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heyyylittlemo · 4 years ago

Text

Ask game

1. Where did you hide the body??

Me: *pause* No, where did you hide the body—

*police stare at me with disbelief*

Me: there’s no—there’s not a single body here—well stop looking at me like that, you’re the cop! You should know! Why are you asking me for! Body? Whaaaaaat. Ahaha.

*cops shake head*

*whispers to my friend* Guys I think I pulled that one off

Police: you know we can hear everything you’re saying

me: 👁👄👁

2. Favorite rock? The 1975. Dominic Fike. Arctic Monkeys. Bad Suns. The killers. Pale Waves. Etc. That good good shit 👌

3. Most aesthetic season? Fall. Love them orange colors. The leaves falling. Though spring is also neat if you have a bunch of flowers bloomin in shit and winter is only aesthetic when it’s snowing. Boring ass summer tho just be heating me up.

4. When texting do u shorten words or spell out? I used to write stuff out all the time mostly but now it’s like half and half bcuz its just faster and nobody got time for it 🤣🤣

5. Vintage stuff? Hell yeah, but maybe not anything too expensive since some old stuff IS hyper expensive.

6. Colors that pop or blend? Not sure I understand what u mean abt them blending ahaha u mean like when they’re so similar to another?? Well I think it’s nice but honestly I prefer a pop and a bang, y’Know?

- At this moment I realized I was answering the last few questions from a completely different ask and felt like a dumbass 😂 anyways the actual number we’re on is three so imma just kickback

3. Worst dream u have ever had? I had sleep paralysis but was imbetween that and a lucid dream. At first I was paralyzed and could see my bed but my eyes felt closed and open at the same time?? A giant dark demon looking dog had towered over me and began to tear at my neck. It looked and felt very real I started to try to scream and it felt like a scream was coming out but no sound exited. Then I went into a lucid dream where I was being chased by this dog and running for my life I was running by and nobody could save me nobody in the dream when it caught up to me I was back in my bed and it was trying to eat me again. I was so terrified I couldn’t sleep for a whole week.

4. Lyric that comes to your mind? “And I don’t think I can be there. I’m paralyzed,I’m terrified of being alone. When you said I deserved what had happened.”

5. Blood make u uncomfortable? Yes, I passed out once when getting my finger pricked and a VERY small blood sample and another when dissecting a fish.

6. Even or odd numbers? Well I like the number 5,7,9, 3 so odd. (Like me 🤣🤣)

7. Something I hate that I love? Anything I’ve ever loved becuz love can be frustrating. Bruh.

8. 1st initial of someone I hate? Hmm...do I hate someone tho? Not that I can think of...

9. *Skipping down the lane* NOPE

10. Corn dogs? It’s funny cuz when I think of corn dogs my mind will always go to when we first moved to our current house because at our initial town we never had Sonic and while we were getting the house fixed up and moving stuff we use to always get Sonic since it was the closest to us most times to eat and that was a bunch of corn dogs and hotdog days 🤣 so thnk u corn dogs for ur service

11. I’m not a huge movie person so...I looked up movies from 2005 and movies Inlike from this time are Brokeback mountain bcuz it’s gay af, Shark Boy and Lava Girl damn I rewatched the shot out of it when I was younger, Narnia and the Chocolate Factory(although it low key creeped me out as a kid, and idk why).

12. Least fav music genre? Most country, most EDM, dubstep, screaming/really hard rock, some pop music, mumble raping.

13. As someone who waits on tables, my job is my least favorite restaurant experience 🤣🤣 just dealing with ppl...like ok, I’m half Hispanic right?? But I look white. Well, I work at a Mexican restaurant and so sometimes racist costumers will say shady shit just bcuz I guess they think it’s appropriate to say it to me just bcuz I’m not Hispanic in their eyes?? But it pisses me off and I feel like I can’t say anything without causing a drama which I hate and when the “costumers always right” it can be hard to budge and stand up and say “bitch wtf did u just say??” And there’s just folks who take things the wrong ways or ask too much at once or give u a hard time or just say something that sticks onto you for the whole day. One bad move can turn my whole day upside down.

14. 3 things never come near me? Cockroaches, Needles, and close mind ppl

15. Worst way to die? With regrets. Something really brutual, random, or where something just happened to go wrong (accident). Being killed by someone u love.

16. Unusual habits? Doing a Michael Jackson esque “hee-hee” after every sneeze I make, being extremely clumsy and making every task 100% more difficult, having the ability to talk as if I have an accent that comes from nowhere in particular just stupidity also I can’t speak my own language half the time 🙃getting words confused or misusing them in a sentence so I sound dumb having a very weird imagination and thoughts, I swear it like I never went to school and don’t know how the world works, plus many many more

17. Clothing style u want? I want to dress in a way that screams who I am and is a blend of both femininity and masculinity. A little vintage. Grunge. Urban maybe?? What do I know abt fashion 🤣🤣

18. Song or artist that deserves more? Dijon, hands down. I love his stuff. He’s like Frank Ocean meets light-singing beautiful lyricist with a more rock vibe?? Hidden gem. I also think Durand Jones & the Indications needs more love along with BadBadNotGood they sound like old-times but are new!! Oh, and Pale Waves is like a female The 1975 and kicks it. Bad Suns is a good alt rock band that no one seems to recognize :,D Toro y Moi too! His song with Flume “The difference “ is a banger!! Kid Cudi is my man when I want a blend of rock and rap. Also Dominic Fike,King Krule, and Roy Blair, who are all amazing!! Ok I need to stop 🛑

Duck I answered the past questions from a different post I’m sorry 😐

17. Emoji never used? There’s a bunch since I reuse the same over and over again. Lmao

18. 3 sentence Gatorade horror story? A faint quiver overtook the small freezer the Gatorade lay in; no one had come by in days, hours, weeks; when was the last time he met the lips of a thirsty body? They’d forgotten about him, as his last sips remained glued to his hollowing entrance. ‘Help, ‘it wanted to say, but it’s frozen lips could not be moved; It’d stay here, die here...just like the rest.” What am I doing with my life 🤣🙏

19. Do u know what an old bay is? A bay that is old? And old ocean? Idk!!!

20. Can u dance? Sometimes I dance when I’m alone but nothing spectral lol

21. What first comes to ur mind when u see ropes? 2 extremes. Sex and death. Hm. Ok. Moving on.

22. Make an obscure reference. “Even a bra couldn’t hold these nipples” *Holds a water gun to chest*

23. Fav balloon color? Pink or yellow.

24. If u were in court would u be innocent or guilty? Depends, what am I in court for 🤣 lmao jk honestly idk bcuz I don’t think I’d wind up in there

25. Are u hungry ? Nope

26. Unlucky number? Hm I don’t think so but I have a lucky number “123”

27. What’s “JMD”stand for? I’m guessing...Jamming my d—- 💀lol jk ahaha why am so dirt

28. Random inside joke? *chirpy squeak* I’m making a double batch of cookies

29. What sends chills up ur spine? Seeing disgust food or smell disgust or talking abt disgust things like gore

30. How many questions are in ur inbox? A pathetic zero ahaha no one want to ask me anything 😂

31. Someone real who scares u. 2 of my ex friends. One when I was 10 said disturbing things and I was kinda forced onto the friendship and everything they said make me fear for others lives...and then a different ex friend who seemed normal at 1st but became both low key psychopath cult leader type stuff and I booed out of there—-.

32. Run or hide? Uhh probably hide because I’d say even if ppl say “u can run but u can’t hide” u CAN just hide! that’s the point of hiding they not find u xD also why not combine them? Hide then run somewhere far away once I got them off the trial.

33. Last person who made u angry? A frickin beetle that flew at me and pinched me in the middle of singing in the shed xD also my autocorrect

34. What’s going on in ur head? I should probably pee soon—

35. Little thing that makes u Smile? A lot of little things bruh.

36. Are u a descisive person?

Not sure.

*pAuse *

Ok, I guess I’m not then 🤣

37. Would ppl say I’m paranoid? Hm maybe about certain things social situations, singing in front of others what ppl think abt me etc etc

38. Store least likely in? Any southern clothes shop, Abercrombie & Finch types shit, lol

39. Do I like hats fave type? Hm not wear many hats but I think they’re cool any type is cool for different ppl and their aesthetici just can’t rock a hat.

40. Bow ties or ties? Don’t really care but now want to see more bow ties

41. Who? You.

42. What? Reading this shit

43. Where? In ur ass

44. When? Now.

45. Why? Not even u know why.

46. How? We all want to know

47. Do u collect anything? Vinyl records.

48. What tome is it? Time to get a watch

49. Fav transportation? My car or walk is possible

50. Would u ever kill someone to save someone? Don’t want to think about that

51. Make a joke. Yo, it’s time to make a joke—so the other day I was working. And I was practicing my Spanish, yes? Anyone whose trying to learn anew language k n o w s that sometimes words can be so close to another u just confuse then! So apparently churros in Spanish is a desert but if u say it more harshly (it literally sounds almost the same) it makes a whole different meaning—diharrea, but like I didn’t know that so I legit just walked up to this person and asked if they would like some shit to eat. So yeah, that was great. Let’s not forget that I mixed up blood, watermelon, and sangria which is a wine. I legit once said I had mixed wine in my vines and another time watermelon 🤣

52. I’m really confused so I skip

53. Would ur dash be confiscated SFW? By dash do u mean this account? Um not 😬

54. Do I like to cuddle? Hell yeah and manhandle ppl all the time it’s my affection

55. What makes u angry? Close minded ppl or ppl who jump too fast to conclusions, strict schedules just dumb stuff that people try to force when I just want to be carefree 😭✌️

56. How many voices are in ur head? 😐

57. Do U consider urself mentally stable? 😐

58. Are u easily offended? Well U just called me mentally unstable and asked it there was voices in my head!!

59. What’s wrong with taking the backstreets? Uhm...

60. Any questions u want ppl to ask u? Nothing in particular but it’s be nice if someone care to ask me something abt me from personal question to my opinions on shit to 19 days fandom related junk 😌

Woooo I’ve finished this game! Thanks to @seiji-amasawa for introducing me to this ^^

#tag game #game #ask #19 days #19days

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rantshemlock · 5 years ago

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you heard it right folks, for the second year in a row i watched

Every Halloween Film

it took around 18 hours. there are eleven movies now after all. next year there will be twelve, and next year i will throw myself into the river thames if i make myself watch Rob Zombie’s Halloween II again.

this time i wrote it out as a journal. it is a mess. i will not edit it. if you read the entire thing you dont get a prize. im very, very tired. i watched eleven movies today. i like five of them.

9:27- I boot up Halloween (1978). I don’t know if this is the movie I’ve seen the most in my life, but I’ve certainly seen it dozens of times, and it never loses its impact. I’ve gotten to the point where I’m reading into micro-expressions on actors’ faces and I don’t know how much any of this was ever intended, but it certainly enhances my own reading of the film. I catch the expression of slight annoyance on Judith’s face when Michael walks into her room; it’s clear she had just no idea this was coming.

9:37- The staging of the opening of Halloween is so like a nightmare, a comparison I keep using this year for the movies I watch, but there’s a sense of being placed in the immediacy of what’s happening with no context and a burden of responsibility that only exists in dreams in the first few opening scenes. You don’t know where you are or what you’re supposed to be doing, but something huge and terrible is happening and the thick, dark shadows combined with the pale white-blue light the film uses makes everything emerge out of the black but never truly divorce itself from the darkness.

The way Loomis talks about Michael like some kind of animal is such a point of fixation for me. He calls Michael ‘it’ and wants ‘it’ to be locked up for life. Maybe it’s just being of a crazy persuasion myself but being the responsibility of a doctor who despises you and refers to you as an untreatable evil doesn’t feel like it would be much help to me. I just don’t think Loomis is a great doctor, is my point.

Laurie’s introduction is such a surge of light in a film that has up until now been shot almost exclusively in darkness. We are shown someone good, normal, happy, but the long, distant shots mean we are not accompanying her on this journey from her perspective; we are following her. Halloween legend suggests Michael doesn’t start stalking Laurie until she approaches the Myers’ house, but it feels like his eyes are lingering on her long before she does that. He casts a long shadow over her life before she even knows he exists.

9:42- The fact the film approaches the idea that it doesn’t make sense Michael would know how to drive a car but doesn’t explain it at all is weirdly funny. Just fuck it man, he can drive.

9:45: I really love the focus on Michael as a physical being. The fact we see him touch someone with his hands, open a car, steer while driving, run his hand over a fence… All of this adds a sense of Michael being tangible that I think is so vital. Michael Myers is a human being, not a demon, and that’s precisely why he is scary. Halloween as always meant to be a movie about the person next door; the fear comes from the fact that something inside your apparently nice, normal neighbourhood is rotten to the core. Laurie herself is incredibly on edge almost from the start; she knows something is wrong. She just hasn’t figured out what yet.

9:57- The gravekeeper’s insistence that something like this happens in every town is probably right on the money. It’s definitely what the film wants you to understand. The apparent nicety of your hometown doesn’t mean it’s free of violence, only that you’re trained not to notice it.

10:01- at exactly 0:33:16 Michael drives by in the background right behind Loomis without Loomis noticing, which is hysterically funny to me. I imagine Michael finds this incredibly funny too.

10:02- Laurie saying she’d “rather go to the dance with Ben Traimor” smacks of being a teenager and gay and saying the name of the first kid you know who’s nice to you because you guess that’s what having a crush is?

10:05- Loomis’ insistence at 0:37:12 that Michael killed and ate a dog raw is incredible to me. Also, I can’t say “Michael raw dog” to my friends without them screaming hysterically at me. They’re fuckers, and I hate them

10:07- From Loomis’ description, he met Michael when Michael was six, already condemned by the doctors as an incurable patient, and stopped treating Michael and turned to insisting he be locked up by the time Michael was fourteen. I think about this a lot.

10:13- “I’m not about to let anything happen to you.” I’m always very touched by Laurie’s immediate assertion of her position as a protector of children.

10:19- Lindsay caring literally only about watching horror movies is incredibly relatable. Truly a hero I can finally understand.

10:28- The house across the street, Lindsay’s house, is almost as haunting as the Myers house itself. It’s certainly a beautiful spectacle, the huge white building with its pillars and vast, blank windows, looming out of the darkness like a moon-lit tombstone. Laurie always seems so lonely when she watches it from the outside.

