. If there was a feeling that caused them to sacrifice so much for one another… he sure didn’t know what it could be.

But he's not a hero, so why would he know what that feels like?

As Hisoka reached her door and lifted his hand to the doorknob, not bothering to knock, a pang of what could only be anxiety ripped through him. It was well past 2 AM, and he knew she had things to do early in the morning. Their previous encounters had been abnormal, to say the least, complete with him teasing her and being a douchebag. He's been nothing but an annoyance to Y/N, so why would she help him?

As soon as he was about to pull his hand away, the door swung open, revealing a disheveled looking y/n in its place. Hisoka was bent over in pain, holding his chest, but as she startled him a little, he straightened up and put on his mask, acting complacent and confident. He wanted to say something smart and witty like he always does- that always helped to bat the pain away. But his lips wouldn't move- his tongue wouldn't function as he stared at her, unable to reach out in a way that normal humans seem to find so easy.

He felt frozen in that moment. He was normally so deliberately irreverent, but seeing the look on her face made his blood run cold.

Don’t let her see this weakness. It was a plea to himself.

But Hisoka had no choice. He was broken, and he needed her to fix him. He wasn’t used to depending on someone else to save his life, but now his life rested in the hands of someone who most likely despised him.

"...Hisoka." Y/N breathed, her eyes widening as she placed a hand over her open mouth. Only seconds passed before her delicate hands were pulling him inside the door without hesitation. She didn't bother to ask what happened, what kind of trouble he'd gotten into, or whether she would also be in danger. Instead, she sat him down on the couch, laying a pillow under his head for comfort, which he annoyingly refused to use until he absolutely couldn’t hold his head up any longer.

Hisoka was a bit dazed from the loss of blood, and the crimson river was flowing all over y/n's lightly colored couch. He was puzzled by the swiftness of her reaction, and he watched tepidly as she shuffled frantically through the drawers in the bathroom for something to heal him. Though he was on the brink of death, his default deflection of emotions still shone through, a reflex that he didn’t even mean to activate.

“I don’t need your help, you know.” He said with an impudent grin, watching as she began to work on his wounds. “It’s just a scratch. But I can see how badly you want to touch me…” Why was he like this? Here she was, giving up everything to help him (a criminal and the scum of the Earth),yet he can’t so much as even show her an iota of gratitude. He knows, but will never admit that it comes from his inner vulnerability; that fear of getting hurt by these things called emotions. She could just as easily let him bleed to death in front of her; he knows she has the capability to be stone cold. But she won’t… why?

Why?

Y/N could have easily let Hisoka’s false complacency hurt her. But she knows that what he cannot express in his words, his heart cannot truly hide. It was the way he was built, she told herself, and she pushed on through his antics because she wanted to see him safe again. Through the laceration in his tough exterior, she could not only see the flesh beneath, but a glimpse of the man he tried to hide using the monster that he assumed everyone saw.

But she was different.

The jester was confused by her silence. Normally, she would have retorted at his smugness, but right now, she didn’t even seem concerned with it as she began to fumble with cleaning his wounds. The alcohol seared his flesh just as the emotions boiling within him burned his heart. Why would she ever care to help him when he’s been nothing but rude and degrading to her? Could it be that she really can see through the detached front and overbearing persona? Impossible, he’s spent years building that reputation!

Suddenly, he became enthralled with the way Y/N’s eyes focused on threading the needle to sew up his gash. The way that those fingertips danced over his pale skin made him jolt unexpectedly at her touch, exhibiting a softness that Hisoka has never known before. In fact, he can’t even fathom someone wanting to touch him without the intention to hurt him in some way.

The details slowly became a blur in his depressed mental state- but he still analyzed every motion Y/N made.

Oddly, the promised sting of death had never scared Hisoka before; he did as he pleased, without care for his own life nor anyone else’s. But as his vision faded, and he watched her through the gaze of someone nearing death, he realized that he did not want to leave this world yet. He wanted to live- and maybe he wanted to discover and experience what he’d been missing in those movies he’d watched through her window.

With that, Hisoka’s heart began to beat faster.

Blood loss. That’s what it is… Hisoka thought; but he wasn’t stupid; only unwilling to admit that he was beginning to exhibit the same qualities he saw in the protagonists of those hopeless romantic flicks. He was unable to accept that the tightening in his chest was not just because of her stitches pulling his lacerated skin together.

“Are they dead? Did you kill them?” Her voice brought him out of the trance-like state he was in, and his golden eyes focused on her face. Her hands were covered in his blood (which in itself made him feel delightfully feverish), but his gash had been mended, the bleeding stopped for now. Once again, he didn’t say anything. It was unusual for the smug magician to keep his mouth shut.

“Because if you didn’t kill them, I’m going to.” A protective tone dripped into her voice, bewildering Hisoka again. That quality in her voice was both threatening and comforting, and the duality sent a chill up his spine. It inspired him to use his voice, though it had lost some of its signature modulation.

“You have that little faith in me…” A cough escaped his lips before he could smile as if nothing was bothering him at all. “Of course I killed them, my dear.” Somehow, calling her ‘dear’ no longer felt right; that was typically a placeholder, a default name to use for someone he had no connection with, and she seemed to be worthy of more than that now.

As Y/N suddenly dipped to her knees, Hisoka refrained from any lewd thoughts that he normally might have had in such a situation. That sensation in his chest was too distracting to allow this memory to be defiled with something he often indulged in fantasies of. She began to slide the high-heeled shoe off of his swollen foot to wrap it. She began to struggle with ripping the fabric she’d gathered to act as a cast for the bone.

Surely, she knows who I am. Why would she bother to help someone like me? What is she gaining? She knows that with the flip of a card, I could end her life. She’s not even protecting herself in any way. She’s leaving her guard down right in front of me.

Perhaps it was his dark desire to set fear into everyone he came across, or his distorted need to drive away anyone who might care for him, but his body suddenly acted on its own. By instinct, almost as if it were a test of her intention, a card spawned between his middle and index finger, which was right against her neck. With just a slight movement of his knuckles, he could spill her blood. His golden eyes analyzed the way she froze for a moment, and he believed that to be the end of this fragile trust between them. That was until she lifted the fabric she was holding, sliding it along the edge of the card, and cutting it to the perfect length.

“Thanks.” She spoke, beginning to wrap and set the ankle in place.

At that small motion, Hisoka’s discretionary eyes widened, and his lips fell open in surprise. Rather than interpreting his advance as an attack, she’d innocently taken it as an offer of his help. Was this a joke? Was she stupid enough to trust him, or was she bold enough to outsmart his games? Was Y/N this confident that he wouldn’t just kill her? This naive girl at his feet seemed to be the only person in this convoluted world who didn’t see him as a disgusting, heartless monster… and that warmed his icy heart.

“I’m surprised this hasn’t happened before. I know you’re graceful, but high heels are always a recipe for a broken ankle.” She offset the pain of wrapping those bones by talking to him all through the procedure, and it worked wonders. He scoffed, but by that time, Hisoka’s snide comments and emotion-killing thoughts had been expended. Somehow, she’d broken through the barrier that he’d spent so long building around himself.

Unable to ignore his whims anymore, Hisoka reached out to touch Y/N’s hair, the soft delicate strands pleasing his senses. It’s the only movement he can make now, his body weakened from the loss of blood. His gilded eyes were barely open, but they looked directly into hers with an unfamiliar realization. His hand travelled weakly down her face, caressing her cheek with the most delicate touch he could muster, and held her head in his large hand as she froze there. He wondered for a moment if she was afraid, or if something deeper that he cannot see calms her.

A small, genuine smile is all he could muster for her before his hand dropped to the side of the couch, the same couch he watched her curl up on most nights. For once, it’s not a smirk, and it’s not a smug smile- but something she has never seen before- a true smile with good intention behind it. His eyes closed, with uncertainty that they would open in the morning.

After she’d finished her work, she stood up, and looked down at him. The only remaining light in the room was the silent flicker of the television set in the background, which illuminated both of their faces.

“I need you to be alright, Hisoka,” She cooed, unable to know if he could still hear her. He didn’t know if she even realized how much he wanted to kill her right now, because the way her kindness was attacking his heart while his chest was already sliced open was something he should not excuse.

As Y/N’s final healing gesture, she bent over his body gracefully. He was taken off guard when he felt the feathery soft sensation of her lips on his forehead, the kiss of an angel on his clammy skin. As she went to pull away, however, she was startled by the lunge of Hisoka’s hand initiating a death grip on her wrist. He used the last bit of his strength to pull her lips into his, causing her to lose balance and be forced to brace on either side of the couch cushion below him. His lips were cold, but Y/N graciously returned the sensation, and boldly moved to embrace both sides of his face with her mending hands. Before she pulled away, and he passed out, she felt that same smile against her lips.

And in that moment, before he fades away, Hisoka realizes what he’s been missing.

Y/N.

-----------------

Hmm... part two? I KNOW, it’s super freakin’ sappy. I could have taken a lighthearted approach to this (and maybe I will later), but I wanted to kind of challenge myself to write a more depth-driven version of Hisoka. Maybe I bit off a little more than I can chew :0.

Anyway, let me know what you think, and once again thanks to anon for the request! Hope you all enjoyed!

Mac

[jabberwockyontheloose]

I remember I was tagged in one of these a while ago, I can't remember by who or when and tumblr has probably deleted thw notif so here it is a year late :D

Alicia

Bugs Bunny

Bugs was a driving inspiration when Alicia was being conceived - that wily energy and the comedy of social norms in completely inappropriate contexts but like? You go along with it? Because??? What else are you gonna do??? I wanted Alicia to exude that energy. Never actively malicious and just in it for a good time. Also Bugs being, like basically the hand of god half the time? That's Alicia

Sussie

This is Vy's fault, almost entirely. I would've lived my life in peace not realizing if it weren't for her. Jokes aside, Sussie is very... unique. Not in a bad way, of course - she's just. Well. Sussie. A cloudcuckoolander that works with her own set of rules, incredibly off putting but entirely harmless*. And in her own words, "Sussie likes all the things in the world"

Bonus:

Elmo

Alicia is kind and very friendly once you get to know her. She may seem a bit simple at first, as if you were talking to a kid, but you she's genuinely very thoughtful. Elmo is a sweet natured all-loving hero and while Alicia is significantly more off kilter and intimidating at a glance, they're both good eggs

Stitch

Stitch is a loveable blue not-dog alien who also is probably a war criminal or at the very least a living weapon. His character arc of learning to appreciate his ohana even if it goes against his creational directives is incredibly sweet. Alicia is end of the movie Stitch, handcuffed and ready to be arrested, only asking to be allowed to say goodbye to his family. Though, vibe-wise, she's has epilogue Stitch down pat. Domestic antics that are just a bit out of this world.

