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redspiderling · 3 years ago

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MCU Breakdown: Black Widow, Part 1

I can’t believe this is happening 😭

First of all, congratulations to all of you who’ve been here all these years. We got it. We begged for years, and it’s finally here.

For once I wasn't dreading revisiting this film to write down what I got from it. I felt more like I might not do it justice. This film is so special to me, but here it is, the MCU Breakdown of Black Widow, part 1 (of who knows how many).

I remember back when I started running this blog and talking about a hypothetical Black Widow movie that had never been announced, always "yeah, we would be happy to do it, maybe, someday in the future", and arguing that it would be important for women and girls, no matter its content. I'm so glad we got it like this. So, so glad.

The rest under the cut.

Let's start with some technical details. The film has a lot of setups and callbacks, nothing is done in chance. For example, I love how the light, and the sounds we hear when we first, and last, see Natasha in the film, are the same. We greet her in bright -birds cheeping- morning light, while she's riding her bike home, to her family

and we leave her in bright -birds cheeping- morning light, while she's riding her bike home, to her family (I'm using the term family very liberally here in reference to the Avengers for the sake of the movie, bear with me, you know how I feel about those dudes).

It's signifying new beginnings, each time, not endings. Notice how, what we see is natural light, which makes this scene pop out, and look more real because the light is coming from the sun, and isn’t artificially made on VFX software. You will notice the stark differences in colours and lighting when the emotions and the atmosphere change in this film, because there is a visual language being employed here, the director has a story to say, and she uses all the tools she has to tell it. The light is exactly the same in those 2 scenes, because Cate wants us to make that connection, even if we make it unconsciously.

Natasha is placed in such a positive way, both at the start and the end of the film. There's this discussion about how "real" their little family was, but it was the characters that muddled up that image. The reality of their lives in Ohio is presented in a happy way, that had deep rivers under the surface, for sure. This wasn't accidental, for a lot of reasons.

First of all, if you take it the literal way, they were spies, and had to present themselves as normal. If you take it the allegorical way, any girl could fall victim to trafficking, and if you take it the character way, both Scarlett and Cate wanted to showcase that Natasha is human. They also wanted to give her something that wasn't always dripping with pain and sadness. They were both parts of her life, yes, but there was also joy, and light, and once upon a time she had been a kid, playing with her sister.

Also, and this has been mentioned before but it bears repeating: I love the actress they chose for young Natasha, and I love how they presented her character. She's allowed to be a young teenage girl. She's not sexualised. She's at that gangly stage between childhood and adulthood, and there's nothing sexual about it, no provocative clothing, no excessive makeup. She's a kid.

Plus, I know Cate said the actress already had her hair dyed blue and they just decided to let her have it, but I think it works well for Natasha's character. That small act of defiance, even that early on, against the system that wanted to break her. Also, the film gives us such great character moments, because they let the camera roll and don't rush through scenes, look at Natasha looking at Melina comforting Yelena. We can see the pain, the fear, where she knows that this isn't going to last, and wonders about what will become of them once their lives begin to unravel.

We also get to see the joy on her face, the wonder of discovering the world, how often do you get to see Marvel characters do this, just live in the moment?

Bioluminescence: the production and emission of light by a living organism. Or how Natasha is a bright light, that shines from within. Not my words, Cate Shortland's words. I felt it when I was watching this scene, but it was lovely to have it verified in one of her interviews. I wish I could meet her, and tell her that everything she wanted to put on screen came through, incandescent and crystal clear. Fireflies are a symbol for Natasha, as a bright light that shines from within, and never dies.

Small details that I love, the magnet on the fridge: Don't forget, above a picture of Natasha. LIKE WE EVER COULD, CATE.

We have another setup here, where the family gathers up to have dinner together. Even the sitting arrangement is the same as later on in the film.

Notice also how both young, and adult version of Natasha, communicate so well with Melina, just with their eyes. It doesn't necessary show a deep history between them, but it does show a bone deep level of understanding. Not just of their current circumstance, but of their future, and of what it will do to them. Melina knows what's coming and she's says it "I'm sorry", but they're both resigned to their fate, Melina because she doesn't see a way out, and Natasha because, well, here she's a kid, and therefore is powerless.

The dynamics between Yelena and Alexei is so different. Yelena is young and doesn't understand, so they're speaking about completely different things. "I don't have my shoes" is what she says, and it's heartbreaking in its innocence, as Alexei is loading his gun and reading himself for battle. We can still see that he's not indifferent to her, telling her she can have "fruit loops in the car". He's not a monster, he just doesn't have a choice (or at least, he thinks he doesn't).

Also, notice how the camera angles are employed here: Natasha and Melina look each other eye to eye, Yelena looks up to Alexei, Alexei looks down on her, there is an imbalance of power and understanding in the second set of images, and the camera tells us that.

Melina doesn't let Natasha take the photo album. For one thing, it's certain that Natasha wouldn't be able to keep it. For another, Melina wanted the memories, and probably didn't want anyone else to realise/think that they cared about their little family unit.