10:33- The head tilt after Michael pins Bob to the wall is so fucking iconic. It’s the first time it was done, I believe, and while it’s a cliché now it’s still chilling. The way Michael just studies Bob’s corpse, thoughts completely unable to be interpreted. The fact he turfs up in a ghost costume wearing Bob’s glasses moments later is so strange; there’s really no reason he would do that at all, other than the idea he finds it funny. There’s more showmanship to what Michael does than people recognise a lot of the time, I think. It’s like he really wants his work to be seen.

10:43- The shot of Annie on the bed under Judith’s tombstone has to be one of the most beautiful shots in the franchise. The perfect arrangement made just for Laurie to walk in on and experience in one precise way is so meticulous. Michael’s obsessiveness nature manifest in so many ways. The final showdown between Michael and Laurie is only around ten minutes long but it’s an incredible endurance test of a scene; the way Michael grows out of the shadows like he’s being formed within them is still beautiful and terrifying.

I think a really underrated part of this sequence that makes it so frightening is how Laurie is pointedly not alone; the neighbourhood she’s in is populated, and there are people around her. But when she runs to the neighbours for help, screaming and banging on the doors, they choose to ignore her. Seeing something they don’t like in their neighbourhood, they shut it out.

10:50- the closet scene is an incredible piece of filmmaking. There’s really never been anything before or since. I love art with a lot of lines and shadows and seeing the shadow of Michael moments before he breaks through the door is so haunting.

10:52- Laurie desperate and holding the knife in her hands is stunning. I love her.

10:54- I love the brief glimpse of seeing Michael’s face and how it stops him dead in his tracks. The fact he looks so painfully normal is so important too.

10:55- There’s a lot to be said about Loomis confirming Michael is ‘the Boogeyman’. I think Michael’s definite physical humanity in this movie is so important because it contrasts so strongly against the dehumanisation of him by the characters around him. We can only accept there’s a nightmare inside our neighbourhoods if we choose to believe it isn’t natural to it; that someone like that could not form there, but must have been artificially summoned, like a demon. Later movies and the remakes run with this idea; that Michael is somehow an outsider, but I think that defeats the entire point. Michael is part of this world just as much as Laurie is, whether we want to believe it or not.

10:57- I should be starting Halloween II but unfortunately, I have to go to the pharmacy. It might be Halloween, but prescription medications wait for no slasher villain.

11:13- I start watching Halloween II (1981). I like that this movie starts off with Mr Sandman. Horror movies having nursery rhymes in them now is another cliché, but this is such an interesting pick for Michael. I suppose it fits with him being the Boogeyman; he’s a creature of nightmares that slinks into our homes only through dreams. Allegedly.

I like the decision to pick this movie up right after the last one stopped, something that it looks like 2020’s Halloween Kills will be duplicating. It just makes a straightforward kind of sense.

11:21- The hysteria of Loomis screaming “I shot him six times!” over and over is sort of funny and sort of sick. There’s a slight traumatised, obsessive lunacy in Loomis the same as there is in Michael. I like the parallels between them. Loomis raised Michael more than Michael’s own parents did; it makes sense he’d have a lingering affect.

11:23- The shots from Michael’s perspective both in the first movie and this one are great. I love that we’re challenged to be inside his mind. We follow Michael a lot in this early opening. There’s an obvious strategy to his actions in this film, but the randomness of his kills are new. In the first movie, all the kills either get him something or revolve around Laurie. In this one, he kind of just does whatever, a theme that carries on for the rest of the movie.

11:24- A difference I don’t like so much in this movie is that the neighbours are so much more keyed into each other; they pay attention to the screaming and the strange noises, watch out for things that look out of place. I feel like it clashes with the first movie’s themes of isolation simply through your neighbours not caring what happens to you.

11:32- Ben Traimor getting hit by a cop car which crashes into a van and then explodes is one of the funniest fucking things that’s ever happened in this franchise. It is so completely fucking inexplicable and suddenly violent and pointless that it becomes hysterical, which is unfortunate given it’s meant to be a serious scene.

The breakdown scene that follows, where the Sheriff Brackett finds his daughter Annie is dead however is excellent. Charles Cyphers manages to carry the weight of the tragedy pretty effectively for a film that can veer into the goofy too easily, and Dr Loomis’ more measured delivery on his beliefs about Myers is Donald Pleasance at his best.

Halloween II isn’t any longer than Halloween, but the pacing is worse. It lets go of the original’s constant, haunting tension and delivers a sloppier movie as a result, too padded with side characters and people passing through the world with no consequence. The character of Brett is probably one of the most obnoxious characters in the franchise, which is saying a lot.

11:46- Laurie literally not knowing it was Michael Myers who was after her until she’s told is weirdly sad. Like of course she didn’t know, but it’s still sad. She feels very small and vulnerable in this movie, very lost in the big, empty hospital. The fact her parents are inexplicably missing and never shows up makes me crazy. I always wonder if there was a dropped plot thread where Michael was meant to have killed them, or something, because there’s really no explanation.

11:53- The musical stings in this movie are so odd. They’re too bleepy. Don’t know what the hell happened.

11:55- I take the laptop into the kitchen to make a sandwich while I watch the movie. It’s early for lunch but I don’t eat breakfast and I can actively feel my braincells hurting me.

12:01- I’m fascinated by the shots in this of the faint dream Laurie has of seeing a boy in the hospital when she was a child. I can never decide if these are real or not; if she’s unlocking some strange, contextless memory from childhood or just imagining it, instinctively feeling the connection between her and Michael without knowing the truth.

12:04- Bud’s off-screen death is so unsatisfying. Also, so continues the trend of Michael being mistaken for people’s boyfriends. Guess he’s just boyfriend material. Seems unbelievable to me she wouldn’t notice how dirty his hands are, though. And Jesus, the boiling her to death kill is really pretty brutal and graphic, after kills in the first few movies are so relatively restrained.

12:07- Michael writing SAMHAIN on the wall is so over the top. Yeah, I can believe he’s fucking 21 years old. Michael is a performance art student.

12:09- Laurie having Michael’s ability to go deadly still and silent is neat. I like them having links. They’re siblings after all. Runs in Myers family.

12:11- The needle into the side of the head kill is bizarre. Also, the head-tilt here feels cheap. I have already started stealing candy from the bowl intended for trick-or-treaters. In my defence, I could, and I wanted it.

12:20- I like that Laurie has an instinct to run, hide and defend herself. I don’t know if it’s the trauma of surviving or a prenatural sense that Michael is coming for her, but I like it. I don’t like that this entire movie is like twenty minutes longer than it needs to be, or how little Laurie is actually in it.

12:28- The reveal that Laurie is Michael’s sister is so great. It fits so well. I say bullshit to anyone who doesn’t like it. The repetition and obsessiveness of Michael’s behaviour, the strange links and parallels between Laurie and Michael. The fact that the two of them are just as much parts of Haddonfield as each other. It just feels right for them to be related. They are related.

12:31- Laurie crawling on the street begging for help as Loomis ignores her again – this man is truly useless.

12:33- Michael walking directly through a glass door is hysterical.

12:38- Laurie calling Michael’s name, stopping him for a second, blinding him with a shot… This last sequence is fantastic. There’s an enormous amount of pity in seeing Michael blindly stumbling around, swinging his knife, unable to see but still so desperate to kill. The fact she stops him by calling his name is great. The way it almost, for a second, perks some recognition inside him. I think a lot about Michael’s sense of identity. Who does he think he is? I guess we’re never going to find out.

12:43- Halloween III: Season of the Witch time. There’s a trend now of saying this is really the best Halloween movie. I can’t really argue with people’s personal takes, but there’s always a sense to that to me of denying the classic to favour the underdog. People love an underdog. But Halloween III definitely does kind of rule. As much conspiracy thriller as it is horror movie, Halloween III is deeply weird and creative, but packed with great performances and truly memorable special effects, with a killer soundtrack to boot.

1:11- Halloween III is so distinct feeling; it almost feels like a John Carpenter movie, but more like The Thing than Halloween. The film is less aesthetically distinct than Halloween; it takes place over days, in many locations, following the characters as they dig into the conspiracy behind the menacing Silver Shamrock company. It’s well-written and often pretty witty and builds an incredible sense of menace and strangeness. The little company town surrounding the Silver Shamrock factory is bizarre and frightening and although the film can be a little heavy-handed in its depiction of a surveillance state, it certainly builds up atmosphere.

1:20- The scene of the old drunk being taken out by the corporate men in black rules in how suddenly violent and horrible it is. We love a horror movie.

1:26- Some of the digital effects leave a little to be desired but god the practical effects are fucking incredible, and so goddamn memorable and horrible.

1:33- The over-the-top niceness of the Silver Shamrock owner is so pitch-perfect. He’s so nice that it’s obviously, blatantly menacing. What owner of a big corporation like this just gives shit away for free? I mean, come on. I really love the apparent legends that surround him, though, the reputation of being a genius and a great man.

1:48- The complete calmness with which the whole plan gets revealed is so good because you really sense how fucking little threat our heroes pose; no one here thinks they have a chance in hell of stopping Silver Shamrock. The plan in itself is absurd, but like, who cares. It’s fun. The fact Cochran is like, delighted to show off his big ideas because he’s so confident nothing will stop them. And in a way he’s right; at least partially, the heroes do ultimately fail.

2:00- the speech Cochran delivers about the power of Samhain rules. It’s so intense and menacing. Fucking great performance here.

2:07- As much as I like the ending, I think how much it drags on kind of kills some of the tension. Feels like it could have been cut back. The imagery at the very end is fantastic though; it’s so weird. The way this movie embraces strangeness is great; I’ll always take a film that tries to be something different and weird over anything that plays it safe.

2:20- Halloween 4: The Return of Michael Myers. Jesus we’re starting down a dark path now. Halloween 4 is pretty thoroughly ‘ok’ and even has a couple of good moments but God. The decision to return to just being about Michael Myers after risking and flopping with an anthology movie is fine by me, but Halloween 4 plays it as safe as possible and lacks any of the flair or charm of the original. It just doesn’t have any style, and the forced drama falls short. Jamie Lee Curtis’ absence also feels like a sucking void in the film; it’s too painfully obvious that she was meant to be in this movie, and the fact she isn’t, the fact she died off-screen in some completely nondescript way is so depressing. The filmmakers assumed no one watching gave a shit about Laurie, and that’s so wrong and so disheartening.

2:25- the other doctors hating Loomis really adds to my reading of him as a man on the brink. He must be insufferable to know.

2:30- It really feels so painfully fucking unfair that Laurie would go through so much to just die in a random car accident. Or maybe there’s a kind of poetry in her dying without Michael’s involvement; just part of her own life.

2:36- Donald Pleasance is such a mensch. As stupid as these movies get, he never stopped bringing his fucking A-game and giving them as much respect and gravitas as he could. What a fucking legend.

2:41- Loomis seeing Michael in the diner is so fucking good. Loomis’ quiet pleading, asking Michael not to go back to Haddonfield but just take him instead, the quiet God damn you. Such a great moment. Would be better if Michael didn’t just suddenly teleport out of the room with no explanation, but you can’t have it all.

2:42- Why are later Halloween movies so fond of explosions.

2:43- The kids literally chanting ‘Jamie’s an orphan’ at her is incredible. Not in a good way.

2:50- I fetch the kitten to keep him on my lap because my house is colder than Michael Myers’ black heart.

2:55- Michael looking at Laurie’s photos… Ugh.

2:56- Why do people not just believe Loomis when he says Michael is back. We have this thread every week, comrade.

3:06- Michael just kinda standing around in the background doesn’t really do much in terms of fear. It’s just silly. And his mask looks ridiculous.

3:12- This film is a masterclass in failing to raise tension.

3:23- There’s an attempt to manufacture conflict by having the police clash with a group baying for mob justice, but it all feels completely inert. Nothing in the film carries any weight or drama, and the tension is all derived from using familiar music stings to try and kick your brain into recognising it’s an appropriate place to feel something.

3:25- The kitten bites me, drinks my water, and goes to sit in a box instead. I hate him. The kill where Michael stabs someone through the gut with a shotgun and pins them to the wall is the most flagrantly absurd thing I’ve ever seen. The fact she’s immediately found also really kills the tension. Also why is Michael so fucking strong. He’s so strong.

3:31- I can see the intention with the roof scene, but there’s too much unintentional comedy and Michael is so unthreatening that it doesn’t hold together at all. I especially hate how Michael will just suddenly appear out of nowhere; the first movie utilises his forming out of the shadows so well, but it doesn’t fucking work the same if he’s just there, in a formerly empty and well-lit corridor. He’s not being beamed in by a spaceship.

3:39- God this film is slow. Michael’s hands look absolutely terrifically fucked up. I wish Laurie was here.

3:41- It is insufferable how this film has like ten climaxes. Jamie running to inspect Michael really just doesn’t make any sense. I understand why the filmmakers did it, but it doesn’t make sense. They allude to some connection between the two, but it’s really underplayed and doesn’t pay out well when so much of the movie is her being flatly scared of him. They could have – and should have – acted more on the idea of her finding some sort of familiar connection between them. Famously, the movie ends with the idea Jamie might have somehow inherited Michael’s drive to murder, but the plot thread disappointingly gets dropped after this movie.

3:47- It’s time for Halloween 5: The Revenge of Michael Myers. God, this movie is such a non-entity in the franchise. It doesn’t have 6’s turbulent history or 4’s dramatic ending. It just like, occurs. It occupies space and time. It tries to further the connection between Jamie and Michael, turning it into something psychic and supernatural, and begins to introduce elements of the Cult of Thorne before that takes over as the plot of 6, but none of it is interesting and I also hate the attempt to make Halloween a supernatural franchise.

4:04- The totally legal for sure stream I’m using starts fucking up so everything takes a break while I find somewhere else to watch it.

4:05- Contemplate if life is worth it.

4:06- Film returns. It’s not worth it.

4:27- If screaming at kids was always Dr Loomis’ brand of psychiatry no wonder he couldn’t help Michael.

4:30- You really need to put in more effort than this if you want to make someone being murdered in broad daylight scary. If you’re not putting in the kind of effort Midsommar does to sell the death, you aren’t gonna get there. Halloween as a franchise seems obnoxiously dedicated to doing shit in the middle of the fucking day, for something who built the power of the original scares so much off of the quiet and darkness of the shadows.