The Jabberwocky

The jabberwocky is Alicia's little lizard companion if you didn't know! The nonsense poem after the same name was another inspiration to Alicia's general nonsensical attitude, and the incredibly creepy art that pops up whenever you search for it inspired that, ever so slight hair raising tension one feels whenever she stares at you for too long. As if, something menacing was lurking right under the surface.... but its probably nothing right? After all, the jabberwocky doesn't exist.....c:

Astolfo

The man, the myth, the legend, while I'm aware of Astolfo's reputation in the wider internet, he's genuinely a very charming character. He's upbeat and airheadedly optimistic but that only makes him moments of sobering self-awareness all the more uplifting. There's this certainty to how he speaks, that even if things go wrong, somehow, it'll be okay - and Alicia takes after this. Evaporation of Sanity they both may have, it adds to the appeal probably. After all, there's nothing quite as charming as sincerity.

Joker

The joker is Alicia's card suite, and primary inspiration for her aside from the jabberwocky. She's technically twisted from the joker as well, along with her hair being a reference to a jester's hat - hence the bells. Though if you get her in old maid I'm sure you can still find a way to be a winner Sei Shonagon

Miss Nintendo Switch herself, Sei is a cheerful, bubbly lass who doesn't care much for court proceedings aside from the potential drama. Despite her, violently zoomer energy (like she would have a tiktok, that's not up for debate) Sei - for all her irreverence and insensitivity - is a surprisingly old soul once she takes a minute to breathe. Her dedication to her own values, her stalwart beliefs, and her incredibly perceptiveness of people's issues betray a much wiser character beyond her natural goofball demeanor, and Alicia takes after this splendidly. Though admittedly, Alicia leans on the clownitude even harder than Sei does.

Atiq

Mung Daal

Don't look at me like that. Atiq takes after Mung Daal's fits of rage specifically, both of them have tendencies to just straight up contort in rage. Think of every time he has to talk to Endive, that's Atiq.

Cagliostro

Cagli is the self-proclaimed cutest girl in the skies and has enough confidence to back up on her claims (as well as firepower, if you do manage to annoy her to that extent). Atiq is, incredibly vain, maybe not as vain as Cagli but it is a close thing, and both of them don't hold back on the snark when need be. Confident, poised, and being both aware enough to be the tsukkomi and vain enough to be the bokke, Atiq takes after alchemy's founder well

Arashi

Did I say vanity because I meant vanity. While Atiq is not nearly as bubbly - or as generally pleasant to be around - as Arashi, both of them have vanity in spades. Arashi's tendencies to daydream over an impossible romance also carries over with Atiq's unfortunate crush on the himbo in RSA he used to have as a lab partner in middle school. Neither of them are afraid to flaunt their looks and femininity, often to humorous extents.

Miss Piggy

Again, don't look at me like that. Miss Piggy is an icon, she's tough, she's gorgeous, and she will break your spinal cord if you say otherwise. Despite Atiq's rather willowy appearance, he is not scared in the slightest to dig his heels into people who insult him - at least when they're not looking. Atiq may not be as bold as Miss Piggy will ever be, that utmost confidence in himself (usually) and his moodswingy nature definitely put them in the same ball park.

Yzma

Yzma is who he was originally twisted from, the sly former adviser to the emperor who seeks the throne - as well as the antagonist in the second best Di/sney movie don't @ me. He was specifically twisted from the scrapped villain song "Snuff out the Light", where Yzma wanted eternal beauty - while Atiq wants to reverse the effects of his illness for his vanity's sake. Yzma's a fun character, she's scheming and mean but incredibly funny and you never really feel bad when bad things happen to her cause she kinda deserves it but she never stays down for long, that's the vibe I want for Atiq more than anything.

Charlotte

I think Charlotte gets a bad rep for being a two-faced golddigger, I mean she definitely is that but it doesn't make her a bad person she's just being realistic. She's cunning but not unkind, and is genuinely loyal to the people she cares for. Also she makes incredibly great faces when she's pissed. Atiq definitely has shades of this, and while he and Charlotte are both prickly they're good people when you get down to it. It's just in Atiq's case. It's a long way down

Rin Tohsaka

Okay I'm gonna be real while actual canon Rin does work for this, the one that gave inspiration to Atiq was the one from UBW Abridged. Powerful, beautiful, and completely flippant to people who are not her, she's hot shit and she knows it - and definitely not afraid to show it. Despite her general impertinence, Rin shows a surprising amount of generosity and kindness when the chips are down even if she does still complain about it. Personality-wise I'd say Atiq takes after her the most

Carmilla

Carmilla is a lot of things, a murderer, a sadist, questionably of vampiric nature - but most of all she's fun. While initially in the lore she was more of a cruel dominatrix more than anything, Atiq takes after her post-character development. She's still a sadist (that one part in a summer event she ran over Liz three times in a single drive openly admitting to trying to kill her was just great) but there's just something familiar to her, maybe even friendly if you wanted to be brave.

[recentanimenews]

FEATURE: 21 Great Anime You Should Absolutely Watch In 2021

    Happy Anime Day! With every season bringing a plethora of new series, there are now countless shows and movies, both new and old, to watch. Whether it's adventure, comedy, romance, or drama you're looking for, here are 21 anime series you should add to your watchlist in 2021.

      1. My Hero Academia Season 5

When it comes to the next chapter of My Hero Academia, 2021 couldn't come fast enough. Season 4 showed audiences just how high the stakes really are and how dangerous the enemies can be. Season 5, which recently premiered in March, will not only deliver high-level action, but we'll also get more time with the great slate of heroes and villains showcased last season.

      2. Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train

After hearing the news of Mugen Train dominating the box office, the time has come for North American audiences to experience this highly anticipated film. Mugen Train will be available for digital release this summer and will help fill the void fans of the series have been feeling since the season ended. And we can always revisit Demon Slayer: Kimetsu no Yaiba in the meantime.  

      3. The Devil Is A Part-Timer

The Devil Is A Part-Timer! offers lots of comedy with all the appeal of your traditional fantasy series, but it takes place in the modern world. Demon Lord Satan gets transported to Tokyo, and while his original goal was to take over his homeland of Ente Isla, Satan finds a better path to world domination ... climbing the ranks at the local MgRonalds! It's fun, it's wacky, and it's one of those series we never thought would get a second season, until now.

      4. Given The Movie

Talk about a bag of mixed emotions. Like the series, you'll feel proud and happy one minute, and then a pile of mush the next. Given The Movie provides a touching viewing experience following these fractured characters as they navigate their personal feelings, as well as expressing their innermost emotions through music.

        5. Hunter X Hunter

2021 marks the 10-year anniversary of Hunter X Hunter. Whether you've never seen this series or you've re-watched it hundreds of times, come celebrate this epic title's milestone!

      6. MEGALOBOX 2: NOMAD

MEGALOBOX brought all the charm of a '90s anime, but with the story of a futuristic society that takes boxing to a whole other level. Gearless Joe made a name for himself in Season 1, and although things have changed and gotten complicated, he's "not dead yet." For Joe, the fire still burns within him, and he seeks to fight once more. 

      7. Osamake: The Romcom Where The Childhood Friend Won't Lose!

Finally, a series where the childhood friend captures the heart of the MC ... I hope? It is a harem after all! Osamake: The Romcom Where The Childhood Friend Won't Lose! has a whole lot of comedy, a whole lot of shenanigans, and a noticeable amount of ... revenge. It looks like an epic competition is about to get underway!

        8. Chihayafuru

If you're experiencing Haikyu!! withdrawals, then Chihayafuru may be the next best sports anime for you! Now don't be fooled. Although Chihayafuru is all about Karuta, a Japanese card game, it still delivers the same level of development and high-stakes settings as other sports anime. This may be one of those series you always saw around but never watched but if there was ever a time to binge, it's now!

      9. Tokyo Revengers

With the manga receiving much praise, probably one of the most anticipated anime adaptations for 2021 is Tokyo Revengers. Motivated by tragedy, Takemichi Hanagaki finds himself in the past, climbing the ranks of the Tokyo Manji Gang in order to change destiny. He may not appear the toughest, but he's determined to get through the intense situations he finds himself in.

      10. To Your Eternity

Knowing this is a story from Yoshitoki Oima, creator of A Silent Voice, To Your Eternity, will surely be an adventure that tugs on your heartstrings. Audiences will witness an intimate journey of life and death revolving around an emotionless orb with no identity but can take the shape of those around it. There will be elements of time, drama, emotion, plus Hikaru Utada performs the theme? ... Sold! Want to know more? Check out the full manga catalog here.

      11. Shaman King

A Shaman King reboot was the best present fans of the original series could've gotten as the title just marked its 20th year since the show premiered back in 2001. Fans will be transported back to their childhood, all the while looking forward to a new story that reflects the manga. The series recently aired in April in Japan, and fans in North America can expect to watch the series sometime later this year. 

        12. Horimiya

  If you've been searching for a romance anime unlike any other, then you should watch Horimiya if you haven't already. This series takes everything you know about anime romance tropes, and delivers a series of fresh new twists, making for a warm and cozy viewing experience.

    13. Anohana: The Flower We Saw That Day

If in between all the action and comedy you need a good slice of life series about friendship, Anohana is the series for you! The original series aired 10 years ago, but sometimes a trip down memory lane is exactly what you need. Plus a new visual and news of an upcoming project will surely get you pumped to hit play.

      14. The Rising of the Shield Hero Season 2

Thinking he'd be the hero in this new fantasy world, Naofumi Iwatani ended up being hated, shunned, and stigmatized at the beginning of The Rising of the Shield Hero Season 1. But as he journeyed on, he developed genuine relationships, gained valuable trust, credibility, and gratitude from others. Season 2, airing in October, is ready to continue with Naofumi's journey and progression.

        15. Miss Kobayashi's Dragon Maid S

Miss Kobayashi Dragon Maid has it all! This series draws you in with its cute appearance, but it surprises you with its mature moments and shocks you with some unexpected sizzle. Plus it has dragons, maids, and sweet raps! Be sure to check out the second season's adventures this July. 

    16. One Piece

  If you haven't already committed to the legendary behemoth One Piece, now may be a good time to start. The anime is set to hit its 1,000th episode this year, and while diving into a series that's so far along can seem intimidating, if you've been spending a lot of time binging TV lately, this series could be your next big marathon.

      17. S8 the Infinity

Take the Tony Hawk Pro Skater video games, and mix them together with vibrant, aesthetically pleasing animation and cool action scenes and you have S8 the Infinity. Sports anime has been really expanding its catalog lately, and this series is an entertaining addition to the genre.

  Image via Hulu

  18. The Wallflower

A little bit of nostalgia is nice to mix into your anime watchlist. If you're a fan of Ouran High School Host Club, then you'll love The Wallflower! It's got some handsome boys, a cute and quirky girl with a fascination for all things dark and scary, and all the ridiculous antics of a harem!

      19. Death Parade

Death Parade has stayed under the radar, but it at least deserves to be on YOUR radar. A story about the afterlife where a bar represents limbo and its bartender decides the fate of the souls in front of him whether they experience reincarnation, or disappear into the void by playing a game. This is a psychological, thought-provoking drama with some mystery, as we don't know the true nature of the people in the bar, or what led them to where they are. Those secrets will eventually be revealed as the game plays on.

    20. Puella Magi Madoka Magica

Like Hunter X Hunter, this year also marks the 10-year anniversary of Puella Magi Madoka Magica. Madoka was and to this day still is a defining series that was a real game-changer for the magical girl genre, showing just how much danger magical girls face. It's a must-watch if you haven't already, so make a contract with yourself to watch or re-watch this series sometime in 2021.  

    21. How To Keep A Mummy

  How To Keep A Mummy is a heartwarming episodic series to watch when you want to have a feel-good time! Friends and classmates spend time together with their mythical creature companions: A precious, tiny mummy who anytime he holds anything will make your heart melt, a somewhat hot-headed but caring oni, a clever dragon, and a fluffy baku. After catching up on everything on your watch list, have fun with this series to round out 2021.  

What anime will you be watching in 2021? Let us know in the comments!

        Veronica Valencia is an anime-loving hot sauce enthusiast! You can follow more of her work as a content creator on Twitter and Instagram.

  Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Veronica Valencia

[ordinaryschmuck]

What I Thought About Loki (Season One)

(Sorry this is later than it should have been. I may or may not be experiencing burnout from reviewing every episode of the gayest show Disney has ever produced)

Salutations, random people on the internet. I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

Do you want to know what's fun about the Marvel Cinematic Universe? It is now officially at the point where the writers can do whatever the hell they want.

A TV series about two Avengers getting stuck in a series of sitcoms as one of them explores their personal grief? Sure.

Another series as a guy with metal bird wings fights the inner racism of his nation to take the mantel of representing the idea of what that nation should be? Why not?

A forgettable movie about a superspy and her much more mildly entertaining pretend family working together to kill the Godfather? F**king go for it (Let that be a taste for my Black Widow review in October)!

There is no limit to what you can get with these movies and shows anymore, and I personally consider that a good thing. It allows this franchise to lean further into creative insanity, thus embracing its comic roots in the process. Take Loki, for example. It is a series about an alternate version of one of Marvel's best villains bouncing around the timeline with Owen Wilson to prevent the end of the universe. It sounds like just the right amount of wackiness that it should be too good to fail.

But that's today's question: Did it fail? To find out my own answer to that, we're gonna have to dive deep into spoilers. So be wary as you continue reading.

With that said, let's review, shall we?

WHAT I LIKED

Loki Himself: Let's get this out of the way: This isn't the same Loki we've seen grow within five movies. The Loki in this series, while similar in many ways, is still his very own character. He goes through his own redemption and developments that fleshes out Loki, all through ways that, if I'm being honest with you, is done much better in six-hour-long episodes than in past films. Loki's story was already entertaining, but he didn't really grow that much aside from being this chaotic neutral character instead of this wickedly evil supervillain. Through his series, we get to see a gradual change in his personality, witnessing him understand his true nature and "glorious purpose," to the point where he's already this completely different person after one season. Large in part because of the position he's forced into.

Some fans might say that the series is less about Loki and more about the TVA. And while I can unquestionably see their point, I still believe that the TVA is the perfect way for Loki to grow. He's a character all about causing chaos and controlling others, so forcing him to work for an organization that takes that away allows Loki time to really do some introspection. Because if his tricks don't work, and his deceptions can't fool others, then who is he? Well, through this series, we see who he truly is: A character who is alone and is intended to be nothing more than a villain whose only truly selfless act got him killed in the end. Even if he wants to better himself, he can't because that "goes against the sacred timeline." Loki is a person who is destined to fail, and he gets to see it all with his own eyes by looking at what his life was meant to be and by observing what it could have been. It's all tragic and yet another example of these shows proving how they allow underdeveloped characters in the MCU a better chance to shine. Because if Loki can give even more depth to a character who's already compelling as is, then that is a feat worth admiration.

The Score: Let's give our gratitude toward Natalie Holt, who f**king killed it with this series score. Every piece she made is nothing short of glorious. Sylvie's and the TVA's themes particularly stand out, as they perfectly capture who/what they're representing. Such as how Sylvie's is big and boisterous where the TVA's sound eerie and almost unnatural. Holt also finds genius ways to implement other scores into the series, from using familiar tracks from the Thor movies to even rescoring "Ride of the Valkyries" in a way that makes a scene even more epic than it already could have been. The MCU isn't best known for its musical scores, partly because they aim to be suitable rather than memorable. But every now and again, something as spectacular as the Loki soundtrack sprinkles through the cracks of mediocrity. Making fans all the more grateful because of it.

There’s a lot of Talking: To some, this will be considered a complaint. Most fans of the MCU come for the action, comedy, and insanely lovable characters. Not so much for the dialogue and exposition. That being said, I consider all of the talking to be one of Loki's best features. All the background information about the TVA added with the character's backstories fascinates me, making me enthusiastic about learning more. Not everyone else will be as interested in lore and world-building as others, but just because something doesn't grab you, in particular, doesn't mean it isn't appealing at all. Case in point: There's a reason why the Five Nights at Freddy's franchise has lasted as long as it has, and it's not entirely because of how "scary" it is.

There's also the fact that most of the dialogue in Loki is highly engaging. I'll admit, some scenes do drag a bit. However, every line is delivered so well that I'm more likely to hang on to every word when characters simply have honest conversations with each other. And if I can be entertained by Loki talking with Morbius about jetskis, then I know a show is doing at least something right.

It’s Funny: This shouldn't be a surprise. The MCU is well-known for its quippy humor in the direct acknowledgment that it doesn't take itself too seriously. With that said, it is clear which movies and shows are intended to be taken seriously, while others are meant to be comedies. Loki tries to be a bit of both. There are some heavy scenes that impact the characters, and probably even some fans, due to how well-acted and professionally written they can be. However, this is also a series about a Norse god traveling through time to deal with alternate versions of himself, with one of them being an alligator. I'd personally consider it a crime against storytelling to not make it funny. Thankfully, the writers aren't idiots and know to make the series fun with a few flawlessly timed and delivered jokes that never really take away from the few good grim moments that actually work.

It Kept Me Surprised: About everything I appreciate about Loki, the fact that I could never really tell what direction it was going is what I consider its absolute best feature. Every time I think I knew what was going to happen, there was always this one big twist that heavily subverted any and every one of my expectations. Such as how each time I thought I knew who the big bad was in this series, it turns out that there was an even worse threat built up in the background. The best part is that these twists aren't meant for shock value. It's always supposed to drive the story forward, and on a rewatch, you can always tell how the seeds have been planted for making each surprise work. It's good that it kept fans guessing, as being predictable and expected would probably be the worst path to take when making a series about Loki, a character who's all about trickery and deception. So bonus points for being in line with the character.

The TVA: You can complain all you want about how the show is more about the TVA than it is Loki, but you can't deny how the organization in question is a solid addition to the MCU. Initially, it was entertaining to see Loki of all characters be taken aback by how the whole process works. And it was worth a chuckle seeing Infinity Stones, the most powerful objects in the universe, get treated as paperweights. However, as the season continues and we learn about the TVA, the writers show that their intention is to try and write a message about freedom vs. control. We've seen this before in movies like Captain America: The Winter Soldier or Captain America: Civil War, but with those films, it always felt like the writers were leaning more towards one answer instead of making it obscure over which decision is correct. This is why I enjoy the fact that Loki went on saying that there really is no right answer for this scenario. If the TVA doesn't prune variants, it could result in utter chaos and destruction that no one from any timeline can prepare themselves for. But when they do prune variants along with their timelines, it takes away all free will, forcing people to be someone they probably don't even want to be. It's a situation where there really is no middle ground. Even if you bring up how people could erase timelines more destructive than others, that still takes away free will on top of how there's no unbiased way of deciding which timelines are better or worse. And the series found a brilliant way to explain this moral: The season starts by showing how the TVA is necessary, to later point out how there are flaws and evil secrets within it, and ends things with the revelation that there are consequences without the TVA keeping the timeline in check. It's an epic showcase of fantastic ideas met with exquisite execution that I can't help but give my seal of approval to.

Miss Minutes: Not much to say. This was just a cute character, and I love that Tara Strong, one of the most popular voice actors, basically plays a role in the MCU now.

Justifying Avengers: Endgame: Smartest. Decision. This series. Made. Bar none.