4:39- Imagine leaving a traumatised child alone because you want to get laid. Tina’s character is fucking absurd. There are far too much entirely interchangeable faces in this movie screaming incoherently.

4:57- The scene of Michael desperately trying to run Jamie over with a car while the camera swings around hysterically and then the car inexplicably exploding is like peak mid-sequel Halloween. It really exemplifies how much the franchise started relying on noise and flash instead of like, being scary.

5:02- Loomis begging Michael to ‘fight the rage that drives you’ and saying that killing will never drive the anger out is too little too late, ain’t it. I like the idea of an appeal to his emotions but there’s so little emotional weight to the rest of the movie that it fails to maintain a meaningful tone. All the moments where Jamie is communing with Michael are supposed to drive tension I guess, but it mostly is just very silly.

5:09- Every set in this movie look so much like a set. Considering the first movie was just shot in a house I don’t understand why they didn’t do the same. I like the prospect of Loomis trying to talk to Michael, to get through to him emotionally, but seeing Michael just standing there in the really goofy fucking mask they gave him this film is just ridiculous. Donald Pleasance can only do so much.

5:19- Again we return to the idea of getting through to Michael emotionally. Jamie calls him uncle and asks for him to take his mask off. He does, even. But there doesn’t feel like there’s any understanding of who Michael is; there’s no consistent psychology or examination, only the gut feeling that family has to be important. But we know how Michael feels about family, and it’s not tender. He speaks his own language.

5:21- Where the fuck did Loomis even get a giant chain net and tranquiliser drafts.

5:25- Sure why wouldn’t a guy with a machine gun show up and just start slaughtering everyone like who the fuck cares.

5:28- I take a break to gather my thoughts and feelings emotionally so I can handle watching Halloween 6: The Curse of Michael Myers.

5:32- I change the cat litter to avoid watching Halloween 6: The Curse of Michael Myers.

5:40- I start Halloween 6: The Curse of Michael Myers.

5:50- The woman calls into radio station and says she’s in love with Michael Myers is the only person in this film I respect.

5:51- The decision to bring back Tommy Doyle as a conspiracy theorist who’s obsessed with Michael is a great concept, which is why I’m glad Tommy Doyle is in Halloween Kills so I never have to say Halloween 6 makes a point again. Paul Rudd (yes, that Paul Rudd) is shockingly terrible in this movie, and also, I don’t like him as an actor, so nothing about this performance endears him to me. I have no fucking idea what they directed him to do. It is miserable.

6:01- I am straight up not having a good time bro.

6:03- This is the only Halloween movie in a long time to actually try and show off its location; Halloween 5 could be set literally anywhere and is unfollowable, but Halloween 6 at least attempts to ground the movie in Haddonfield and show that this is a normal neighbourhood. Unfortunately, this movie takes place in nonsense magic doo-doo land so any attempt to ground us in anything is a waste of fucking time.

6:13- There’s a lot of reasons I don’t like this movie; I think the additions of mythology are absurd and go against the themes of the original, the conclusion is dumb as hell, the story is boring. It isn’t scary and it isn’t well-shot or well-written. But on a more abstract level, I hate its schlock, cheap understanding of what obsession and trauma does to someone. I fucking loathe that it uses rape as a shock tactic and how much abuse it puts its female characters through for no catharsis.

6:50- This curry I’m eating sucks ass. I want that on the record.

7:22- Jesus fucking Christ it’s finally time for Halloween H20: 20 Years Later. I love this movie. I love it for the ambition it had. It might not be a as fully realised examination of trauma after time as Halloween (2018) is, but I admire it for its vision. It doesn’t try to mimic the style of the first film, and I guess there’s a certain loss in aesthetic as it’s more akin to Scream or other fairly uniform 90s slasher movies in appearance, but it’s a far more confident movie than the other middling Halloween sequels. It has a clear understanding of what it wants the movie to be and is genuinely tense and thrilling because of that, as well as more readily grounded in reality. It has a genuine respect for the original that others fail to and tries to build an original film that follows it in a meaningful sense.

7:56- Laurie is really condemned to be around people who don’t listen to her but as much of a horrible little punk shit her son is, narratives about inherited or family trauma make me go insane, so this all affects me still.

8:01- I like the discussion of fate in Frankenstein as parallel to the discussion of fate in the first movie. It’s silly, but I like it, and that’s on me.

8:07- One of the smartest moves this film makes is using its own score. A lot of the middling sequels just lift from the original without any care, but H20 puts in some effort into building up some actual atmosphere.

8:13- I like that Laurie is a mess but still holding it together. She’s jumpy and always watching, with a bottle of alcohol a little too close beside her. It’s not exactly the most monumental depiction of lifelong trauma, but the film makes an effort. I love its effort. I love Jamie Lee Curtis as well.

8:26- This film brings back a theatricality to the presentations of Michael’s victims that I feel the movies sorely lack. If it doesn’t look like an art project why bother? I was going to say I wish there was more development of the relationship with Michael and his nephew, but I don’t. I want more Laurie. Love Laurie.

8:28- Michael’s not good with keys. I love the fact that his hands and eyes are so clear, though. It brings back that kind of essential physicality he had in the original. Him making contact with Laurie, the shot of the two of them through the glass looking at each other is so fucking good.

8:34- Laurie standing in the drive with a fucking axe screaming Michael’s name as the Halloween them kicks in fucking rules so goddamn hard. The final fight scene between these two is an all-time great.

8:39- Laurie pulling a gun on a cop so she can kidnap the coroner’s van so she can make sure Michael is actually dead is fucking incredible. She’s the best person who’s ever been written. The final conclusion of the film, with Michael reaching out to her when he’s pinned down, and it’s unclear if he’s asking for help or trying to reach out to hurt her one last time but his eyes are filled with desperation is one of the best moments in any of the films, and the power of Laurie just delivering the killing blow makes it even better. The fact they both get to be so vulnerable and so human and have a moment, just a moment, where their hands touch for any reason other than violence is so fucking strong. I love this fucking movie.

8:45- Halloween: Resurrection. Because after just seeing Laurie fight for her life and get out alive, triumphing over Michael once and for all, obviously what we want is to have the whole thing turn out to be bullshit and a fake out and for Laurie to die in the first five minutes of this film? Fuck this movie man. Like fuck this movie.

8:59- as bad and stupid and shallow as this movie is, the slight manipulation Michael performs is pretty great, and Laurie’s line “Are you afraid of me?” is an all-time great. This film doesn’t earn Laurie’s death, though, and it doesn’t deserve Jamie Lee Curtis. I’m not even totally against the idea of finding out what Michael would do if all his family was dead, but this movie’s option of ‘be in a reality show being filmed in his house’ is probably the answer I never, ever, ever wanted.

9:03- I have given up.

9:25- People make a big deal out of the ending scene where Busta Rhymes electrocutes Michael Myers in the nuts but it is really the only moment of levity in what is otherwise the most boring experience anyone can have.

10:00- I am eating leftover candy and contemplating my life.

10:17- I boot up Halloween (2007). I have accepted death.

10:19- Yeah, what Halloween was really lacking was a guy yelling “I should crawl over there and skullfuck the shit outta you!” before hitting on his teenage stepdaughter. The level of overt grossness and extremity that Robert Zombert brings to this franchise is so fucking putrid and unnecessary. All he brings to this franchise is insane amounts of unbridled misogyny and pop psychology. I said the same thing last year and I’ll happily say it again; this movie’s idea of what makes a serial killer is like something from a daytime TV movie. I’m sure it was intended to be edgy, but the demonization of the working class and sex workers and the position of Michael as the lower-class outsider to the nice suburbs is the most conformist class politics in existence. Halloween (1978)’s depiction of a serial killer who was a part of and came from inside the nice, safe, upper middle-class suburb will always be a far, far more revolutionary statement than this.

10:44- I don’t believe this really gives Michael ‘more backstory’ since it basically just re-treads what the first movie did, but it sure does it worse. The film just takes an incredible amount of time to say ultimately nothing at all. What really gets me is that this does really destroy the Michael is the big bad boogeyman myth simply because the childhood it gives Michael doesn’t fit with who he is. The change just feels forced. The suddenness of his violence feels forced. There doesn’t seem to be any observation here other than it would be scary if a nice kid was actually murderer.

10:56- Why does Michael’s mother own a huge projector. The melodrama of her killing herself is so absurd.

11:03- Michael Myers gets called the F-slur so many times in this movie that I’m officially adopting him as part of the LGBT community.

11:12- people criticise the original for not having the most natural of dialogue for its teenage girl characters, but the teenagers in this film are so incredibly obnoxious that it’s borderline unbearable to watch. Their dialogue is unnatural too, because it’s the kind of shit a weird old man really, desperately wants teenage girls to say.

11:23- There isn’t a scene in this that doesn’t drag on for too long in a completely unfunny, charmless way. It’s also insanely aggravating how Zombie is incapable of holding the camera still for longer than a couple of seconds at a time, and why everyone in the movie always has to be twenty feet away at all times.

11:25- This movie is just the first movie but longer with people screaming fuck constantly and added rape scenes. It is so insanely fucking worthless it really defies description.

11:28- I could be hanging out with my friends but I’m watching a bad movie. Contemplating life again.

11:45- I wish Robert Zombert wasn’t so horny.

11:51- I like truly never want to hear screaming again. There’s so much noise in this movie all the time. There isn’t a fucking second of silence in this film that couldn’t be filled with someone screaming hysterically or shit breaking. There isn’t a moment where the camera holds still and lets us take in the information in the frame without wobbling deliriously or swinging around like it’s on a fucking office chair.

12:10- I wonder if I can go see Doctor Sleep tomorrow. It’s technically not Halloween anymore, but if I manage to watch all these films within twenty-four hours I think it still counts.

12:13- We’re on Halloween II (2009). I like that this movie opens up with an explanation of what the symbolism of the white horse represents, in case you’re too stupid to figure it out for yourself. I like that the flashback is also completely drained of colour, in case you’re too stupid to figure out that it’s a flashback, even after it had a title card explaining it was. Just in case you thought Michael turned into a kid again, or something.

12:17- Glad we’re back to the constant screaming and camera swirling, just in case you thought for a brief second you’d have a moment of fucking peace.

12:21- I joked about the absurdity of Ben Traimor in Halloween II (1982) getting hit by a van and then exploding but it really doesn’t match up to the pointless fucking spectacle of violence that occurs roughly every ten seconds in Halloween II (2009). There’s no reason whatsoever to have the coroner’s van full of rapists crash into a cow and have the most incredibly bloody crash scene ever while one of them screams fuck over and over, but it happens. It isn’t scary, funny, or interesting, but it sure happens. That just about sums up this movie. Loud, bloody, and gratuitous, but not, y’know, interesting.

12:39- What an exploitative ‘I think crazy chicks are hot’ vision of trauma this is.

12:48- The idea of Loomis cashing in on his fame and becoming a celebrity psychologist is a good idea, but in classic Rob Zombie way, it’s done in the least interesting way possible.

1:04- What the fuck is happening.

1:13- it is like fucking incredible how boring this movie is. None of these scenes have any purpose. It’s just stuff, it’s stuff to put on film, with no larger thesis or point. I don’t fully understand why anyone bothered making this movie.

1:29- Great, a party sequence. That’s what this film really needed. More pointless noise and scenes that go nowhere. It was way too quiet and plot-heavy until now.

1:31- Does Mr Zombie know he can just make music videos. Like wouldn’t it be easier.

1:55- The ending scene in this movie is so incredibly incoherent and unwatchable. The bringing of the strange psychic ghosts that haunt Michael and Laurie and making them real, physical presences only makes the film more incoherent. It’s all jerky, wild camera movements, strobe lighting and screaming from here on out. Michael is such a non-entity in this film. He’s in at least half the movie, but he’s not himself. He’s just like a big guy with a beard and one line.

1:59- The slo-mo is so unnecessary. Like you fucking had to make this movie even longer? For who? For what?

2:00- I wish we were all dead.

2:01- I think I’ve seen Blade Runner 2049, a movie I deeply love and cherish, less times than I’ve seen Rob Zombie’s Halloween II.

2:02- Feel depressed about this.

2:03- If I ever hear Love Hurts again, I’ll kill myself.

2:04- Spent two minutes in silent contemplation.

2:06- It’s finally time for Halloween (2018). It’s hard to understate how much respect I have for this movie. Like I said earlier, I admire H20 a lot for its attempt to be a reaction to Laurie’s trauma and grief, but it does not manage to pull this off with anywhere near as much grace and effectiveness as Halloween (2018). And on top of that, the film is stunningly shot, the only film on par with the original in terms of how beautiful and memorable the cinematography is.

2:10- The distance from which we see Michael initially is so great; there’s so much restraint. He’s unmasked for a good portion of the early movie, but the film holds back in a way that makes his face completely unreadable and instead focuses on people’s reactions to and fear of him. It gives a sense that he’s almost too frightening to be fully captured on film. We can never really understand the legend of Michael, the same way people who don’t see him ‘in the wild’ can’t; we can only see him through legends.

2:14- The soundtrack in this movie is a fucking incredible beast. John Carpenter is God, frankly.

2:17- I adore Laurie’s portrayal in this movie. She’s so cold and defensive towards people who don’t believe or respect her, but there’s a painful, raw vulnerability to her as well. She’s traumatised person who has run the gamut of people refusing to understand or respect her trauma or the worldview she’s developed. There’s such a profound mixture of power and pain, a sense of immense dignity to her. She’s sick to death of the lack of respect and cruelty she’s faced. I just love how much emotion was put into her performance, how much the filmmakers really cared about making her a fully realised expression of trauma and the way people react.

2:24- Dave blowing up a pumpkin with a firecracker is the most accurately teenage thing that’s ever happened in these movies.

2:25- Laurie standing on the sidewalk outside the school in a mirror of how Michael did rules. The callbacks in this movie are always so underplayed that they feel like they take actual meaning, rather than just being a case of demanding fans look at something cool they recognise.

2:31- I am deliriously sleepy. Laurie’s breakdown at family dinner is so painful. She carries so much grief; she is, in her eyes, the only one who does and who may ever know the truth, surrounded by people who can’t understand her because trying to put themselves in her world hurts them too much. I think Laurie’s daughter’s description of what it was like growing up in a survivalist environment filled with anxiety and paranoia is so key; it was traumatising for her to grow up in a trauma-based environment. I hope she gets more time in the next movie.