Because when you establish that the main plot is about a character getting arrested for f**king over the timeline, you're immediately going to get people questioning, "Why do the Avengers get off scot-free?" So by quickly explaining how their time-traveling antics were supposed to happen, it negates every one of those complaints...or most of them. There are probably still a-holes who are poking holes in that logic, but they're not the ones writing this review, so f**k them.

Mobius: I didn't really expect Owen Wilson to do that good of a job in Loki. Primarily due to how the Cars franchise discredits him as a professional actor for...forever. With that said, Owen Wilson's Mobius might just be one of the most entertaining characters in the series. Yes, even more so than Loki himself. Mobius acts as the perfect straight man to Loki's antics, what with being so familiar with the supposed god of mischief through past variations of him. Because of that, it's always a blast seeing these two bounce off one another through Loki trying to trick a Loki expert, and said expert even deceiving Loki at times. Also, on his own, Mobius is still pretty fun. He has this sort of witty energy that's often present in Phil Coulson (Love that character too, BTW), but thanks to Owen Wilson's quirks in his acting, there's a lot more energy to Mobius than one would find in Coulson. As well as a tad bit of tragedy because of Mobius being a variant and having no clue what his life used to be. It's a lot to unpack and is impressively written, added to how it's Owen Wilson who helps make the character work as well as he did. Cars may not have done much for his career, but Loki sure as hell showed his strengths.

Ravonna Renslayer: Probably the least entertaining character, but definitely one of the most intriguing. At least to me.

Ravonna is a character who is so steadfast in her believes that she refuses to accept that she may be wrong. Without the proper writing, someone like Ravonna could tick off (ha) certain people. Personally, I believe that Ravonna is written well enough where even though I disagree with her belief, I can understand where she's coming from. She's done so much for the TVA, bringing an end to so many variants and timelines that she can't accept that it was all for nothing. In short, Ravonna represents the control side of the freedom vs. control theme that the writers are pushing. Her presence is necessary while still being an appealing character instead of a plot device. Again, at least to me.

Hunter B-15: I have no strong feelings one way or another towards B-15's personality, but I will admit that I love the expectation-subversion done with her. She has this air of someone who's like, "I'm this by-the-books badass cop, and I will only warm up to this cocky rookie after several instances of them proving themselves." That's...technically not B-15. She's the first to see Loki isn't that bad, but only because B-15 is the first in the main cast to learn the hidden vile present in the TVA. It makes her change in point of view more believable than how writers usually work a character like hers, on top of adding a new type of engaging motivation for why she fights. I may not particularly enjoy her personality, but I do love her contributions.

Loki Watching What His Life Could Have Been: This was a brilliant decision by the writers. It's basically having Loki speedrun his own character development through witnessing what he could have gone through and seeing the person he's meant to be, providing a decent explanation for why he decides to work for the TVA. And on the plus side, Tom Hiddleston did a fantastic job at portraying the right emotions the character would have through a moment like this. Such as grief, tearful mirth, and borderline shock and horror. It's a scene that no other character could go through, as no one but Loki needed a wake-up call for who he truly is. This series might heavily focus on the TVA, but scenes like this prove just who's the star of the show.

Loki Causing Mischief in Pompeii: I just really love this scene. It's so chaotic and hilarious, all heavily carried by the fact that you can tell that Tom Hiddleston is having the time of his damn life being this character. What more can I say about it.

Sylvie: The first of many surprises this season offered, and boy was she a great one.

Despite being an alternate version of Loki, I do appreciate that Sylvie's her own character and not just "Loki, but with boobs." She still has the charm and charisma, but she also comes across as more hardened and intelligent when compared to the mischievous prick we've grown to love. A large part of that is due to her backstory, which might just be the most tragic one these movies and shows have ever made. Sylvie got taken away when she was a little girl, losing everything she knew and loved, and it was all for something that the people who arrested her don't even remember. How sad is that? The fact that her life got permanently screwed over, leaving zero impact on the people responsible for it. As badass as it is to hear her say she grew up at the ends of a thousand worlds (that's an album title if I ever heard one), it really is depressing to know what she went through. It also makes her the perfect candidate to represent the freedom side of the freedom vs. control argument. Because she's absolutely going to want to fight to put an end to the people who decide how the lives of trillions should be. Those same people took everything from Sylvie, and if I were in her position, I'd probably do the same thing. Of course, we all know the consequences that come from this, and people might criticize Sylvie the same way they complain about Thor and Star Lord for screwing over the universe in Avengers: Infinity War. But here's the thing: Sylvie's goals are driven by vengeance, which can blind people from any other alternatives. Meaning her killing He Who Remains is less of a story flaw and more of a character flaw. It may be a bad decision, but that's for Season Two Sylvie to figure out. For now, I'll just appreciate the well-written and highly compelling character we got this season and eagerly wait as we see what happens next with her.

The Oneshot in Episode Three: Not as epic as the hallway scene in Daredevil, but I do find it impressive that it tries to combine real effects, fighting, and CGI in a way where it's all convincing enough.

Lady Sif Kicking Loki in the D**k: This is a scene that makes me realize why I love this series. At first, I laugh at Loki being stuck in a time loop where Lady Sif kicks him in the d**k over and over again. But a few scenes later, this setup actually works as a character moment that explains why Loki does the things he does.

This series crafted phenomenal character development through Loki getting kicked in the d**k by the most underrated badass of the Marvel Cinematic Universe. It's a perfect balance of comedy and drama that not every story can nail, yet Loki seemed like it did with very little effort.

Classic Loki: This variant shows the true tragedy of being Loki. The only way to survive is to live in isolation, far away from everything and everyone he loves, only to end up having his one good deed result in his death anyways. Classic Loki is definitive proof that no matter what face they have, Lokis never gets happy endings. They're destined to lose, but at least this version knows that if you're going out, you're going out big. And at least he got to go out with a mischievous laugh.

(Plus, the fact that he's wearing Loki's first costume from the comics is a pretty cute callback).

Alligator Loki: Alligator Loki is surprisingly adorable, and if you know me, you know that I can't resist cute s**t. It's not in my nature.

Loki on Loki Violence: If you thought Loki going ham in Pompeii was chaotic, that was nothing to this scene. Because watching these Lokis backstab one another, to full-on murdering each other, is a moment that is best described as pure, unadulterated chaos. And I. Loved. Every. Second of it.

The Opening Logo for the Season Finale: I'm still not that big of a fan of the opening fanfare playing for each episode, but I will admit that it was a cool feature to play vocal clips of famous quotes when the corresponding character appears. It's a great way of showing the chaos of how the "sacred timeline" works without having it to be explained further.

The Citadel: I adore the set design of the Citadel. So much history and backstory shine through the state of every room the characters walk into. You get a perfect picture of what exactly happened, but seeing how ninety percent of the place is in shambles, it's pretty evident that not everything turned out peachy keen. And as a personal note, my favorite aspect of the Citadel is the yellow cracks in the walls. It looks as though reality itself is cracking apart, which is pretty fitting when considering where the Citadel actually is.

He Who Remains: This man. I. Love. This man.

I love this man for two reasons.

A. He's a ton of fun. Credit to that goes to the performance delivered by Jonathon Majors. Not only is it apparent that Majors is having a blast, but he does a great job at conveying how He Who Remains is a strategic individual but is still very much off his rocker. These villains are always my favorite due to how much of a blast it is seeing someone with high intelligence just embracing their own insanity. If you ask me, personalities are always essential for villains. Because even when they have the generic plot to rule everything around them, you're at least going to remember who they are for how entertaining they were. Thankfully He Who Remains has that entertainment value, as it makes me really excited for his eventual return, whether it'd be strictly through Loki Season Two or perhaps future movies.

And B. He Who Remains is a fantastic foil for Loki. He Who Remains is everything Loki wishes he could have been, causing so much death, destruction, and chaos to the multiverse. The important factor is that he does it all through order and control. The one thing Loki despises, and He Who Remains uses it to his advantage. I feel like that's what makes him the perfect antagonist to Loki, thanks to him winning the game by not playing it. I would love it if He Who Remains makes further appearances in future movies and shows, especially given how he's hinted to be Kane the Conqueror, but if he's only the main antagonist in Loki, I'm still all for it. He was a great character in his short time on screen, and I can't wait to see what happens next with him.

WHAT I DISLIKED

Revealing that Loki was D.B. Cooper: A cute scene, but it's really unnecessary. It adds nothing to the plot, and I feel like if it was cut out entirely, it wouldn't have been the end of the world...Yeah. That's it.

That's my one and only complaint about this season.

Maybe some scenes drag a bit, and I guess Episode Three is kind of the weakest, but there's not really anything that this series does poorly that warrants an in-depth complaint.

Nope.

Nothing at all...

…

...

...I'm not touching that "controversy" of Loki falling for Sylvie instead of Mobius. That's a situation where there are no winners.

Only losers.

Exclusively losers.

Other than that, this season was amazing!

IN CONCLUSION

I'd give the first season of Loki a well-earned A, with a 9.5 through my usual MCU ranking system. It turns out, it really is the best type of wackiness that was just too good to fail. The characters are fun and likable, the comedy and drama worked excellently, and the expansive world-building made me really intrigued with the more we learned. It's hard to say if Season Two will keep this momentum, but that's for the future to figure out. For now, let's just sit back and enjoy the chaos.

(Now, if you don't excuse me, I have to figure out how to review Marvel's What If...)

[takeabreathandsmile]

The little tag talk in your reblog about Yakko and change got me thinking. From what I've seen with the 2020 series, a lot of it has changed, but I also think a lot of the same genuine charm of the Warners and Pinky and the Brain is still there, y'know? Animaniacs has always been "woke," talking about the muckiness of society and politics. It's just done it with more modern things because let's be real, so much has changed since the 90s.

I agree to an extent - Animaniacs has never pulled any punches with their jokes, that was part of their charm. 

However, it used to be that they poked fun at everyone and everything, without an obvious bias. They never worried about being “politically correct,” they were just there to provide a fun and silly escape from real world problems. The Warners, in particular, got a kick out of annoying every person they came across and poking fun at programs that tried to force an opinion down its audience’s throat (which is exactly what the reboot now does.)

Sure, the original had its share of political humor, but it was never the focus. The occasional jabs were well-dispersed between movie parodies, historical antics, musical numbers, and just general cartoony shenanigans.

Whether or not you agree with the crew’s politics, it still gets tiring hearing about the same 2-3 topics 20 times over. A comedy show should leave you feeling lighter than you did going in, but there were some episodes that I actually walked away feeling drained and frustrated.

Don’t get me wrong - I don’t dislike everything about the reboot. It definitely has its moments and I never expected everything to be exactly the same. Honestly, there were some episodes that I really enjoyed and felt captured the show’s spirit fairly well. I wish there were more of those episodes. But the problem is, those moments are few and far between, and so quickly overshadowed. 

Rob, Tress, Jess, and Maurice are doing a phenomenal job reprising their roles, but without the show’s (and the characters’) original creator, Tom Reugger, Animaniacs is missing its heart. And Reugger himself is not at all pleased with the approach the reboot is taking.

Taking a quote from a Rollingstones article that put it better than I could:

“In the original show...the Warners were superhumanly annoying, but in service of a greater good. As Ruegger says of their old stories, “Almost all of them are about going up against a**holes, authority figures, and puncturing the balloon of pomposity, hoisting them by their own petard.” The revival has them mostly reckoning with all the ways the world has changed since we last saw them. Where their powers of exasperation once made them unstoppable, now they’re the ones who seem impotent and irritated by the people and culture around them. Thanks to Paulsen, Harnell, and MacNeille, the Warners sound like they should, but the magic is otherwise missing.”

“ Ruegger noted that the original Animaniacs was just contemporary enough to prove more appealing to kids than the Looney Tunes shorts that shared their sensibility. But nods to modern life weren’t prevalent, outside of the line in the theme song about Bill Clinton playing the sax, plus Goodfellas only being a few years old at the time the Goodfeathers were introduced. (And even those shorts were often an excuse to get retro, like a West Side Story parody about dueling bird gangs.) The original writing staff didn’t worry much about whether their target audience would get old references, and just did whatever made their colleagues laugh.”

(I highly recommend reading the full article, it’s very informative.)

The fact that the old episodes are still loved and revered by fans (old & new) today is a testament to how timeless the comedy and the formula truly was. In comparison, a lot of the new episodes already feel dated because the writers are trying too hard to stay up-to-date with trends (which is impossible to do, the animation takes too much time to complete and fads change a lot more quickly these days.)

Honestly - I just don’t think Animaniacs can or should exist without Tom Reugger and the original team (or at least most of them.) Warner Bros was wrong to cut them out in the first place and my hope is that, if the fans demand it loudly enough, they’ll change their minds and invite Reugger back to help with future seasons.

[angeltears-writing]

The Brother’s and movies

Lucifer

v  Lucifer tells anyone who asks that he enjoys serious, dramatic movies set during the wartimes the type that get Oscar nominations but are quite intense and a little dull.

v  Lucifer however holds a dirty little secret that his prideful nature will not allow him to outwardly share.

v  He LOVES Christmas movies.

v  The end of year holiday movie’s just alleviate all the stress in him. He is so happy while watching that he can barely keep the grin off his face.

v  DO NOT watch Home Alone with him and Mammon. Lucifer every 2 minutes is mouthing off against Mammon stating that HE is the Kevin of the family.

v  His favourite holiday movie is the Santa Clause.

v  The holidays are so special to him and the movies just capture the atmosphere and joy he feels.

v  He loves Christmas because he finally gets a break from his duties, he can have a fun little party with his beloved brothers and friends, he receives and gives meaningful gifts and even Satan is nice to him on Christmas.

v  When you come to the Devildom you bet Lucifer is watching Love Actually with you and every single romantic Christmas movie so he can feel enjoy the warm fuzzy feelings assiociated with his favourite holiday with his beloved Y/n.

Mammon

v  Before you came the Devildom Mammon solely watched hardcore triple X action movies. Unless on movie night with his brothers, then he’s forced to watch some boring artsy flick or some anime junk movie .*cough cough Levi*

v  He was a total dudebro and loved PointBreak.He owns the full collection of the Fast and the Furious. What’s not to love with the live fast, die hard law breaker lifestyle?

v  The man also lives for heist movies, Oceans 11? He has it memorised! He thinks about how HE would be a huge asset to the team and dreams about pulling off some high action super cool heist with you.

v  When Y/n comes to the Devildom it is like a flip of a switch for Mammon.

v  He says he can handle horror movies but you both know that’s a big fat lie so only insist on watching them if you wish to torture him.

v  He will complain and insult your choices of chick flicks and romantic comedies but he is enraptured.

v  HE LOVES it, he watches a couple of them in secret and daydreams about you and him as the main couple.

v  This man wants to pull a Heath Ledger and serenade you to “Can’t Take My Eyes Off You” in front of his brothers, Diavolo, RAD, heck even the whole Devildom.

v  He is living for these romantic comedies and constantly tries to recreate his favourite cutesy moments with you. (Did he get you “special wishing sparkles” and told you to close your eyes and make a wish? Did he then give you a shy blushy kiss when you opened your eyes and say wish granted? Who knows that’s between you and him.)

v  Oh and you bet he’s crying when the couple’s fight and cheering so hard when they finally get together. He can’t help it he’s a secret romantic. Don’t be so loud about it Y/n! He has a tough guy attitude to maintain.

Leviathan

v  Anime movies. Need I go on?

v  He has the Blu-ray special editions of Studio Ghibli movies and he loves watching them on rainy cold days snuggled under a blanket with you.

v  He loves Ponyo for obvious water and fish related reasons. You guys have defiantly done cosplay photo shoots, he was Ponyo, you were Sosuke and Henry was the fishy sisters.

v  Other than anime movie’s Levi is a 80’s movie aficionado. He has seen every 80’s movie. He particularly relates to the high school movies for the theme of the awkward nerdy guy getting the super cool, popular girl of their dreams.

v  He does enjoy the nerdier comic book, big budget action movies, like Kick-Ass. He and Satan have faced off against each other regarding whether DC or Marvel movies are better. (He prefers the funny antics associated with Marvel plus he’s a Peter Parker fanboy)

v  He also is a huge fan of any Edgar Wright movie since seeing Scott Pilgrim vs. The World. (He let out a Woaahhhh when he saw the comics)

v  May Lord Diavolo have mercy upon you if the movie is a book or tv show adaption because Levi will not shut up during the movie. (He will pause the movie he’s not THAT inconsiderate.) You will not have a moment of peace after the movie has ended. He simply must share every single thought he had on what the movie did right and what the movie did wrong. Then he has to show you his fan casting list of who would better fit the roles and then just when you think it’s over he pushes you to re-watch the movie with him to listen to the director commentary.  

v  Levi will generally save his commentary for after the movie if you got to the movie theatre with him. Something about the change of atmosphere and the excitement that comes from the movie watching experience just puts him in a calmer less frantic mood and you can enjoy a simple quiet movie date for an hour or 2 before your ear will be talked off.

 Satan

v  DO NOT WATCH BOOK TO MOVIE ADAPTATIONS WITH HIM! HE IS WORSE THAN LEVI AND TWICE AS BRUTAL IN HIS CRITICS.

v  Now that that fact is out of the way Satan is a mystery fan. He enjoys the cheesy who dunnit type movie’s especially if the detective solving the mystery is very cool and charismatic with a fun catch phrase.

v  One that caught him of guard and quickly became his favourite was Knives Out. A clear mystery with a wacky bunch of characters all with misleading facts and motivations. Additionally he was thrown for a loop on the ending so he really enjoyed it for its unpredictability.

v  Of course Satan enjoys DC movies I mean he and Levithan read the comics and he is a clear believer that the serious tone and consequence from DC makes them the far superior super hero franchise.

v  Contrary to popular belief Satan does not like documentaries, he gets restless and bored watching them, but you keep putting on those boring long documentaries because it leads to a very steamy make out session with a slightly huffy Satan who had been complaining that his movie choice would have been much more enjoyable. Hush hush Satan we are not watching the Blue Planet to sate our curiosity of the inner workings of the environment but rather to quiet your adorable little tuts and huffs with soft sweet kisses and gentle touches.

v  The double edged sword that comes from picking a documentary is that Satan will indeed make you suffer by making his pick a terrifying horror movie since he thinks you are oh so adorable when you’re frightened. He thinks it’s really cute when you ask him to walk you to the bathroom because you’re afraid of the big scary monsters and it’s even cuter to him when you throw your face into his chest and refuse to look until the scary scene is over. Haaa he cannot resist and must pat your head and give you a small peck.

Asmo

v  When one watches a movie with Asmo, one does not simply see it, one lives it.

v  Asmo loves 90s and early 2000s movies about the pretty popular girls because he lives to see their fabulous closets, outfits and their dewy supple skin. He’s a huge fan of Clueless, Legally Blonde and Bring It on.

v  He also simply dies for those cult classic like, Mommie Dearest, Troop Beverly Hills, Drop Dead Gorgeous, Marie Antoinette, Death Becomes Her and many more. You guys put on face masks grab a couple of tasty cupcakes and start reciting the movies line for line bursting into giggles every time, that’s how many times you’ve seen them.

v  Asmo gets the appeal of campy movie’s that have not been appreciated for their odd charm so when you come along you bet he’s going to be shouting out his favourite one liners and you fire the responses right back. He’s in love.

v  What he loves most about the campy movies is the fabulosity and authenticity that comes from the movie’s just wanting to tell a great story and celebrate the oddities and dramatics of the characters. His favourites are the ones with drag queens particularly Priscilla Queen of the Desert, To Wong Foo and The Birdcage. How is he not meant to simply adore the beautiful wigs, costumes, the attitudes of the queens and the sharp, dry, witty humour.

v  Big blockbuster wise Asmo is inclined to see any musical, and yes for 3 weeks straight he will sing the songs of the musical, much  to the displeasure of his brothers but to the delight of you and Solomon who cheer him on and request encores. (Yes you all went to see Cats together, yes you dragged Satan along. Yes everyone but especially Satan was traumatised and yes Asmo did drape himself across every available surface in the House of Lamentation and belted out Memory for practically the whole Devildom to enjoy. Enough with the questions!)

v  Asmo’s favourite musical is Rocky Horror Picture show, you have monthly viewings where Asmo dresses up as Frank en Furter and performs…well not for you more on top of you.

v  Movies with Asmo are always fun treats, you both have a great time with each other and walk away from the movie’s feeling more emotional and closer with one another.