2:43- This is the third movie in the franchise where Michael kills people in a public toilet, but definitely the best time it’s been done. Michael throwing teeth at the journalist writing about him is something that is so insane that it’s now burned itself directly into my brain and I am incapable of not tweeting ‘i wish michael myers would throw teeth on me’ at least once every three weeks.

2:46- The gravity that’s given to Michael putting the mask on is mesmerising. Again, I love the physicality of his hands and motions; this movie doesn’t forget he’s a real, physical person.

2:52- I’m obsessed with Michael’s decision not to kill the baby. He’s on a random murder spree, killing anyone who he sees without any particular cause, but he passes right by the baby. Looks at it, and then chooses not to. He made an actual choice not to. I always wonder what was going through his mind at the time.

2:59- Alyson’s costume was a really great way to have her end up with the same silhouette as Laurie in the first movie without having her just straight up dress like her grandma. Nice touches.

3:01- “You are so getting dry-fucked tonight” is probably one of the most wretched lines of dialogue in this franchise.

3:09- Laurie hunting for Michael is so good. She’s so fucking ruthless in this movie; she’s afraid but she’s fucking tuned in completely to her revenge hunger.

3:13- Sartain is a character I really love. The set-up is obviously that he’s Loomis 2, Laurie even refers to him as “the new Loomis”, and he reflects and subverts this in interesting ways. I like that he calls Michael “property of the state”; it’s his own way of dehumanising Michael. To him, Michael is an asset, something to be poked and prodded and studied. But of course, unlike Loomis, his obsessive interest in Michael is far more appreciative.

3:16- This film’s ability to just use silence is so good.

3:17- The first time Alyson sees Michael is incredible. The musical sting. Fuck me. God, I love this movie. And God I love this fucking soundtrack.

3:22- The twist of Sartain turning and killing the cop, protecting Michael and trying to seek out what it feels like to kill is great. Also, the way he stroked Michael’s face? I hate to break it to you, but if you don’t think they were fucking? Grow up.

3:30- I love the drama of Michael’s corpse arrangements. Back to the good old art student days, I see. He’s having a midlife crisis. Every time Laurie and Michael see each other is so fucking powerful. The connection between the two of them is so vibrant. And her shooting half his hand off? Iconic. Really excited to see how the makeup department carries that on next film.

3:39- The final showdown sequence is incredible. Laurie and Michael nearly being on equal terms sounds like it should make it boring, if she can match him hit for hit, but the film never drops a level in tension. It manages to be surprising not just for us but also for Michael, who obviously wasn’t expecting to be on the back foot with Laurie, which only makes the scene more intense.

3:42- WHY IS HE SO STRONG!!!!!!!!!!!!!!!!!!!!!!!!

3:43- The performance of Karen screaming she needs help and she can’t do it only to shoot Michael point blank and then have Laurie emerge out of the shadows the way she does is one of the best fucking moments in cinema. The three women working together to defeat Michael and kill him where he stands, absolutely kicking the shit out of him and then setting him alight is fucking incredible. I don’t know if I’ve ever seen such a triumphant fucking ending in anything. The Strode women’s win feels like such an incredible fucking win. I have no fucking idea how Halloween Kills is going to follow this up.

3:46- I love this movie. The house burning down with Michael inside it is so striking. The way fire is shot is so powerful, and the ending shot of the Strodes? With Alyson holding the knife? A perfect movie.

3:47- I have died.

#rantsfilmwatch #my writing #halloween

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silverfootstepswrites · 6 years ago

Text

Butterfly [52]

summary It’s too unfair.

A couple minutes before intermission began, she felt her phone buzz. The screen lit up with the picture of Itachi mid-pizza slice that he hated.

“Uchiha-sensei,” she greeted him. Ignoring the way that Karin’s eyebrows rose.

“I’m sorry if I creeped you out,” he immediately said.

“Huh?”

Sakura ducked behind a pillar, trying to avoid Karin’s prying eyes. And prying ears.

“I should have told you I was coming,” Itachi clarified. Sakura blinked a few times.

“Oh, no, that’s.... well...why are you sorry?” she asked. She could hear a muffled conversation going on near him. Someone was arguing whether or not to buy one of the t-shirts being sold outside.

“I’m not sure. But I always got the sense that you didn’t like us getting mixed up with this part of your life,” he replied.

Sakura considered this for a long moment. And then Mangetsu squeezed her shoulder as he walked past, mouthing ‘Gotta ask you something’. She nodded.

“Um... so... I gotta go-”

“I understand. Sorry fo-”

“Do you mind sticking around at the end?” she went on. There was a pause.

“Oh.” She could almost imagine the way his eyes widened. As if he had expected her to ignore him when he’d come all this way to see her.

“I’ve got a meet and greet, but I’m free after. As long as your mother doesn’t mind waiting for a bit,” Sakura added. Finally, she heard Itachi chuckle.

“I’ll try to convince her somehow,” he replied.

Mangetsu eyed her as she jogged up to join him.

“Why’re you smiling like that?” he demanded as he held his hands out in front of him.

“Because I’m happy to see you,” she replied in the flattest voice possible. Mangetsu snorted, shaking his head.

“Suuuure,” he retorted, drawing out the syllable. And then he nudged his hands toward her again.

“You know that part when we do that spin together? During the second half of the song?” Mangetsu asked. They laced their fingers together. And Sakura leaned back a little, half-miming the movement that he was talking about, her left hand resting on the back of his neck to help her balance.

“I just want to make sure that you’re okay with that. I know that your knee’s been a little wonky,” he went on.

“I’ll be okay. This bad boy’s all taped up,” Sakura assured him.

They both flinched when Haku sprang up beside them, his phone in his hand.

“I’m live on Instagram. Say hi,” he demanded.

“Hi, Instagram,” Mangetsu obediently replied.

“Bye, Instagram,” Sakura said instead, turning her head away. Mangetsu pulled her upright when she tapped on his shoulder. Their hands disengaged.

“So here’s Japan’s hottest new pairs team. Haruno-senshu, what do you have to say for yourself?” Haku went on, shoving the camera in her face. Sakura let out a long breath. She pulled the phone from his hand and handed it off to Mangetsu. Mangetsu looked puzzled until Karin wandered over to cover the camera with her palm. Sakura seized Haku in a headlock, pinching fingers clamping onto his side. Haku howled in pain before he tried to bite her arm.

“Uh,” was all Mangetsu could think to say.

“He’ll be fine,” Karin assured him, leaning an elbow on his shoulder.

Once the intermission ended, there was little time to goof around. The program was packed with solo and group performances. Several members of the audience burst into tears when Sakura went out alone, in the same maroon costume she had worn to the Olympics. She did her short program, feeling a little less limber and a little less steady than she had two years ago. But the rush of wind was exhilarating as she spun and carved her way across the ice.

She arched her back as she transitioned into an Ina Bauer. Itachi’s mouth hung open a little as she glided past him.

There were a few other performances after that. The crowd screamed wildly as Karin, Suigetsu, and his partner did an intricate routine that involved ribbons. And there was open weeping when Haku did a routine to an orchestral piece. He even wore a gold crown on his head, as dramatic as always.

Her “pairs” routine with Mangetsu was met with applause. Of course they couldn’t do any of the throws or crazy lifts that actual pairs skaters did. That took years of practice and a level of athleticism that they didn’t have. And she wasn’t really willing to crack her skull open for a performance like this. But skating with Mangetsu took her back to those old days. When she wore frosted eyeshadow and his suits were always a size too big for him at the banquets.

At the end of the night, all the skaters came out to greet the audience. They waved both their hands, bowing and blowing kisses to the crowd.

When Sakura glanced over her shoulder, she saw that Itachi was gone. His mother sat alone, hands clasped together and eyes sparkling as she clapped as hard as she could. Sakura couldn’t help but wonder where he’d gone.

Holding hands with Karin and Haku, Sakura bowed with everyone else. She tried to scan the crowd to see if Itachi had moved, but he really had disappeared.

The meet and greet took place after the rest of the audience had left. Just the people who had paid extra sat in the very front, clutching their handmade signs. Sakura recognized a couple of the faces. They were the hardcore fans who had probably come to each of her performances. Spending all their money and free time to follow her. And when they saw the recognition in her eyes, these people usually broke into tears. Sakura hugged them, laughing as she rubbed their backs and took selfies with them.

When Sakura got to Itachi’s mother, she couldn’t help but smile. It was amazing how much he resembled her. The same almond-shaped eyes and narrow face. Sakura bowed deeply. Mikoto’s eyes popped open.

“Uchiha Mikoto-san?” she asked.

“Oh my goodness!” Mikoto gasped. Sakura straightened.

“Oh my! I should be the one bowing! Thank you so much for the autograph. I don’t know how Sasuke-kun got it. I’m so sorry that you had to go to all that trouble,” Mikoto babbled, squeezing Sakura’s hands between hers. They were warm. The grip strong but not painful.

“Where’s that son of mine? I can’t believe he’s missing out on this! He’s the one that called asking me if I had an extra ticket,” Mikoto went on, glancing around. Sakura suppressed a giggle, mashing her lips together as she nodded.

“I’ve always been such a fan. I know it seems silly, but I’ve always sort of thought of you as one of my children. And it might sound strange, but I’m so proud of you, Sakura-san,” added Mikoto. Sakura’s smile faded. Just for a moment. And Mikoto stopped talking as she saw the shift in Sakura’s eyes.

Swallowing down a lump in her throat, Sakura smiled. She bowed her head again. Deeply.

“Thank you very much,” she replied.

The meet and greet ended with reluctance. Sakura and Haku blew kisses, arms around each other’s waists. And Haku didn’t make fun of her when she sniffed a little against his shoulder.

Once the meeting had ended, everyone picked up their bags and gear.

“Let’s get dinner! Shimizu’s buying!” announced Suigetsu, one hand cupped around his mouth. Haku grimaced, but didn’t protest. It looked like he had lost some sort of bet.

“Sorry. I’ve gotta run. I’ll see you all tomorrow,” Sakura replied, already inching toward the exit.

Karin tilted her head to one side. Grinning, Haku pulled her close to whisper in her ear. As Sakura ran out the doors, Karin and Haku were both laughing.

“You go, girl!” Karin called after her.

Sakura ignored them as the heavy metal doors banged shut behind her. She glanced down at her phone. She had messaged Itachi about where to wait, but he hadn’t replied to her at all. To her dismay, the lobby was empty except for the few staff members cleaning up the table where they had sold t-shirts and posters. Sakura bowed to them as she walked past.

The meet and greet had taken a little longer than she had expected. And then the end-of-night meeting with the staff had gone on for several minutes. It was pretty late. She couldn’t blame him if he had gone home with his mother already.

Sticking her hands in her back pockets, Sakura exited the stadium. And she nearly collided with Itachi.

“Woah!” they both said.

“It’s cold outside! Why are you...”

She trailed off as he thrust a bouquet into her hands. Bright red and pink roses with sprays of little white flowers. The petals and wrapping were cold as her fingers closed around them. When she gaze up into Itachi’s face, she saw that the tip of his nose was red. She reached for his hand. His fingers were just as cold as the flowers.

“Were you..... Did you just get these?” she asked.

“I ran to three different flower shops until I found one that wasn’t closed,” he confessed. And then he rubbed the back of his neck. “I probably shouldn’t have come empty-handed in the first place. I can’t believe I missed the end. My mom said it was amazing,” he added with a sigh.

Sakura felt the corners of her mouth go up. Her chest squeezing, almost painfully so as she was hit the realization again. Just how thoughtful, kind, and awkward he was. And how much she liked those things about him.

“Thank you,” she whispered, gazing down at the flowers. Missing the way he stared at her when she did.

And then her chin jerked up.

“Your mother?” Sakura demanded.

“Oh. She said she was in the bathroom. I think she said she was fixing her makeup because she cried after meeting you,” explained Itachi. Sakura bit her lower lip, trying not to smile at that. Itachi watched her expression.

“No, you can laugh. It’s pretty funny,” he assured her, chuckling a little.

She felt his thumb stroke across her knuckles as he spoke. They both froze. Clearing their throats and looking away, they pulled their hands apart. Itachi flexed his fingers nervously before sticking them in his pocket to grab his phone. He swiped his thumb across the screen.

“Oh. She’s on her way out now,” he read.

“Hang on. You’ve got an eyelash on your face,” Sakura pointed out.

“Where?” Itachi swiped at the wrong cheek. Sakura gestured with her free hand. He bent down a little, eyes closing. She scratched her nail lightly under his right eye. After a couple tries, she pulled her finger away. His eyelash clinging to the tip of her nail.

“There we go,” Sakura announced. Itachi’s eyes opened just as she blew it away. And for a moment, all they could do was smile at each other. Not that anything was funny.

It just felt nice to stand there together.

“By the way, there’s a really good izakaya not too far from here. You said your mother likes seafood, right?” she told him. Itachi leaned in a little closer as she pulled up the menu on the phone. They muttered the items together as she scrolled down the list. Sakura lifted her head when she heard the door open.

Mikoto stood there, her hands over her mouth. She burst into tears all over again.

“Oh! So Sasuke-kun met you because Itachi-kun already knew you from work!” Mikoto realized almost an hour later. They sat together at a low table. The glossy surface reflected Mikoto’s face back as she leaned in toward Sakura. Itachi sat across his mother, skimming through the menu.

It had taken Mikoto several more minutes to calm down outside the stadium. And Sakura had escorted her back into the bathroom. Mikoto had apologized to her probably ten different times. But Sakura didn’t mind. She held Mikoto’s purse as the older woman washed her face and patted it dry with paper towels from the dispenser.

“Oh, I must look a mess,” sighed Mikoto, dabbing at her nose.

“You look wonderful. Don’t worry about a thing,” Sakura assured her. And Sakura had linked her arm through hers as she led her out of the restroom.

“The sushi here is supposed to be very good,” Itachi remarked to no one in particular. His phone sat on the table and he scrolled through it with one finger. He glanced back and forth between the screen.

“Mm... sayori should be in season right now. Hotate? Oh and maguro too,” Sakura wracked her brain, trying to remember which fish would be freshest in March.

“Amaebi?” Itachi suggested, reading off the menu.

“Ooh, yes,” Sakura agreed. Regular shrimp tasted good. But amaebi had a special sweetness to it that she loved.

When she glanced up, Mikoto was staring at her in sort of a daze. She blinked several times when she realized that Sakura was looking back at her. Her cheeks colored.