Beel

v  Beel’s taste in movies is similar to his taste in food he is not picky and enjoys a wide variety.

v  He enjoys mafia movies of any variety He likes the familial bond and the trust between members but does not enjoy the double crossing, it makes him feel sad.

v  Other than that he lives for the lively mood, the Italian food, the dramatic situations and the action sequences.

v  He has seen a few animated movies and his favourite is Brother Bear, it reminds him of him and Belphie and makes him soft.

v  He does actually does like twin movies because the plots are always outlandish and funny to him at least.

v  When it comes to movies where food is central to the plot, do not get him started. The amount of times you had to pause Ratatouille so he could get his 20th snack in the last 10 minutes was astonishing. He get’s extra hungry watching the movie but generally enjoys chatting to you about the food making process of each dish rather than paying attention to the plot. (You: Would you prepare food made by a rat? Him: Well I ate Solomon’s cooking once so even a rat’s cooking would be better than that)

v  He loves to ask which dish would you eat when restaurant scenes come up because he’s curious of your taste while watching the movie and sometimes he’ll stop paying attention the movie and instead just watch your reactions.

v  Generally speaking any movie suggestion he’s fine with as long as he gets to spend time with you and can binge on delicious movie snacks.

Belphie

v  The total opposite of Beel, Belphie is a total film snob and will harshly berate your movie choice and say ‘You really made me stay awake for this crap fest.’

v  He doesn’t mean to be mean (yes he does but he doesn’t like making you sad) he just has a very particular taste for movies and if he’s going to extend the effort to stay awake and pay attention he wants it to be worth his time.

v  He is actually the one in the house who does enjoy documentaries. What can he say some habits die hard and he’s still a total Earth nut even though he human-phobic.

v  Not to mention the gentle voice of David Attenbourough soothes him until he is just barely awake so when he finally drifts off he dreams of the wonderful parts of Earth and the miracles or nature.

v  He is a fan of Shakespeare movies particularly the rich dark one’s that are a bit more violent. The atmosphere surrounding them just fits and the plot is a classic so why watch a cheap knock-off of what he has dubbed perfect writing.

v  This man is an emo so of course he’s going to watch the slightly pretentious movies with poetry, his favourites are Dead Poets Society, The Crow and V for Vendetta.

v  On movie nights he is selfish! He insists that you watch his movie first then he immediately falls asleep after it ends. He feels no shame over this.

v  He hates twin themed movies, he thinks they’re cheap and over use the same gag of ‘Whoa they’re twins.’ (Sorry Mary-Kate and Ashley Belphie does not like you guys at all)

v  He watches brother themed movies with Beel and gets really soft because he loves his twin so much.

v  If you truly force him he will relent and watch your movie with you but he will make fun of it and bully you every second he is awake and the only way to silence him is to cuddle up close, let him lay his head on your chest or shoulder, massage his head or give him tons of kisses.  

v  Generally speaking a bad movie buddy but a great cuddle buddy for movie nights.

[hotelyamato]

✔ : What drew you to the character you currently play? What types of characters are you generally drawn to?

Roleplay related mun memes!

Generally, I am drawn to characters who have interesting personalities, and/or personalities that I perceive as similar to my own. I would consider this an attribute of each of the characters I currently play. This isn’t the only key, though. With regards to Hetalia characters, I will generally prefer those nations which I already have a positive opinion of in real life, and as for KanColle characters, I gravitate towards those whose designs, personalities and histories appeal to me most, as well as those that I find most enjoyable to use in fleets in-game.

To go into more detail,

Vietnam is portrayed as a headstrong, confident woman, an archetype that I appreciate. I have stated this before about two years ago, but I am drawn to strong, independent women in anime and manga, because I feel that the majority of female characters in the most popular anime and manga today have little to no personality and, at worst, are mere objects for both stereotypical, flawless male protagonists and the viewers who are meant to project themselves onto said protagonists. I think that Vietnam is better than this. I should say that, while Hetalia is a series with very few female characters, the ones it does have feature well-constructed personalities and histories (well to do for a historical comedy series, indeed). Vietnam is no exception; in either groups of men or women she is the voice of reason, even if the men’s antics fluster her. While I don’t tend to pick favorites, if I needed to choose a favorite character for Hetalia, I would go with Vietnam.

Nyo!Japan has not received much panel or screen time, but it can be inferred that, despite being quiet and reserved, she is also very knowledgeable, appreciates both traditional and modern culture, and can get along well with people. Still, it is primarily up to the fans to determine just what she is like and how she will act in various situations. I hope that I can do her justice.

I enjoy England’s character because I find him to be a short-fused, witty man; sometimes I feel very similar to him. Furthermore, years of watching British YouTubers has taught me much about British culture and slang, so combined with his tendency to be caustic when interacting with others, I find it very easy to write him, and more importantly, put myself into his shoes and mindset.

Taiwan is one of those Hetalia characters that I like above others because I am a supporter of the Republic of China in real life, and I admire the character’s strong will and determination, and chiefly, her ability to bounce back from difficult times and moods. It also helps that she’s cute.

To contradict myself, I will easily pick Yamato as my favorite shipgirl in KanColle. What can I say? She’s quite pretty, and quite powerful, too. Yamato is a big eater... and so am I. >///>; Given the real-life ship’s history of serving primarily as a propaganda piece, sitting in ports or transporting troops and only firing her main guns once in a surface battle, Yamato desires to prove herself a worthy member of the fleet, which has endeared me to her. Again, what can I say? She’s rather inspiring to me that way. I feel that Yamato, despite her history, has more confidence in herself than I do in myself, and I only wish I could feel as confident. It is funny that Nyo!Japan is more like a Yamato Nadeshiko than Yamato, who isn’t really one at all, but indeed, more like a Determinator.

Yukikaze’s plucky attitude and [again] confidence has made her one of my favorite shipgirls as well. Sometimes I think, perhaps a bit facetiously, that Yukikaze’s survival of the war and managing to exist until 1970 says something about hope for humanity and peace. And maybe she can bring me some luck at the casino some time, too. Of course, her Kai Ni remodel is very strong and useful in-game, and I would certainly consider her one of the best destroyers in KanColle.

I should admit that I tend to prefer writing female characters. Other than what I have explained above, when discussing Vietnam, I cannot really say why. maybe just because I’m a heterosexual male I can say that England is there just so that there is one male muse I can write, when I feel it is most appropriate.

Thank you for the question! I hope that I answered it well enough. I always find it somewhat difficult to organize my thoughts, so I certainly hope that this does not have only the appearance of an incoherent ramble, and is not confusing at all.

[ultraglittercat]

Drabble 141

Movie Night (AU)

Rapunzel and Eugene were getting their house ready for an evening with friends. They'd picked out a movie called “Planes, Trains, and Automobiles”, a nice family comedy. She knew family togetherness was important to all of her friends, and she wanted something low-key that wouldn't upset Varian, who was still adjusting to 'life on the outside'.

Varian and Quirin had been in a horrific car accident the previous year, and Quirin had been in a coma for months. She knew Varian's past year had been difficult, feeling alone and abandoned, he'd resorted to breaking and entering her father's home, angry at the Mayor of Corona for his poor road conditions. Fred had pressed charges despite Varian's young age, and the poor boy had been sent to juvie. It had taken ages for Rapunzel to convince them to release Varian under supervision and some people, like his parole officer Cassandra, still didn't quite trust him.

Cassandra was a very strict, by-the-book law officer, but as one of her closest friends, Rapunzel had seen the kindness hidden in Cassandra on a few occasions. She hoped Cass would enjoy their evening. She'd just gotten a text from Cass saying she was on her way and that Varian better be on his best behavior.

There was a knock at the door, and Eugene raced to get it while Rapunzel straightened some pillows on the sofa.

“Lance, buddy! Good to see you.” Eugene and Lance did an elaborate handshake that made Lance's daughters groan.

“Hey, this handshake was considered very cool when we were kids.” Lance insisted.

“Yeah, but that was like 50 years ago.” Kiera joked. Catalina giggled.

“It was not that long ago!” Lance protested.

“Hi girls. We're not going to start the movie until everyone's here, but I left paper and art supplies on the table.” Rapunzel offered. The girls took off like a rocket towards the crafts table. Lance smiled. By the end of the night he'd have more drawings to pin to the fridge.

“Are we the first guests to arrive?” asked Lance.

Rapunzel nodded. “Yes, but Cass is on her way, and so are Varian and his father, Quirin. We're going to have a lot of fun. Eugene chose a really good movie.” Rapunzel smiled.

“Remember when we were kids and we used to sneak into movie theaters?” Lance recalled. Catalina and Kiera poked their heads up, wanting to hear more about their Dad's 'criminal' past. But Eugene elbowed him and he quickly backtracked. “But we were wrong, of course! It's much better to pay for movies.” Lance corrected. He was saved from further embarrassment by the next arrivals: Varian and Quirin, carrying a large plate of food.

“Hey guys. Um, Dad and me made nachos for the party.” Varian grinned nervously. He was still getting used to the idea that they were all friends and had forgiven him. If he didn't have Quirin with him, he probably wouldn't have even showed up, but everyone was glad to have him there.

“Thank you, that's sweet. The girls are already making art and you can join them if you want. I hear you draw a fantastic Iron Man.” Rapunzel prompted.

Varian blushed. “I just like drawing armor and robots.” he mumbled as he took a seat next to Kiera and Catalina.

“He does very well in art, math, and science. You know Varian took an aptitude test and qualified for college classes. I think it's a better fit for him than high school, the students are a little more mature and don't pick on him so much.” Quirin told Rapunzel.

“Is college really better than high school?” Catalina wondered.

“It's a lot bigger, and you have more choices of what you can do. I like the chemistry lab and math department.” Varian answered.

“You would like all that nerdy stuff.” Kiera teased, but she was secretly glad Varian was enjoying school again.