“What type of fish do you like, Oba-san?” asked Sakura.

After the waitress dropped off tea and took their orders, Sakura rubbed her knee a little under the table. Itachi followed the movement of her hand, forehead wrinkling.

“Are you alright?” he asked.

“Yeah. Just... sometimes it gets a little achy if I don’t get enough rest,” Sakura admitted.

“That’s...” Mikoto hesitated. Itachi and Sakura looked up at her. Sakura smiled encouragingly, eyebrows rising.

“Well, Haruno-san, you hurt your knee before the last Olympics. Is it from that?” Mikoto inquired. Sakura sighed.

“Yes. I had some great doctors, but... that’s how injuries are. It doesn’t just go back to how it was,” admitted Sakura, giving her knee a couple of slaps.

“Mom was devastated when she found out you were hurt. She even went to a temple to pray for your recovery,” Itachi recalled to Sakura, ignoring the way that Mikoto’s eyes widened. She looked horrified, shooting furtive glances at Sakura. Sakura giggled.

“That’s very sweet, Oba-san. Maybe I recovered so quickly because of you,” Sakura said to Mikoto. Who gave her a sheepish smile in return.

The conversation grew less stilted as the evening went on. Sakura found her eyes drifting to the bouquet Itachi had bought her. It sat on top of her duffel bag, plastic crinkling and shining whenever the waitress breezed past it with more food or tea. One time, Itachi caught her staring at it. And the corner of his mouth pulled up before he turned his attention back to his mother’s story.

“I’m so sorry for keeping you late. You must have missed your train because of me,” Sakura suddenly realized as the waitress came to clear away their plates. Mikoto flapped a hand at her.

“We’re staying with one of my nephews here in Osaka. Our train isn’t until tomorrow,” Mikoto told her, which put her at ease.

“Osaka? You have family here? I thought you said everyone lived in Koto,” asked Sakura, turning to Itachi.

“My cousin, Shisui. He moved here last year for work,” answered Itachi. And Mikoto’s eyes sharpened a little.

“Is that the cousin who crashed a bike into a telephone pole or the one who dropped his phone into the ocean?” Sakura inquired.

“Both,” Itachi sighed.

Mikoto’s lips puckered, like she was about to say something, but sucked the words back into her mouth last-minute. All Itachi saw was a peculiar smile on her lips when he glanced at her.

When dinner ended, Sakura and Mikoto argued over the bill for a minute. When Sakura firmly insisted on paying, the strange smile returned to Mikoto’s face. Itachi didn’t understand when his mother gave him a proud look behind Sakura’s back.

As they headed out into the night, Itachi flagged down a taxi. He opened the door for Mikoto. Sakura helped her inside, handing her her purse when she had settled into the seat. But before Itachi could get in too, Mikoto shut the door.

“Make sure Haruno-san gets back to her hotel safely, Itachi-kun. A young lady shouldn’t be walking around alone at night,” Mikoto ordered, lowering the window.

“Oba-san, it’s fine,” Sakura tried to assure her. But Mikoto pretended not to hear her.

“Don’t stay out too late, my son,” Mikoto said before she ducked back in to say something to the driver. The taxi pulled away. Mikoto stuck her hand out the window to wave as the car grew smaller and smaller.

When Itachi looked back at Sakura, she had both her hands in her pockets as she rocked back and forth on her heels. She smiled at him.

“Shall we go?” she suggested.

Itachi laughed. “Yes.”

The streets of Nishi-ku were just as well-lit and organized as Tokyo’s. Even though it was so late, there were plenty of people out at night. Women carrying shopping bags. Friends carrying drinks and laughing at some inside joke. There were also couples too, holding hands or linking arms as they ambled down the walkway.

Sakura motioned for Itachi to follow as she began heading down the street.

As they drifted farther and farther from the busy part of the city, it grew quiet. Until, suddenly, she realized that it was just the two of them. Feet hitting the concrete in tandem. Her gear occasionally clinking inside of her duffel bag.

“Thanks for coming all the way to Osaka,” she suddenly said.

“I almost couldn’t. The tickets were all sold out by the time you told us,” he replied. And then she saw his head tilt to one side.

“Did you do that on purpose?” he wondered. Not at all accusatory.

Sakura shook her head. They stopped at a red light, waiting for the sign to change.

“....No.... just.... I guess I’ve always been used to... doing things on my own? I mean.... even when my parents were alive, they didn’t know much about skating. So... like... I just.... made choices and they went along. And... I dunno....” Sakura trailed off. She felt Itachi nudged her arm when the light changed. They crossed the street together.

It was a long time before Itachi spoke again.

“Can I tell you something?” he asked.

“Sure.”

“That’s pretty inconsiderate to the people around you.”

She finally looked at him. At the half-smile softening his face and his words.

“I understand that you’re used to being independent. But at least let us know what you’re doing so that we can support you. I’m sure Inuzuka-san and Nara-sensei would have wanted to come too,” he pointed out. She faced forward again. But she was still listening when he added, “They’ve been cheering for you since the beginning. Even if you couldn’t see that.”

“I know. I know they were,” answered Sakura.

She would have been stupid not to know that. From all the phone calls and care packages, even a fool could have seen how much they loved her. How much they were thinking about her. Even when she had felt so far away from everyone, she had known.

They passed in front of a cafe that had closed for the night. The sign outside still glowed blue, buzzing faintly.

“I know they love me a lot. And I’m always grateful. But...” she broke off in the middle of her thought. Mouth tightening.

“But?” Itachi urged her.

She was quiet again. For another block. When they reached another red light, Sakura tucked her chin against her chest. “But the person they’re cheering for is gone now. I’m just... me,” she told him.

The light turned white. Before she could take another step, she felt Itachi’s hand close around her wrist. She tilted her head to look at him.

“You didn’t have any gold medals when they started cheering you on,” he stated.

Sakura felt her chest tighten a little at the look on his face. And then, Itachi suddenly looked away, avoiding her eyes. She would have been a little hurt if she hadn’t heard him mumble, “And you’re still amazing. So stop talking about yourself like that.”

Gnawing on her lower lip, Sakura turned her face away too. Her cheeks, her ears, even her chest felt a little hot. When Itachi finally released her wrist, her fingers grasped the edge of his sleeve instead. She could feel him staring at her, but she kept her gaze trained on the sidewalk.

She huffed out a big breath through her nostrils.

“... Can we hold hands?” she asked. She wanted to melt into the ground and die when he didn’t answer. After several seconds, she felt his hand move. She released his sleeve. Before she could stuff her hand back into her pocket, she felt his fingers weave between hers.

“It’s kind of cold. We should keep going,” Itachi mumbled, avoiding her eyes as much as she avoided his.

“Yeah.”

#butterfly #writing #itasaku #you're welcome #oh you two awkward potatoes

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enaasteria · 7 years ago

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Rabbit // Sehun

We hate each other but we were invited to a mutual friend’s party and were warned to be civil so you complimented my costume and fuck you, i haven’t changed yet.

// Halloween Prompt #2 // Slightly suggestive and a lot of cursing

Serpent [9:48 PM]: @ rabbit where are you?

I feel my bitter drink slowly work its way back up my throat as my phone lights up from a new message in our group chat. My thumb swipes away the notification even though it’s addressed directly towards me—the rabbit. I’m not sure who started it in the first place but all of our names were changed to animals representing our varying personalities. Apparently, a rabbit describes my character but I didn’t really question it at the time.

And I don’t question it now as I ignore the Serpent’s message. He’s an anomaly I can’t figure out and I’ve stopped trying to figure him out because all I’m left with is a throbbing pain. A pain which is, unfortunately, situated in my groin rather than my head. It would be better if it was all in my head because it would make loathing his existence a lot easier.

“Not going to answer him?” My roommate, Yumi, asks and drinks the last bit of her Old Fashioned before her boyfriend, Dowoon, replaces her empty cup with another. He’s attentive of her and I hide my slight envy on how they complement each other without fault. She gives him an appreciative smile before returning a scrutinizing gaze my way.

I answer, “Nope,” and avoid looking at her because she honestly scares the shit out of me and it wholly fits her nickname of Wolf within the group chat.

“Didn’t Dowoon and I tell you both to be nice to each other tonight? It’s Halloween.”

“I am being nice. I figured if I don’t have anything nice to say, I might as well not say anything at all. Hence, the no response.”

She exasperates a sigh, flicking her raven locks with highlights of silver behind her shoulder before noticing both our phones light up again. “Please for all our sakes, answer him. You know he’s not going to stop unless you respond.”

“And you realize this is enabling his bad behavior, right?”

Serpent [9:52 PM]: @ rabbit. i know u see these messages Serpent [9:54 PM]: oh c’mon Serpent [9:55 PM]: stop ignoring me

Rabbit [9:55 PM]: @ serpent what

Serpent [9:55 PM]: where are u

Rabbit [9:57 PM]: where do u think i am

Serpent [9:57 PM]: where ur supposed to be

Rabbit [9:59 PM]: and where’s that?

Serpent [9:59 PM]: the 80th level of hell Serpent [10:00 PM]: burning within the blazing pits of fiery coal, seared with hot metal until ur skin sizzles and ur organs bubble into a flood of goo

Rabbit [10:04 PM]: i hate u

“I’m leaving,” I say. Grabbing my weekender bag, which is stuffed with the costume I’ve yet to change into, I stand and ignore how my roommate’s patience is wearing thin.

“You’re definitely staying.” She places a firm grasp on my forearm and seats me back down next to her. Considering she used to be a fighter back in her younger years, I’m clearly at a disadvantage when it comes to strength and strategy. “It’s the first time Dowoon is hosting this damn Halloween party and you and Sehun will play nice or I swear I’ll shove you in a room with him and throw away the key. Seriously—I wish you two would just fuck each other’s brains out already and get it out of your system so the both of you can finally get along.”

I nearly choke on my saliva, watching as she swallows down her favorite drink in a single gulp without one ounce of regret from speaking such heinous and appalling words. “What the actual fuck—”

“You know it’s true. I’ve seen the way he looks at you and the way you look back at him.”

“You mean how I look like I want to murder him?”

“You mean how you want to murder his pants. Don’t lie. I know what you think about at night. Screaming out his name—”

I gasp in a sharp wheeze and it feels like my brain is about to explode from the blistering horror. “I scream his damn name because he sends me these kinds of messages at hours no human being should even be awake,” I exasperate and suddenly feel the need to go rinse my ears with holy water to cleanse what I just heard unwillingly. She knows I lose sleep over this vile man and how he is the sole reason why I have these lingering dark circles under my eyes and have no life to my soul.

But with all my arguments, she doesn’t believe me and gives me a sideways glance. It makes me think perhaps I should find a new roommate for the upcoming year because she’s definitely not making the cut.

“You know, Dowoon and I started out the same exact way.”

“Please, Yumi. Your worst dilemma was seeing his bare arms and him seeing you walk around the apartment in only a long tee and no pants. You don’t get messages saying you belong in the 80th level of Hell.”

“It could be worse.”

“I can’t even begin to fathom what could be worse than this.”

She snorts and crosses one leg over the other while sitting in her seat. “He could send messages of wanting you naked in his bed.”

I let out a silent scream as the veins in my neck protrude from underneath my skin. She’s relentless with her attacks tonight and I attribute it to the alcohol flowing through her veins. “Why in the world would he ever want me naked next to him?”

“Is that an invitation?”

Serpent.

I wince. My eyes shut tight as I inwardly cringe from hearing his slithering voice slide and slime over my flesh and bones. Yumi leaves me without any protection or aid and makes her way back to Dowoon as if she’s done fulfilling some sort of evil purpose. I draw in a breath before turning around and facing the man seeming to make my life the very Hell of which he speaks.

My face contorts into a forced smile because of Yumi and Dowoon’s warning. Play nice. Be nice. Pretend nice if it comes down to it. “Sehun.” I look up at him and hate how he’s so goddamn tall and broad and fuck—I need to stop staring at his shoulders.

“Using my name and not Serpent today?”

“I was ordered to be nice to you tonight so maybe you should try it too.”

“Oh, that might be a bit hard for me but I’ll try if you want me to, baby.” He smirks and I know he’s up to no good. He wasn’t given the nickname Serpent for shits and giggles. It’s because he’s sly. He’s too good at maneuvering through menacing tricks and pranks. He’s a demon in human form and has some weird fascination with making my life difficult for his amusement. “Love the costume. You really nailed the half-dead zombie look,” and draws his thumb over the purple-ish circles plaguing around my eyes from the lack of sleep he bequeaths upon me.

My jaw drops to the ground and my irises turn into round orbs because he thinks I’m already dressed up and I can’t believe this is him being nice. I swat away his touch as I immediately snap my lips shut. They pull into a ball to keep myself from saying anything I might regret because I’m more afraid of Dowoon and Yumi’s threat than I am of Sehun.

But I hate how he’s watching my lips move. I hate myself even more on how I’m watching his mouth move, how his thick tongue is peeking out, and how he’s biting down on his plump bottom lip.

I’m finding it increasingly impossible to follow my roommate’s orders as two words escape without thinking. “Fuck you.”

“Please do.” He sends me a cheeky grin and runs one of his hands through his midnight black hair.

I groan from falling into his honey trap before turning my back on him and grabbing my bag to change in the bathroom.

Finally by myself, I throw the contents onto an empty shelf. I’m half annoyed and half dreading the night because playing nice with him will truly test the depths of my patience. While I strip off my top layer, I consider just ignoring Sehun for the rest of the evening but like Yumi said, tuning Sehun out only fuels his bad manners and makes him far less tolerable than he already is.

He likes attention and it’s not like he has to work hard for it. There are tens of hundreds of women waiting for him to just bless them with a glance but for some damn reason—he hates it when I ignore him. He’s irritated when I don’t answer him but when I do, it’s not like he even has anything nice to say.

Before I can think up of any other solution to get myself out of this unpleasant problem, the bathroom door flies open from someone picking the lock on the other side. Sehun is shoved in and I’m suddenly cramped in the tiny compartment and facing a situation written straight out of a horror novel. As quickly as the door opened, it shuts with a click and with it goes the last bit of my sanity.

“Figure out how to be nice to each other or you both are not leaving the bathroom.”

I recognize it as Dowoon’s voice and surmise he’s only an angel to Yumi and not his friends. He doesn’t fit the Puppy nickname at all as I jiggle the door to escape this unholy prison but it doesn’t budge. It doesn’t move no matter which way I turn or twist the knob.

My throaty groans intertwine with the silent air because if Sehun was forced in a few seconds sooner, I would at least be wearing a t-shirt and not only a black bra and jeans. For sure, I will inevitably turn into that bubbling gloop he said I’d be earlier.

The door becomes my second skin as my forehead connects to the wood and makes small bangs against the surface. I hope if I wish hard enough, I’ll miraculously melt into the door and be free from the monster behind me. But until that happens, Sehun will have to suck it up and just stare at my ass for the time being.

“Are you ever going to turn around?” he asks.

“Are you ever not gunna be a dick towards me?”

I hear him moving about but what I don’t realize is it’s because he’s leaning in towards my ear, whispering ill-fated words which linger on the hairs of my neck. “Then explain what you want me to be and I’ll see if I can oblige.”

I swivel on my heel. Sehun doesn’t move from his spot as he’s perfectly leveled to my height. Our noses are barely touching but he relieves my slight panic by straightening his spine, returning to his grand posture. That damn smirk is smeared across him like ink on paper and if I could, I would bleach it off his face. But the lords have blessed me with no such tool so I’m forced into staring at him. And it’s to the point where I wouldn’t mind calling him Beautiful instead of a Serpent one of these days if wasn’t for him being such an asshole 24/7.

But Sehun does the same. He matches my breaths and mirrors my form, mimicking my habits from how I hold my hands to the manner of which I wet my lips. He’s watching me do this all and it’s odd being under his tight scrutiny.

I sigh and think the least Dowoon could’ve done before shoveling the giant into the bathroom with me was strip him down to his boxers so the sadistic playing field is somewhat leveled. But alas, that futile desire would make my life a tad too easy. “You can try being nice to me.”

“And what if I don’t want to be nice to you?” Sehun’s toying charms deepens onto his annoyingly attractive face. His focus transcends to the words leaving my lips and thankfully not on my body. It still doesn’t help me in any circumstance as his tall frame blocks my chances in retrieving any clothes.

I fold my arms across my chest but it does very little to cover my skin. “Really? You can’t even manage one night of being friendly with me?”

“Nope. Don’t think I can, baby.”

“And why not?”

“Because haven’t you noticed?” Sehun’s fingers reach out and draws back the locks of hair draped over my shoulders. He makes lines and shapes with his index, trailing them across my collar bones and over my naked arms. His eyes charged with umber locks within mine, reading if I’ll deny him like before or accept his touches without refute. “I don’t want to be nice or gentle with you. I like it when you curse at me. I like it when you’re rough. I like it when you look at me with fire seething through your teeth and lips. So no—don’t think I can be nice to you. Not tonight at least.”

I break away from his attention because there’s an inexplicable change between us and it’s throwing me off balance as I can’t think fast enough on how to respond. As I’ve learned before, it’s probably another one of his games because he doesn’t know how to play nice. He knows how how to play with actions and words.

There’s a silence flowing over us and my instinctual reply is, “Fuck y—” but I stop myself from finishing. I refrain from articulating the exact words from before since it means I’ll be lured into his vindictive ploy again. I’ll be stuck in a haze of perhaps actually wanting him and needing him in a way I rarely ever allow myself to think about. “Never mind.”

The right side of Sehun’s mouth rises and it’s that distinctive expression messing with my insides, lighting it to flashes and sparks. “You hesitated,” he says.

“And?”

“Why did you? Are you afraid to admit you actually think about it?”

“Think about what?”

He intrudes into my space, weaving himself in with ease as my back meets the door. But as the minutes and seconds go by, I don’t feel like I’m trapped in this room with him. I don’t feel stuck and a part of me likes that we’re alone and locked in this bathroom together.

His face slides past mine at the left with our cheeks a touch apart. His warm air leaves a dance along my flesh. His words create flames blazing on my skin and his voice is low as my face naturally angles towards his so I can hear his every whisper. “That you think about me; that you think about fucking me and that you think about it—a lot.”

My fingers move on their own, latching themselves onto the hem of his untucked white dress shirt. I hold onto the fabric to steady my fluctuating mood and unfortunate for him, his shirt is the only thing within the vicinity I can grab onto considering I’m without one on.

Sehun welcomes the interaction. He looks to my hands gripping onto his shirt and then back up to my face, enjoying our exchange of teasing conversation and revels in how I don’t deny his sentiments. His mouth lightly presses against my ear from tip to lobe, leaving invisible marks all the way into the crook of my neck.

“And what about you?” I ask.

“What about me?”

“Do you think about me,” I pause, stifling a ragged breath stitching itself into my throat. Because I only want this to happen if we both want it—that he wants me like I want him. “Do you think about me in the way I think about you?”

Sehun’s sharp eyes flick towards me as his soft lips attach themselves to the cuff of my shoulders. They kiss and lick the bone before shifting himself lower. He leaves no patch of skin unturned and takes his time enveloping my layers with his scent and taste. From my clavicle to the nave of my breasts, he creates his own form of arousing art over the expanse of my body and it feels good. He feels good.

My hands weave into his sable hair as his own hands glide down the curves of my waist and onto my hips. He doesn’t answer my question just yet. He touches me with careful intention and his index and thumb dangle onto the top edge of my jeans. He works the button until it unclasps and slides down the zipper click by click. Whereas his fingers are soft and delicate, his words strike a chord with beats of thunder.

He responds to my curiosity in a form of an ask. He’s slowly leading me to the answer I want to hear as I listen to his tone igniting something of wonder. “Do you know who gave you your nickname in the group chat?”

I barely manage a swallow as I watch him continue marking my lower belly with indescribable craves of kisses. “Who?”

“I did—and do you know why I gave you that nickname?”

I shake my head with a quavering breath as his teeth nick at my flesh and then onto the thinly veiled fabric peeking through from under my jeans.

Sehun’s tongue brushes up against my belly once more, causing a shivering onslaught of goosebumps traveling down my spine. I can hear him smile through every word as he savors every syllable and letter snaking itself through my vein and vessels. “Because what do Serpents eat for pleasure?” He stops for a moment, halting directly in front of my most sensitive area before etching his line of vision into mine. He whispers a simple answer, one describing exactly what he thinks about me when it’s late in the night—

“They eat Rabbits.”

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ethanalter · 7 years ago

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A Decade Without 'Trek' Part 2: Boldly going into the future

[Editor’s Note: This story was originally published on May 14, 2015, before CBS announced that the Star Trek franchise would finally be returning to television. With the newest series, Star Trek: Discovery, premiering on Sept. 24 on CBS and CBS All Access, here’s a chance to revisit the last great period for Trek on TV and the reasons for its decade-long hiatus.]

Previously on A Decade Without Trek: The Star Trek franchise returned to television with great fanfare in 1987 with the launch of The Next Generation, stewarded by Trek mastermind Gene Roddenberry and producer Rick Berman. Following Roddenberry’s death in 1991, Berman guided Star Trek’s four TV incarnations — Next Generation, Deep Space Nine, Voyager and Enterprise — until the latter’s final episode on May 13, 2005. Since that airing, Trek has been absent from the airwaves for ten years, even as the feature film franchise found new life courtesy of J.J. Abrams and his 2009 reboot, starring Chris Pine and Zachary Quinto as the all-new Kirk and Spock.

If history repeats itself, the financial success of Star Trek and its 2013 sequel, Into Darkness, could result in the return of an ongoing series, in much the same way that Next Generation came about largely due to the popularity of the first four Trek features. But the when, where and how of Trek’s next TV incarnation remain very much up in the air. We asked our roundtable of key Star Trek creative personnel to talk about how the franchise may boldly go back to television and who might be the showrunner tasked to make it so.

THE LAST HURRAH: Enterprise, Season 4 (2004-2005) While its three predecessors each enjoyed a seven season run, the writing was on the wall that Enterprise would be cancelled following its fourth year. Nevertheless, new showrunner Manny Coto intended to send the prequel series out with a bang rather than a whimper, crafting a season that would firmly connect the franchise’s past with its future.

Lifelong Trek fan Manny Coto shepherded Enterprise through its fourth and final season

Manny Coto (Co-Executive Producer, Enterprise): I wrote some episodes that I was quite proud of in Season 3, so Rick [Berman] and Brannon [Braga] decided to give me the reins for Season 4. That’s where I decided that Enterprise could be a vehicle that ties into the original series. The Star Trek universe is a rich universe and there’s a lot of past to draw on and stand upon — the history of Vulcan, the history of Earth, the Eugenics Wars. I wanted to explore Star Trek’s history but also tie it into the original series, which I had fallen in love with when I was a kid.

Garfield Reeves-Stevens (Staff Writer and Co-Producer, Enterprise): Manny had read our book Federation [a 1994 novel that tangentially unites the crews of Star Trek and The Next Generation] and called us in for meeting. Two weeks later, we met with him and Brannon, but after that, we didn’t hear anything.

Judith Reeves-Stevens (Staff Writer and Co-Producer, Enterprise): Then we got a call saying, “Can you come in right away?” We went in and were writing on the show within two weeks. They were shooting the third episode of Season 4, working on six in the writers’ room and then we wrote episode seven, “The Forge.” We ended up writing or co-writing five episodes out of 22, so we wrote practically a quarter of the season. It was all about laying the foundation for the original Star Trek — the Vulcan Reformation, the beginnings of the Federation.

Garfield Reeves-Stevens: When we went in to pitch the story for “The Forge,” Brannon said, “People have been pitching me Vulcan IDIC [the basis of Vulcan philosophy] stories for years, and I’ve never liked any of then until this one.” So that was nice. With 200 years of Star Trek history, we thought it was time for someone to write a James Clavell novel tying the story of the IDIC to [the sacred Vulcan mountain] Mount Seleya. It was a privilege to be the ones to do that. But the ratings never really improved. For all the great reviews Season 4 was getting, it didn’t translate to an uptick in viewership. In hindsight, we knew [we were cancelled] the day they cancelled the fruit bowl in the writers’ room. There was enough time so that we all knew that the final episode of the season was also going to be the final episode of the series and the final episode of the Rick Berman age. Judith and I were actually part of the audience for Archer’s final speech.

Brannon Braga (Writer/Producer, The Next Generation; Executive Producer, Voyager; Co-creator and Executive Producer, Enterprise): The final episode was meant to be a valentine to Star Trek; that’s why we worked Next Generation into it. I remember a lot of people hated it. We probably should have just made an Enterprise finale, but our heart was in the right place.

Rick Berman (Executive Producer, The Next Generation; Executive Producer, Deep Space Nine; Co-creator and Executive Producer Voyager; Co-creator and Executive Producer, Enterprise): I take full responsibility for the idea of using the Next Generation characters [Riker and Deanna Troi] in the Holodeck looking back at how the Federation began. It seemed like a great way to consolidate time, seeing it through the eyes of people 200 years in the future and where all of us began 19 years earlier. I still think it’s not a bad idea, but it was met with a lot of criticism. I know that some of the Enterprise actors felt like we were taking the spotlight away from them. We did the best we could.

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Coto: That finale was Rick and Brannon’s baby. I did love the ending with Archer’s speech, and the way we saw the different Enterprise ships. It was a valentine to the 19-year run of the Rick Berman era of Star Trek. The sense of it all tying up and coming to a close was affecting.

Braga: I stand by Enterprise; I think it’s a really good show and there are episodes in there that are as good as anything I ever worked on in Star Trek. I was at a convention in London recently, and there were more people in Enterprise costumes than anyone else. I learned that, in England, they didn’t know they were supposed to hate it! [Laughs] I hope people continue to give it a second chance. I’ve never had so much freedom in storytelling and so much fun.

A DECADE WITHOUT TREK: 2005-2015 As Enterprise wound down to its conclusion, so, too, did UPN. The struggling network became part of the CBS Corporation, which orchestrated a deal with Time Warner’s equally ratings-challenged WB network to form The CW. UPN officially broadcast its last transmission on September 15, 2006 and the rights to Trek were set to go to CBS. But Paramount Pictures president Gail Berman asked network head, Les Moonves, to give her time to get a new feature film version in the air before moving forward with another TV incarnation, like an oft-rumored Starfleet Academy series. Enter J.J. Abrams, who successfully recast the original crew with fresh young faces on the big screen.

Berman: By the time Enterprise went off the air, there was no more Paramount Television. It had been absorbed by CBS, and we had an entirely new team of studio bosses and there was not even an iota of any feeling from them about developing a new series at that point. I had another year and a half there, and I spent my time developing other ideas, some with Brannon some with other people. But none of them managed to get on the air. We were all a little bit burned out after 19 years, seven of them doing 52 shows a year.

Star Trek novelists Garfield and Judith Reeves-Stevens joined the Enterprise writing staff in Season 4 and wrote a James Clavell-style episode about Vulcan history.

Garfield Reeves-Stevens: There was a sense at the corporate level that Star Trek was seen as this rare and important jewel in Paramount’s crown, but nobody really understood it. The sense was, “Let’s give Star Trek a break. Maybe if we held back 5 years, there’ll be more interest.”

Rene Echevarria (Story Editor and Executive Story Editor, The Next Generation; Co-Supervising Producer, Deep Space Nine): Those four shows had a cumulative run of 19 years and I think there was a sense with the fans that it was just getting harder and harder for that particular core of creative people to keep it fresh. It became harder and harder to come up with great stories.

Ira Steven Behr (Producer, The Next Generation; Executive Producer, Deep Space Nine): It was too much Trek! We were overplowing the field. People are going “There hasn’t been a show on for 10 years.” Well goddamnit, there should not have been a show on for 10 years! There had been too much Star Trek to begin with and it had gotten ridiculous. Let the fanbase build again, and let people want Star Trek instead of forcing them to swallow more and more of it.

Coto: I kept lobbying Rick to start up another series. He was a little bit reticent to jump back in because of the ratings [on Enterprise] and what have you. My feeling was, you get another one on the air and maybe that one will click and it will help Enterprise. You could sense in the air that Paramount had decided to move past the Rick Berman administration into something new. It wasn’t just the show that hadn’t done well — the last Next Generation feature, Nemesis, also hadn’t done well. So you could smell where this was going.

Phyllis Strong (Staff Writer and Story Editor, Voyager; Staff Writer and Co-Producer, Enterprise): We had always heard about a Starfleet Academy [series]. It’s a great arena, but I didn’t know anybody who was involved in developing it. As far as I knew it was never real.