The kids busied themselves for half an hour with art, while the grown-ups talked. They collaborated on a big drawing- a TIE fighter vs a mermaid and some monkeys- when Cassandra finally showed up.

“Hi guys. Sorry I'm late, I got held up in traffic.” Cassandra apologized. Cass was still wearing her police uniform, even though she was off-duty. Varian stopped drawing and stared at her, eyes wide. “Hey, kid. You keeping out of trouble?” Cassandra wanted to know. Varian nodded hesitantly.

“He's been doing great, helping fix the pipes in the Old Corona Housing Projects.” Quirin was quick to praise his son.

Cassandra's expression softened, just a little. Only Rapunzel noticed. “That's good. Just make sure you keep track of how many hours he works, and whatever else he does between classes.” Cassandra told Quirin.

“I'll do that.” Quirin agreed.

Rapunzel saw how Varian tensed up, and wanted to shift to a more neutral topic. “Now that we're all here, we can watch our movie. We'll let the kids have the sofa, while the adults can sit in chairs.” Rapunzel said.

“Yay, movie time!” cheered Kiera and Catalina, who left in such a hurry their drawing fell to the floor. Varian picked it up and handed it to Lance before taking a seat next to the girls.

“What movie are we seeing?” Cassandra asked.

“Planes, Trains, and Automobiles.” Eugene replied.

“Oh, I love that. With the big fat guy who breaks stuff and is obnoxious! Can you imagine knowing somebody like that?” Lance said, reaching for the nacho chips and double-dipping them in cheese sauce.

“I think I can imagine it.” Cassandra said dryly.

“He's not the only character in the movie, you know. There's also the really uptight entitled guy who rudely judges people.” Eugene gave Cassandra a pointed look.

“C'mon guys. Set a good example for the kids. We're about to start the movie, so no arguing.” Rapunzel laid down the law. She pressed play on the remote, while Eugene dimmed the lights. Soon everyone was laughing at the antics of Steve Martin and John Candy. There were a few highlights: Steve's f-bomb riddled speech got gasps from the girls who were never allowed to talk like that, and the pillow scene at the motel made everyone chuckle. But what really appealed to everybody was when Steve finally got home and invited the homeless John Candy to join his family for Thanksgiving dinner. The credits rolled, and Rapunzel turned off the TV.

“That was really good.” Catalina approved.

“Yeah, I never thought they'd be friends.” Kiera added.

“It's got a good message about welcoming people into your life.” Lance smiled. He'd grown up lonely in the orphanage, with only Eugene as a friend, and he was so glad to have adopted the girls, giving them the sort of loving family he'd dreamed of as a kid.

“Thanks for coming to movie night. Will we see you guys for Thanksgiving?” Rapunzel asked.

“You couldn't keep us away!” Lance laughed.

“Um... are we invited, too?” Varian asked nervously.

“Of course, Varian. We're all friends here.” Rapunzel told him.

Varian thought about it. Like the movie characters, he hadn't always had a perfect friendship with Rapunzel, he'd yelled at her for things that weren't really her fault and done desperate, illegal things to try and save his father, just as Steve had tried everything to get home on time. He could really relate to the movie, which in hindsight was probably why they had chosen it.

“Yeah, we're friends.” Varian said softly. Quirin put his hand on Varian's shoulder, and Varian smiled, a bigger smile than he'd had all evening.

The End

I've never done a modern setting for Tangled before, it was fun. I miss going to movie theaters, but a movie night at home is just as good, particularly if you have friends over.

[ducktracy]

168. porky’s super service (1937)

release date: july 3rd, 1937

series: looney tunes

director: ub iwerks

starring: mel blanc (porky), elvia allman (woman)

though ub iwerks gets the director’s credit, bob clampett and chuck jones both tackled the directing duties on this one. this is ub’s last credit at warner bros, touting an interminable stint of 2 (technically 3 if you count his early involvement in porky’s badtime story) cartoons. bob clampett would be the one to inherit his unit—according to bob, when he came into work one monday morning, he found iwerks’ director’s chair empty and was told that he was the director. this will be touched on more when covering porky’s badtime story.

slapstick is galore in this final iwerks credit—porky runs a service station, but runs into trouble when he has to fix up a car and keep an eye out on a sadistic, violent baby at the same time. with chuck jones’ frustration comedy and bob clampett’s sadistic antics, both combine to make quite an amusing effort for the time period.

already, the title card greets us with some ambiance as the sounds of car horns and motors preface a jazzy rendition of “i’m hatin’ this waitin’ around”, the cartoon’s motif. already, a wise decision to preserve money as the opening of the cartoon is reduced to a few layouts and pans: an overhead view of the titular service station trucks into a vertical pan of gas prices. 

“GAS 3 ¢” is emblazoned proudly on the sign at the service station, but as the pan goes down, the audience (and customer) is taxed for much more than they bargained for:

STATE TAX 6 ¢

CITY TAX 4 ¢

COUNTRY TAX 7 ¢

UNEMPLOYMENT TAX 3 ¢

SOCIAL SECURITY TAX 5 ¢

FARM RELIEF TAX 2 ¢

LUXURY TAX 8 ¢

CARPET TACKS 5 ¢ 

TOTAL 43 ¢

as much of a groaner and an eye-roller the punchline is, my pun-loving self can’t get too angry about this. this was actually one of the first looney tunes cartoons i checked out on my own, and it gave me a good laugh the first time i saw it.

the titular pig himself is busy at work filling up gas, befuddled at the placement (or lack thereof) of a car’s gas valve. a question mark pops above his head to convey his plight, an iwerks staple--iwerks would even animate a scene in the oswald cartoon oh teacher (1927), where a cat uses its own question mark as a tripwire in order to steal oswald’s girlfriend from him. porky, however, isn’t that sadistic (at least, not yet)--instead, he asks the car owner where the gas goes. the car owner responds back in a german accent, “you vant to know?” “ye-ye-yes, i veh-vant to know.” the owner then addresses the audience: “hmmph. should i tell him?” this is certainly a radio catchphrase of some kind, but which it belongs to, i haven’t found. i can confirm that it’s bubbled up in a few other cartoons, at the very least.

nevertheless, the car owner/dog lifts up the entire top of the car, where a gas valve is situated inside. porky heads over to pump the gas, a closeup on the gas take reflecting an iwerks “shiver take” as the arrow eventually approaches the 10 galloon mark. when the arrow approaches 9, a little cuckoo bird pops out of the gas tank, quipping “at the sound of the gong, it will be exactly 10 gallons”--a reference to time tones being played on the radio. the bird listens, and when the “clock” strikes 10, it retreats back into its rightful place. while perhaps not the funniest gag today, it does have some clever and smooth animation.

a nice bit of character animation as porky happily flips his shiny new coin, interrupted by the sound of an approaching customer. porky fills the customer’s car with oil as per request (”oka-okeh-okeh-ok-oka-ok-ok--alright!”), thus sparking a variety of odd job gags—alerting a flat tire to a rather angry patron, who literally goes through the (car) roof in anger before tying a knot in the rubbery tire himself to fix the issue (complete with some rubbery animation, ever so common in the iwerks cartoons), and hitting the dents in another car, including a spontaneous dent in the window, causing a broken window in the aftermath via hammer. the gags aren’t gut-busting, yet they have some nice animation to them, especially character animation with porky. however, the start of the opening is slow in comparison to the second half—a part of me wonders if iwerks had more influence on the first half before clampett and jones really sunk their toes in with the rest of the cartoon.

the second half of the cartoon is marked by the sound of an angry horn—that is, an angry woman honking her horn. elvia allman lends her voice to the persnickety customer as she rather bluntly asks (demands, really) porky to fix her flat tire. porky obliges, but is caught in a caveat—don’t wake the baby.

bob clampett is responsible for our introduction to the little dickens, animating porky popping his head in the car to remark “cute little fella.” and so, we see for ourselves just how cute this little fella is as he breaks his “slumber” to stick his tongue out at our protagonist. a nice sense of comedic timing and foreboding—we already know that nothing good is going to come out of this ordeal.

as porky dutifully busies himself with the tire, junior confirms the audience’s suspicions by whacking porky over the head with his bottle. porky, rightfully disgruntled, whips his head around to find the culprit before resuming his work. as he rotates the tire, junior assets his aggression even more by putting the car in drive.

and, predictably yet amusingly so, porky is sent whirling around the back tire. he, along with the tire itself, are let loose from the car as they both catapult right into a metal pole. iwerks’ dizziness lines as porky collects himself coupled with the perfect pig-shaped dent in the pole definitely make porky’s plight more amusing than painful. carl stalling’s gentle yet sardonic rendition of “my little buckaroo” adds another layer of sweet, incongruous irony to the entire cake.

porky’s suffering has only just begun—a suspended part of the pole gives way from the impact and gives porky another good konk on the noggin. as porky once more attempts to collect himself, he realizes that he’s stuck inside the tire. thus sparks a montage of him repeatedly straining to free himself, but to no avail--the timing itself at times is a little floaty and awkward (mainly when porky’s crawling around on all fours), and the sound effects don’t feel as natural as they could be, but the facial expressions are rather appealing, and the movement is fun and rubbery. at one point, trying to free himself, porky grabs the back of his overalls and accidentally pinches himself--certainly a bob clampett gag, as porky turns defensive and looks around to see who snubbed him. 

while porky struggles, the demon baby slings his bottle at porky, hitting him square in the arse and effectively freeing him from the tire (much to porky’s vocal discomfort). the timing of porky identifying the projectile and throwing it at the ground, shooting a glare at the baby, is absolutely priceless. he finally heads over to the car to confront the little dickens, but junior is peacefully sleeping, much to our hero’s head-scratching befuddlement. as he turns his back, junior once more shoots an angry glare, signaling that the fight has only just begun.

the frustration of porky becomes much more visible (and hilarious) with this next scene as he prepares to work on the engine. just as he lifts the lid of the car, junior, rife with sadistic energy, smacks the lid right over porky’s head, trapping him inside. junior’s gleeful expression coupled with porky’s visible temperament really add a lot of flavor and feeling--as the charade continues, porky finally allows himself to rip the hood of the car off its hinges and throw it off screen. timing is succinct and snappy and allow for the jokes to hit quite well, even if it is a tad predictable.