Berman: A couple of people who came to the studio were given, as part of their deals, the approval to develop pilot ideas for new Star Trek shows. There was somebody who had a script having to do with Starfleet Academy, but there was also one that existed before Next Generation started. I believe it had been created by people involved with the original series. Neither of them ever got off the ground.

Coto: [The fan films and web series] have helped keep it alive with the hardcore fans. And the Star Trek novels are vibrant and tell some great stories. That’s how it was in the ‘70s; they weren’t producing [television] episodes, but there was always something creatively going on with Star Trek. That helps during the dry spells.

Brannon: The production values [of the fan films] are pretty jaw-dropping, even though, with all due respect, the acting often isn’t all that great. They are obviously filling some kind of void, because people are making them. There’s a stop-motion Enterprise web series that uses action figures and it’s really well done!

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Echevarria: Some of the fan-made videos are astonishing, and it’s just people doing them on their computers at home. Technologically, it’s a golden age of being able to do what you want to do. So many times [on Next Generation and Deep Space Nine] we were counting phaser blasts! “How many shots do we get?” “12. You can only shoot 12 times because each one costs $10,000.” Nowadays it’s the stroke of a pen on a computer screen.

Coto: I predicted at the time of Enterprise’s finale, “They’re going to clean house and bring in some young filmmaker to take over the franchise, mark my words.” And I was right!

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Robert Hewitt Wolfe (Writer, Deep Space Nine): [Paramount] was very interested in re-launching the movie franchise. The Next Generation movies had done well, but not as well as they would have hoped, and there was no appetite to do movies of Deep Space Nine or Voyager or Enterprise. They were looking for way to re-launch Kick, Spock and McCoy and they wanted the movies to be that vehicle. That was percolating for a few years. I was aware of it and ended up pitching one of the various attempts to do that. I can’t remember all the details, but basically it was not dissimilar to what the first J.J. Abrams movie ended up being, which was the idea of meeting the characters in the Academy and then launching them on some adventure. I had some nice meetings, but those were meetings in support of an attempt that never really went anywhere. When you’re handing the keys of a billion dollar franchise over to someone, it needs to be someone you can be supremely confident in. Paramount needed someone like J.J. Abrams to come along, who they trusted and who had a passion for it.

Zachary Quinto and Chris Pine as the new Spock and Kirk in the ‘Star Trek’ feature film reboot.

Berman: All four Next Generation movies were done on shoestring budgets. With a new leadership at Paramount’s motion picture division, they’ve allowed these Star Trek new films to have the same kinds of budgets as Star Wars and all the Marvel movies. They’re able to make much more exciting and larger-scale films than we made.

Behr: I’ve seen both Star Trek films and the strengths for me were in the rebooting of the characters. For the most part, that was very successful. I thought McCoy and Spock were really fun to watch.

Echevarria: I’m not sure I understand well enough what the implications of the movies are, but I enjoyed them quite a bit. Ron, Brannon and I went to see them together and had a great evening out. But we all walked out saying, “Wait a minute, did they just erase Next Generation?” [Laughs]

Strong: After the first Star Trek, the rumors came up that they were going to launch a new series. That’s what everybody believed. It’s a little bit like Disney with Agents of S.H.I.E.L.D. or the DC Universe at Warner [and The CW]. They have to be so careful of how their movies interact with their TV series. The reason I think a Trek TV series is more likely now than within the last ten years is because Paramount has started getting back into the TV business and are mining their movie library, with shows like Minority Report. What’s in their movie library? Star Trek. What do they need for their TV business? Star Trek.

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Ronald D. Moore (Staff Writer and Supervising Producer, Next Generation; co-Executive Producer, Deep Space Nine; Writer, Voyager): I’m confident it will come back to TV at some point. I know there are people sitting looking at ledgers going, “Star Trek equals dollars.” And I think its important for the franchise to return to television, because ultimately, Star Trek is a TV show at its heart. The features are great and they’ve done some memorable stuff, but ultimately they have to be these big action-adventure shoot ‘em ups. The heart and soul of Star Trek was not that; they are morality plays and smaller stories about ethical dilemmas. You could never do a lot of the Deep Space Nine stories in the movies, but a lot of that stuff is what made fans devoted to the show.

BOLDLY GOING INTO THE FUTURE: 2015 and Beyond 2016 will mark the 50th anniversary of Star Trek, which seems like the prime occasion for Paramount and CBS to announce the franchise’s return to television. But it’s an open question whether Trek would still find a home on a network, or if cable and streaming are a better fit for the kind of series the creators want to make and Trekkies want to see. One thing that everyone agrees upon is that Star Trek’s core idea has been strong enough to power the franchise for 50 years and will almost certainly keep it aloft for 50 more.

Rene Echevarria was a staple in the writers’ rooms of both Next Generation and Deep Space Nine.

Echevarria: [A new Star Trek series] would probably not be on a network. You don’t want to turn a franchise that valuable over to politics you can’t control. Next Generation was a pioneer in first run syndication partly based on the Star Trek name and we created a model that lasted for 10 to 12 years that was ultimately more lucrative to Paramount than a network show would have been. So the franchise could be used to launch some kind of streaming thing.

Braga: It’s interesting; when we created Enterprise, there were networks interested in it, and NBC was one of them. The question becomes, what are the ratings? And how would Star Trek do in primetime? I know it would succeed in cable; the ratings aren’t as intense. Streaming is a fascinating concept — to have all the episodes ready to go would be kinda cool.

Wolfe: On [Deep Space Nine] we did 26 episodes a year and you could certainly do something on that model. A 13-episode streaming or cable series would be fun, too. The important thing about any potential show is, who’s buying it? If Paramount and CBS want to put this on CBS in the fall, that’s a different kind of TV show. Or, if they make a deal with Netflix or Showtime, that’s another different show. If its on Syfy, it’s a different show, and there’s also no money! [Laughs]

Coto: We just did a summer event series of 24 on Fox, and it was a big success. CBS has also done it with Under the Dome. The networks are looking for a 12-epiosde summer vehicle. There’s no question in my mind that if a big network decided to do a 12 episode Star Trek series over the summer, ratings would go through the roof.

Strong: Broadcast [ratings] have shrunk and Star Trek has stayed the same. If I had the series, I would pitch it to the networks. I will say that cable or streaming might safeguard the creative talent behind it. There’s a sense that they leave you alone. TNT has The Last Ship, Falling Skies and stuff like that. A&E would be thrilled to get them. You can make a list. They’re not going to go to Lifetime or Bravo!

Behr: I’d hate to see it on a network unless the network would say, “Look, we’re dealing with one of the most amazing franchises in entertainment history. Let’s hire people who care about it, and give them some autonomy.” Whether that could happen at the networks I have my doubts. But I’d love to see it as a cable show. I’d like to see it where there’s the best chance of doing something really interesting and not surface interesting — not being able to go where no man has gone before.

Garfield Reeves-Stevens: As we see what’s happening with the Marvel Cinematic Universe and what Disney’s doing with Star Wars, I think we have to start thinking of Star Trek as this huge storytelling arena. Every two years we can have a huge spectacle-driven movie that’s not going to interfere with a 12-episode event TV series. There’s so many ways people can access entertainment these days. They know there’s a difference between watching Avengers: Age of Ultron on IMAX and watching Daredevil on Netflix, but they’re all part of the same storytelling continuum. Star Trek is perfectly poised for that. The storytelling possibilities of the universe are huge.

‘Deep Space Nine’ writer Robert Hewitt Wolfe pitched a version of the ‘Star Trek’ feature film reboot before J.J. Abrams came aboard.

Wolfe: You’re not going to get Chris Pine to do a TV show, so it’s not going to be that Kirk. Maybe it’ll be a different Kirk. That’s the kind of thing that corporations take a very strong interest in and it would be the first thing I would ask. Do you want established characters from any version of Star Trek or are you looking for something completely new? If they said, “We don’t know,” I’d probably come up with new characters.

Strong: When I’m looking at a big screen and I see Chris Pine, I’m not thinking of William Shatner. But if those actors were to move to a weekly series called, Star Trek: The Reboot, it would affect how I’m watching them. I think there’s the possibility to come up with some terrific new characters if you have the right creative vision. And you could bring Patrick Stewart into the mix to reboot his character, like Leonard Nimoy in the movies. Just to have him there for continuity would be great.

Echevarria: It’s hard for me to imagine they would remake or reboot Next Generation. But you could reboot Picard and those characters, I guess. The idea that someone else would ever play Kirk never entered my mind, but Chris Pine brings own thing to it. He’s got that essential sense of swagger and mischief that Shatner had. So I suppose its possible they could try to reboot the Next Generation timeline. It does give you something to start with; there are some classic episodes you can remake every now and then.

Captain Picard gets a Borg makeover in ‘Star Trek: The Next Generation’

Braga: I never thought about recasting Picard or any of those Next Generation characters, but, of course, you can. It’s hard when you have such incredible performances from people like William Shatner and Patrick Stewart and Kate Mulgrew, who made an enduring impression as their respective captains. I always said that Star Trek is only as good as its captain. [Personally] I would go back to its core and at its core were high-concept allegorical episodes. I think Star Trek is at its best when it does that kind of episode. I don’t know that I would go hard-core on the continuity.

Behr: I doubt that [I’d be invited back]. But if I were, I would think, “Why the f–k not?” If I felt there was a chance to build on the Deep Space Nine of it all, meaning let’s not go backwards to Spock and Kirk, because how many Spock’s and Kirk’s do we want to have running around? Let’s find a new way, let’s take some chances, because if that’s not what Star Trek should be about, I don’t know what it’s about. Unlimited possibilities.

Echevarria: I have a couple notions [for a new show], and actually even notions that might not be the first series in a reboot, but something for if it was successful enough to have two shows. I suspect it’s going to be J.J. Abrams’ team. They might pick up somebody like Ron Moore, because Battlestar Galactica was so well-regarded by so many people. In some ways, that was Ron saying, “I’m going to do Star Trek my way without the Star Trek universe.”

Moore: It would be fun to go back and do Trek again, so yes, if the opportunity came I’d be thrilled. I think the one caveat would be that I’d need a good idea. I love Trek and I’d want to do it only if I had a great idea for the show. And in all honesty, right now I don’t.

Coto: I’d say yes to launching a new Star Trek show in a heartbeat. My chair would be spinning around like a Warner Bros. cartoon character and I’d be out of the frame. I have an idea that I’ve pitched to a couple friends and they thought it was great. I won’t share it, because it will never happen. I have a deal with Fox. It’s just my own little pipe dream that stays in my office. But I’ve worked with Bryan Singer a little bit and I know he has a huge respect for the Star Trek universe. He’d be perfect; he knows how to run a TV show and he loves Star Trek.

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Judith Reeves-Stevens: [Whoever takes over the show] will be an emerging talent and someone who sees it in a different way. They need their own voices. If it’s a good universe, it can be reinterpreted over and over again. Star Trek has shown that already. There were vastly different showrunners and writers on each incarnation of Trek and they all find new homes and different viewers.

Berman: I have interest in seeing what form it will take, but I certainly don’t expect to be advised or consulted on it, nor would I want to be. I know that eventually a new group of people will come along and reboot the TV series in one way or another. When they do, I’ll be the first to tune in. I’m certainly happy for the 19 years I spent and have nothing but good wishes for whoever comes along and tries to create something new.

Strong: Star Trek’s best self are characters with moral dilemmas, who are passionate and have fights with each other and would die for each other. That’s what I want to see. Do I want to throw in crazy time travel? Sure! For me, that’s the backdrop to some great storytelling. I love Star Trek. I love it at its best and I understand when it doesn’t get there. And I hope to see a new one.

Wolfe: I root for Star Trek in all of its forms. I always want it to be good. It’s like rooting for your old college team.

Coto: Star Trek matters more than ever. The idea that mankind has a future and can overcome its problems and go forward into the future exploring the universe in a world where science and reason are forefront. Star Trek is aspirational and that’s really important.

Echevarria: Star Wars is about rebelling against power. In Star Trek, we have the power and the question is, how are we going to use it? I think it would be fascinating to update the idea of Starfleet, which presupposes a lot of things about civilization and the responsibility of power. It’s not dystopian, which has always been its allure. Sci-fi tends to go dystopian in its allegory; Star Trek has always been fresh because it asks what are the challenges of creating a well-ordered society where there’s not a big bad that you’re fighting.

Rick Berman and Gene Roddenberry on the Next Generation set.

Berman: We started in 1987 with a science fiction TV show when there were none on the air and hadn’t been for some time. Over the last 25 years, there have been dozens of sci-fi shows on the air. I can say that we were, in some way, responsible for that. Star Trek is unlike virtually any other science fiction show on television; it deals with a very positive, hopeful notion of the future. Gene believed that mankind was going to continue to evolve in better and better ways. That’s always made Star Trek unique, especially today when you turn on the television and so much of it is so dark, especially the stuff with elements of science fiction in it. The positive attitude that he insisted on is one of the things that has made Star Trek so endearing to so many people.