however, the timing of the next sequence is not as snappy, and feels a bit like an odd transition between scenes, with an overall more whimsical mood as porky listens to the engine for any problems. nevertheless, junior’s attitude hasn’t changed in the slightest: he turns the ignition on, causing porky to be electrocuted (with a rather ill-fitting scream not by blanc). junior gives porky enough time to recover, honking the horn just when porky’s listening to it, sparking some rather awkward animation of porky getting punchy from the impact. while this scene doesn’t flow as well as others, it’s still rather amusing and creative--the iwerks shiver takes and inverted colors during the electrocution sequence add a nice touch of individuality.

next, porky is dutifully oiling the engine, sparking junior to press the starter. the engine mechanics kick up, porky’s snout getting stuck to the rising and falling pillars. he finally frees his snout (the scene reminding me of of w.c. squeals’ snout sticking on the ice in tashlin’s cracked ice a mere year later), only to get thrown around by the rapidly pushing pillars of the engine. rather creative as we see multiples of porky bobbing around in a blur. misfortune is still high, however, for the top of the engine closes on top of him, and all we see is bumps rising and falling in the metal above. finally, porky is shot out of the exhaust pipe, his body covered in soot, landing against the gas pump/clock hybrid from before, the cuckoo bird adding insult to injury as it gives a call after the impact. 

a rather abrupt transition as porky, now unfazed, arrives back at the car to confront his foe once more playing possum. the facial expressions and overall timing give this away as a bob clampett scene as porky shoots repeated scowls at the baby, who returns the favor with some rather snide, mocking expressions of his own behind the pig’s back. porky finally believes he’s caught junior, who’s currently stretching his face out at porky--yet, sure enough, junior goes right back to “sleep” when porky turns around, causing the pig to give a frustrated snap of resignation. that doesn’t stop our protagonist from hatching a plan--he zips around to the other end of the car, right behind junior. surely enough, junior prepares to make a face, but realizes he’s been duped. wonderfully smooth animation of junior looking around in befuddlement, you can practically see those little gears turning. finally, he whips around, spots porky, gasps, and goes right back to sleep.

regardless, they both know that junior’s been caught as they make eye contact once more. finally, junior literally rolls away and heads to the window crank, sliding the window up and getting porky’s snout caught in the process. porky spits out a stream of threats and exclamations of pain (”OWW! ouch! o-oh, leh-leh-let go! i’ll fix you! eh-eh-eh-eh-don’t do that! s-s-stop! s-stop, ya hear me!?”) while junior sneaks out of the car, shutting the door and letting the pig dangle around helpless. in the midst of porky’s rant, junior heads off and arrives back with a hose, placing it matter of factly in porky’s overalls.

suddenly, we see that the hose is connected to an air pump. junior gives the wheel a few good turn, and air shoots through the tube and right into porky’s pants. porky is finally freed from the window, but is now rocketing around in the air, laughing hysterically. mel blanc’s performance of porky’s hysterical laughter, sounding eerily similar to daffy’s trademark HOOHOO! laugh is nothing less than contagious and commendable. 

while porky flies around in the air, junior makes matters worse by donning an oil gun and shooting spurts of oil right at the pig. and they said pig’s couldn’t fly! unfortunately for junior, porky’s movements are too erratic to make for a proper target, but no matter: a simple shut off of the air will do the trick. 

porky flops to the ground, having little time to grasp his bearings as junior shoots his face full of oil. the physics of the oil are nice and rubbery, very malleable, thick, and stretchy--certainly remniscent of the mud puddles in iwerks’ previous effort, porky and gabby. as i said before, i’ve always admired the physics in iwerks’ cartoons: you feel like you could grab everything for yourself. very soft, stretchy, rubbery, easy to manipulate. 

despite porky’s demands for junior to give up the gun, the little baby from hell only squirts porky with another helping of oil, this time covering his entire body. once more, the animation and physics of the oil are to be commended. porky slips around helplessly in the now fully formed oil slick, which sends him catapulting down a rather random set of stairs in the ground (though, upon further inspection, the stairs were present in the opening layout, so it’s not as spontaneous as it could be).

junior once more attempts to target porky, but no more oil comes out of the pump. predictably yet amusingly so, the little dickens turns the gun to his own face. as he pulls the lever, a nice, hearty gush of oil covers his entire face. sweet, slippery karma. 

now, junior is just as covered as porky is, and begins to wail. porky’s nods of satisfaction are a hilarious detail--as is his surprise when he notices the persnickety mother approaching. junior points at porky, who doesn’t appear all that blameless as he now holds the oil gun, attempting to hide it behind his back coyly.

the mother gives porky a good lecture about how he ought to be ashamed of himself, all the while disposing of her child like a rag doll and putting him in the back seat of the car. elvia allman’s speech is drowned out by the wails of junior, however, prompting the mother to give an eerily polite “quiet, junior, when mother’s talking.” the timing of the next joke is spot on: as junior continues to bawl, the mother smacks him right in the face. the way the smack sound effect even cuts off and the total silence of junior combine to make a great payoff, though the joke IS rather dark and not the most ethical. still, wonderful timing and execution on that one.

comedic timing is still rife as the mother, now oddly subdued, ponders “now... where was i? oh yes. I’M GOING TO REPORT THIS TO THE AUTHORITIES!” in the midst of her “it’s getting so that you can’t trust anybody anymore” ranting and raving, junior, who’s seldom learned his lesson, reaches for a nearby gas hose and ties it around the car tire. 

porky is left to his own devices as the mother and her hell child roll off into the distance. however, junior leaves one final impact: all three gas pumps are sucked out of their respective places and dragged behind the car. even more insult to injury, the entire service station collapses on top of the unlucky pig. a VERY creative close as the “PORKY’S SUPER SERVICE” sign lands right on top of porky, his disgruntled, oily self popping out right in the middle. who needs a drum when you have a wooden sign?

and thus wraps up ub iwerks’ directorial reign at warner bros. while his cartoons aren’t my favorite, i’ve certainly come to appreciate them much more, for their individuality (such as the shiver takes, visible reactions such as question marks and dizziness lines, and so forth) and rubbery animation. i definitely feel that this is his stronger effort out of his 2 pieces--it has a lovely score, the animation is fun and rubbery, and again, bob clampett’s sadistic energy coupled with chuck jones’ frustration comedy make for a delightful combination. porky is SUPER appealing in the iwerks cartoons as well in the design compartment--lots of really great expressions to freeze frame on. this cartoon is a winner for me--i say watch it! it’s not the most exciting porky cartoon by any means, and it still has its weaknesses: the beginning half is rather slow, there are a few timing issues, etc, but it’s still rather enjoyable overall. i almost wish iwerks had stayed longer, just to see what his other cartoons would have been like. thankfully, though, bob clampett took his place, sparking the reign of my personal favorite director.

so, overall, give it a watch!

link!

[marinerainbow]

I've been in a toony mood lately after rewatching 'Who Framed Roger Rabbit' and boy howdy! Have I got so.e headcannons that I hope you'll enjoy!

For now, I'm focusing on my 'toon sub-speicies headcannon!

We all know that cartoons take place in a variety of settings and genres, and in a world where 'toons are made like living breathing people, not just ink and paint on paper, so what if in the world of WFRR, there exists different types of 'toons made for specific genre's, I'll explain as much as I can.

Remember, these may be my headcannons, but in no way should they be treated as cannon, this is only how I see them as, in fact, I would LOVE IT if we could discuss and share our theories!

Generic 'toon: the oldest type, the type all 'toons were before the 'creators' found out you can get different types of 'toon with different paints and ink. These 'toons were made for any role, for example, how Mickey Mouse started out, one cartoon he's a sailor, and in another he's an average joe, etc. These 'toons are the most desensitized to both human and 'toon antics and are the most calm... or at least easiest to get along with.

These 'toons can literally do anything, since they were made to be anything.

Slapstick 'toon: 'toons like Roger Rabbit and Goofy, their ink/paint is made to act like rubber, to accommodate their stunts. Their the second major sub-speicies next to the 'generic 'toon' due to comedy being in popular demand.

These guys are the most durable of all the sub-speicies, of course all 'toons are durable, but slapstick 'toons take less time to recover from stunts, for example, it takes the slapsticks a few seconds to recover from a piano being dropped on them, but the generic 'toon would take a full minute.

Risque 'toons: Jessica Rabbit and Betty Boop would be this type. The more... adult 'toons. Although not beautiful by regular 'toon standards and not having a lot of energy, their ink and paint is meant to look appealing no matter what, even if the 'toon is at it's least attractiveness, like how a fish is attracted to shiny objects... maybe that's why Jessica's dress was glittering in the club...?

The risque 'toon tend to come up with solutions that are slightly more cynical, but still toony, like how Jessica thought of hitting Roger with a pan and putting him in her trunk to keep him out of trouble.

Horror 'toon: I imagine in the world of WFRR, directors would experiment with different genre's using 'toons and stuff like horror would come out sooner than it did in our world, why pay alot of money for special effects when you can have a 'toon do it for lower cost? Anyways, the horror 'toons are as durable as the slapstick 'toon, but in a different way, while the slapsticks will stretch and act as if they were rubber, the horrors are actually made to tear apart and break! You know how in any Courage the Cowardly Dog episode how Courage will dismember himself but be fine in the next scene? Well, in this world, I imagine, the director would have to cut the scene, then get some Acme brand glue to put Courage back together and continue the scene, on these horror 'toons, you can find glue scars on their bodies for their cartoons. Basically these 'toons were made to be 'murdered' or 'tortured' for their horror flicks, and although may be durable, will still feel pain... you know, to make the scene authentic!

These 'toons however, are also the most prone to developing paranoia or anxiety, and in a worst case scenario, with how they are treated in the studio business can even lead to insanity. Of course that's not to say all horror 'toons are insane, as long as they get the care they need, they'll be alright!

I also imagine ink and paint for 'toons can act as DNA and Gene's for them.

What do you guys think? I'd love to hear your opinions and questions and critics!