Star Trek: Discovery premieres Sunday, Sept. 25 at 8:30 p.m. on CBS and CBS All Access

#news #_revsp:wp.yahoo.tv.us #star trek #_author:Ethan Alter #_uuid:ad8d71ac-6377-3bf0-9a72-fbdec57b2c68 #_category:yct:001000086 #_lmsid:a0Vd000000AE7lXEAT #star trek discovery #interviews

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lolatrash-blog · 7 years ago

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100 kpop’s questions

1. Favorite group? Twice, BTS and Got7 2. Favorite guy group & bias? BTS = Tae 3. Favorite girl group & bias? Twice = Jeongyeon 4. All-time bias? CL 5. Favorite maknae? Minzy - 2ne1 6. Favorite leader? Namjoon - bts 7. Favorite song? Oh my god, I don't know. At this moment? Probably Shine Forever - monstax 8. Favorite Japanese version of a song? TT 9. Favorite English version of a song? don't recall - kard 10. Best actor in Kpop? Jackson - got7 11. Best group on variety shows? after school club 12. Best-looking? Hani - EXID 13. Cutest couple? Taekook or JeongMo 14. Who would you date? T.O.P 15. Who would you date if you were the opposite gender? Hwasa - mamamoo 16. Who would you want as an older brother? Hoseok - bts 17. Who would you want as an older sister? Dahyun or Charyoung - Twice 18. Who would make a good husband/wife? Seokjin beacause he's cute as hell and take a good care! 19. Favorite album? Probably Rush - monstax, wings - bts and twicecoaster lane 1 - twice 20. Favorite solo artist? Lee Chaerin 21. Favorite underappreciated group? So, I guess in popularity is Mamamoo 22. Favorite music video? Bae Bae - Big Bang 23. Favorite dance? Buulletproof - bts 24. Favorite costumes/outfits? Signal, TT and Dumb Dumb 25. Favorite remix? I need you remix 26. 2NE1 or KARA? 2NE1 forever 27. SNSD or After School? GG 28. f(x) or T-ara? fx 29. Big Bang or 2AM? Bigbbang 30. Dalmatian or TRAX? trax 31. SHINee or 2PM? 2PM 32. CN Blue or SM The Ballad? Ballad 33. Super Junior or B2ST? Suju 34. Yuri or Yoona? (SNSD) Yoona 35. Jonghyun or Key? (SHINee) junghyun 36. Minho or Taemin? (SHINee) minho 37. Yoseob or Dongwoon? (B2ST) yoseob 38. TOP or G-Dragon? (Big Bang) top 39. Kikwang or Hyunseung? (B2ST) hyunseung 40. CL or Minzy? (2NE1) CL 41. Dara or Bom? (2NE1) Dara 42. Luna or Krystal? (f(x)) Krystal 43. Victoria or Sulli? (f(x)) Sulli 44. Amber or Amber? (f(x)) (haha, there’s only one choice…Amber is boss) 45. Jessica or Tiffany? (SNSD) Tiffany 46. Sooyoung or Sunny? (SNSD) Sunny 47. Yonghwa or Jonghyun? (CN Blue) dont know 48. Siwon or Heechul? (Super Junior) Heechul 49. Yesung or Donghae? (Super Junior) Donghae 50. Leeteuk or Kyuhyun? (Super Junior) (it’s leader v. maknae!!) kekeke Kyuhyun 51. Funniest girl group & funniest girl in the group? EXID, Hani 52. Funniest guy group & funniest guy in the group? GOT7, Jackson 53. Funniest group of all? got7 54. Funniest person of all? Jackoson or V 55. Funniest dance? I don't know why but it's Zutters - big bang 56. Funniest song? oh my god I hate but it's so funny, I gonna be a star - twice 57. Funniest costumes/outfits? just right - got7 58. Funniest music video? all 59. Funniest couple? Markson 60. Funniest parody? none 61. Funniest buffalaxed version? Gee - snsd 62. Funniest variety show episode with a Kpop artist? any asc with got7 63. Funniest impersonation? dont know 64. Funniest face? Taehyung 65. Funniest mistake onstage? Is not a mistake but it is really funny, when Taehyung and Yoongi were driving bicycles 66. Do you have any Kpop posters? If so, how many? nope 67. Do you have any of the actual CDs? nope 68. If you’ve bought any Kpop songs on iTunes, how many have you bought? i guess all of bts, twice and got7 songs! 69. Have you ever covered a Kpop song or dance? Have you posted your cover online? TT, Like ooh ahh and Signal 70. Have you ever participated in a Kpop flash mob? nope 71. Have you ever been to a live concert? nope 72. Have you ever talked to a Kpop artist in person? nah 73. Do you have anything signed by a Kpop artist? i live in a part of brazil that no one visit 74. Do you check allkpop or another Kpop news website daily or on a regular basis? I go on tumblr keke 75. Do you have a Kpop tumblr? If not, do you look at other peoples’ Kpop tumblrs? yes I have - this that I'm posting keke - and yes 76. How did you get into Kpop? My sister loves BigBang and CL, she told me to listen to Hello Bitches from CL 77. What was the first song you ever heard? Gangnam Style kekeke 78. First group you knew about? big bang 79. First group you really got into? bts 80. How long ago did you discover Kpop? a year and some months 81. Did you like it or dislike it when you first discovered it? when it was psy i didn't even know wuat language was it, but when was big bang - bang bang I liked it 82. Is your current favorite group the first one you discovered? nope 83. If not, how long did it take you to discover your favorite group? three months - bts and i guess 4 or 5 months- twice 84. First variety/reality show you watched that had a Kpop artist in it? ASC - Markson show 85. First song/MV/pic/whatever that made you fangirl scream? (or fanboy scream, I suppose…) I cried when I watched Confession Song - got7 86. Least favorite group & least favorite member? 4minute maybe and i dont know 87. Least favorite guy group & least favorite member? Suju 88. Least favorite girl group & least favorite member? 4minute 89. Least favorite member of your favorite group? Oh my god! No! I love all of twice's girls and bts' boys <3 90. Least favorite song? I'm gonna be a star - twice 91. Worst-looking? NO ONE, everyone is beautiful! 92. Who would you never want as an older brother? Taehyung - BTS because incest is wrong! 93. Who would you never want as an older sister? CL bc incest is wrong 94. Least favorite solo artist? HyunA 95. Least favorite music video? I srsly don't like Not Today, but I love the music 96. Least favorite dance? Even tho I love, Cheer up bc is so typical 97. Least favorite costumes/outfits? dont know 98. If you were only able to say five words max to your bias, what would you say? I love you so much Tae! or I fucking love you Jeongyeon! 99. If your bias kissed you, how would you react? uat aren't you gay? - tae / stobe it Momo loves you - jeongyeon 100. If your bias asked you to marry him/her, how would you react? HELL YEAH!

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almaasi · 8 years ago

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reaction post typed while watching SPN 12x21 “There’s Something About Mary”

in which i lose my shit for a full hour, reach peak despair, trigger temporary depression, and then proceed to watch in lowkey sarcasm mode with emotions switched off!!!! what fun

08:46pm

...........buckleming episode

instead of watching this, did i put it off for three hours? did i pet our new dog at length (a rescue staffordshire bull terrier cross, who we have named seven!!! after seven of nine from star trek: voyager. yes, like the number 7.), watch half an episode of columbo with my family, have a shower, and then watch 35 minutes of dan and phil playing that horse prince game ?

quite possibly

(read: yes)

sidenote: i just googled “staffordshire bull terrier” and found a picture. seven looks almost exactly like this, including the lil white socks ~ SHE’S SO SWEET and she passed her Good Dog Test so she gets to stay with us now!~ (my sister found her abandoned on our road, vet said she’d been kept with pigs, her leg was broken and didn’t heal right. and she’s an adult but hadn’t been registered to anyone. FINDERS KEEPERS)

new doggo > a brad buckner + eugenie ross-leming episode EVERY TIME

post-episode addition: oh look how much life i had in me before this

08:58pm

why does wikipedia say the next two episodes are both airing on may 18th

i guess it’s a double-bill finale

08:59

URGH okay fiiiiine i’mma watch this now

the preview made the script seem okay but i’m guessing that the better writer wrote that bit

also! @cassammydean and i were talking about the last episode, and we realised that i’d misinterpreted that final scene.

it looked (to me) like, while mary was tied up, her phone rang, and ketch went over to it. then the camera panned up and ketch had turned into toni. and i legit thought ketch and toni were the SAME PERSON (shapeshifter maybe) and i got to expressing how cool that was, and how that brought back the ~gay subtext~ from 11x23 with the rainbow light on toni’s face, because if ketch=toni, and ketch bangs mary, then that’s kinda non-heterosexual since gender isn’t a defined thing for ketch=toni

EXCEPT

i realised i’d seen it all wrong. ketch starts to move over to mary’s phone, but then camera pans up, and toni comes in from the oTHER SIDE and answers it. she’s wearing the same grey suit as ketch was. I WAS TRICKED BY THE COSTUME CHOICES. they were both in the room, ketch in front of mary, toni behind her, wearing the same suit.

and i’m still kinda bummed because if ketch=toni that would’ve been really cool imo

09:09

oh no eileen is in this episode

I DON’T WANT HER TO DIE

WHO LET THE DEADLY DUO WRITE THIS

PLEASE DON’T DIE HORRIBLY EILEEN I LOVE YOU YOU’RE SO IMPORTANT

SHE AND SAM NEED TO BE TOGETHER

IF SHE DIES IN THIS EPISODE I WILL TEAR THROUGH MY LAPTOP SCREEN, SWIM ACROSS THE OCEAN INSIDE A CABLE, POP UP THROUGH THE DEADLY DUO’S COMPUTER SCREENS AND PULL OUT ALL THEIR HAIRS ONE BY ONE

INCLUDING THEIR EYELASHES

post-episode edit: is there a wikihow article for this i’d like to give it a go

09:13

NO NO NO NO NO

PLEASE GOD NO

please let her still be alive dear god no

i’m fucking shaking i can’t watch this

;A;

09:15

NO BAD PUPPY

MY DOG IS BETTER THAN YOUR DOG, KETCH

fuck you, up the nose with a cactus

09:16

are you ever just nauseous because the deadly duo not only exist in this world, but write for a show that deserves so much better

09:18

IT FUCKING HURTS MY FEELINGS THAT DEAN CHECKS BEHIND THE SHOWER CURTAIN FOR A BLOODY CORPSE OF THE PEOPLE HE LOVES

FROM ANY OTHER WRITER I’D BE LIKE “OH HE’S SCARRED BY HIS MEMORIES THIS IS AN INTERESTING AND HEARTBREAKING CHARACTER THING”

BUT FROM THESE TWO I’M LIKE “OH THANKS FOR RUBBING IT IN OUR FACES YOU MISOGYNISTIC ASSPRICKS”

///BREATHES INTENSELY

09:21

look

have i ever made it clear that these writers make me very angry

BECAUSE THEY MAKE ME SO FUCKING ANGRY

09:23

sam gets worried when he hears from jody

my heart just dropped

fuck

if any other favourite charatcters are dead

i swear to god i’m

i don’t even know i’m

please

i think i need to ragequit before this fucks me up because i can feel it coming

09:25

eileen

welp that’s it i’mma cry

if there is a fucking petition to get these writers fired and/or assassinated i want to know about it

...i’m not crying

i’m

a n g r y

//sits and stares at my screen

i hate them.

why

what the fuck do they think they’re doing

ugh i’m exhausted already

i’m so tired of these writers, and specifically these ones. the rest of the season is fine. it’s the fact these fuckheads have 5 episodes a season and they clearly take extreme pleasure in sucking the joy out of a show that fuels a community of people. they kill the characters we love IN THE MOST DISTRESSING WAY POSSIBLE with no sensitivity whatsoever

it fucking disgusts me, okay

they’re not just bad writers, they’re clearly horrible people

there’s no kindness or redemption on their stories, they’re literally just trying to torture us (NOT A COMPLIMENT), and i’m sure they feel gleeful when they see people crying (if they even look up fan responses, which i doubt, given the years of complaints and constructive criticism they’ve clearly ignored)

listen, i’m no stranger to feeling good when my work affects someone, all right. neither am i a stranger to killing beloved characters for emotional effect, but sweet jesus theRE’S ALWAYS A BETTER WAY TO DO IT THAN A COLD OPEN WHERE A BELOVED CHARACTER WHO REPRESENTS SO MUCH TO SO MANY PEOPLE HAS NO LINES AND IMMEDIATELY GETS TORN TO FUCKING SHREDS

the list of things they’ve ruined on this show is so long i need that gif of crowley unrolling his scroll across the floor

idk what to do now. do i want to watch this? no. fuck no.

am i gonna watch anyway just to get it out of the way so i can never watch this shit again? yeah fine why the fuck not my evening is already ruined

(ha, and my mother always asks why i don’t rewatch the show with the family. because of these writers.)

09:43

this has taken me an hour and i’m 4 minutes in

what a waste of my life

09:44

i dont have words

how dare they do this to sam

09:45

i feel sick

i’m so tired

..........i kinda wanna die

man i really wish i had a friend here who i could hug and talk shit about these writers with

09:47

sam: “i wannA PUNCH SOMETHING IN THE FACE”

you and me both dude

can we write “buckleming” on a dartboart and blow a round of bullets through it

09:53

jesus christ this is a clusterfuck of triggers

i wanna go home

09:54pm

well i’m 9 minutes in, this is so hard to watch and i’m goddamn tired

i wanna stop honestly

the only good thing i can say about this is that the director (p. j. pesce) is good, the shots are visually interesting, and the pacing of the editing is not something i’ve noticed on this show before

i dunno whether just to take a break or what

i don’t want to come back and have to watch this next week

i wish this didn’t exist

the problem is i’m invested in the overall story. over the years i keep compelling myself to quit this show because of these writers, but ultimately i keep coming back because i love the characters so much

i can’t just stop

but every time i pause this video file, my brain blanks out and the world is peaceful again

i wonder if it’s possible for just this episode to trigger depression? because i’m so empty right now

10:00pm

yup i’mma take a break and come back to this in a bit

10:04

just thinking, while looking over the list of spn episodes and their writers

if i wasn’t part of the spn fandom, and didn’t check which writer wrote what, i’d dislike this show just because of these writers, and i wouldn’t even realise it was the same writers over and over.

the kind of shit they write is exactly what puts me off a show. shows like ‘castle’ or ‘the x files’ or ‘psych’ are good overall, but occasionally they’ll have a problematic thing that i can ignore for one episode, recognising that it’s a one-off writer, and i’ll stick with the show. but spn has those kind of issues four or five times a season, when these two are writing - and not in a small way, either. if i was a casual watcher, i’d have ragequit already, thinking it was just how the show is.

and i’d probably vote this show 3/10 and never watch it again

just because of these two writers

10:19pm

i’m back

i shall eat some things with sugar in them

and tell myself It’s Okay!! They’re Just Fictional Characters!!

YEAH!!!

..........NOPE

they’re fictional charatcters and they mean a lot to me and other people and the writers are basically killing our friends so

YEAH LET’S DO THIS

c: C: C:

/sarcastic smile

me: haha fuck you

10:24

do we praise them for canonising john’s abuse

10:25

“repealed and replaced”

well that’s another way to set my blood boiling

10:27

current emotion: middle finger up

10:29

oh look a black guy

let’s see... bad guy, dead guy or doormat?

my money’s on all three

10:33

that line would’ve been cooler if crowley said “dagon dead and gone”

10:34

“the winchesters’ love slave, castiel”

*steeples fingers and peers over the rims of my glasses*

10:38

i see dean and i just wanna go up to him and rest my forehead on his chest

and just be for a while

we’ve all been through too much