There's just a lot of thought that's been put in the details of the script, to show us their bond, their attempts to hide it, to show the characters' personality in everything around them (notice the plants that are ever present in Melina's home, in Ohio and later in Saint Petersburg). She might seem cold, she has been through a lot, but she cares. And that care has brought her pain. And we have to see that pain, because we get the quiet moments like this one, where she stands alone in an empty home knowing that part of her life is over, never to return.

The mission, is the last thing Melina asks about. The last thing Alexei mentions, the last thing either of them cares about. First, she refused to accept that they had completed the mission and were now hunted, then she accepted it and they loaded their family in the car, and then she asked about the leaked files.

Also, notice how that shot is framed. Both images silhouetted by the light because it’s the moment and the prop smack down in the middle of the frame that’s important, now what they’re going through, emotionally, they’re not themselves in that moment, they’re nameless, tools of the trade, expendable in front of that tiny floppy disk.

Yelena is singing while the rest are plunging in despair, but still humour her and play her song.

I found this shot a bit... Jarring. I get it that for American audiences this would show that they're actually leaving "home" behind, but for the rest of us... Eeeh, I'll give it a pass because it is an American production and this is just something to be expected. I mean, Yelena's song was American Pie. We get it, you still love America, just because you're making a film about Russian spies doesn't mean you're a commie Marvel, it's ok.

But in any case, the setup for the action scene here was excellent. Happy, familiar music playing, car is on the main road, car goes off the main road familiar music gets toned down and eventually completely lost in the darkness.

Yelena knows what to do, we see it, so that we know that this 6 year old girl who holds her stuffed animal and walks barefoot has practiced for this moment.

By the way, Natasha did take another item with her along with the photobooth pictures (it also looks like a photo album with Disney princesses on it), it didn't survive the trip. We are informed of this for a very specific reason: Melina didn’t ask Natasha not to take the photo album out of malice, or just because she wanted to keep it for herself. She knew it wouldn’t survive the trip in Natasha’s hands. We also get a close shot of the image strip (and we get it again, during the credits), because it will be important, later on.

Bet y'all also forgot you were watching a superhero movie until this happened? That wasn't accidental, they wanted us to see them as normal people, this is the moment when that ends.

Natasha saved her family, even though she was a terrified kid.

I know that they did the huge titles thing to connect this film to Civil War but... Listen, Civil War needed the huge titles because that script and the way that movie was directed was a complete disaster. We needed to know where the characters were each time with huge ass title because there was NO OTHER WAY TO TELL. Between complete lack of a timeline, and the fact that you couldn't even tell what time of the day it was due to the horrible lighting, you definitely couldn't tell what the location was because it was irrelevant to the plot like, 90% of the time. Not to mention the title cards in Civil War were usually followed by dimly lit grey corridors so, yeah, give us a title so we know at least where they are, generally.

This film. Didn't Need That. For the most part anyway, there are 2 locations where the titles worked. First one was Ohio, the other I'll reveal later.

But here. Guys, they're Russian spies escaping from the US on a small plane... Where else would they go if not to Cuba?!?! This is the Black Widow movie paying for the sins of Civil War, in a small way in this instance.

Yelena tells Melina that pain only makes you stronger, Natasha cries, and they setup my heartbreak for later.

Natasha protecting Yelena, terrified, and staring men down the barrel of her gun anyway. Such a badass and heartbreaking callback.

Notice how this scene makes us look at how men view this. There's an allegory here as well, but I'll address what's actually happening in the film:

Dreykov notices Natasha's natural instinct to protect herself and her sister, and all he sees is something he can use. A tool for violence, instead of sex, in this case. But the implication is there. Not a person, or a terrified girl, just an object to be used by men.

So glad that piece of shit got blown up and never mentioned again. Any man looking for exposition on Dreykov to feel the "loss" when the villain is gone: Fuck you. Go get some therapy.

Moving on from that piece of shit, difference between Melina and Alexei: Melina apologised. Alexei lied, but he also tried to give them hope. We can see the devastation, because the soldiers never thought of them as girls like he did, and didn't blink before drugging them and taking them away.

Yet another setup, of Natasha and Yelena, drugged and powerless as they are taken away. Because it wasn't enough that they were kids, they took away all their choices, and rendered them unconscious.

What can I possibly say about this credits scene.

It's very real, probably the realest minutes in the entire MCU, and it's merciless. They don't try to sugar-coat what's happening, and there are no jokes to diffuse the drama. These are girls being trafficked from all over the world. I don't know about you but I felt the switch from true parallel to real life traffic victims like this shot that looks like footage from Interpol

to Red Room victims as being a clear shift, and I was actually grateful for it. Because here I could put my back against the fact that the red room wasn't real, otherwise I would have broken down before the credit sequence even ended.

It was a stroke of genius to create an introduction to this entire world like that. We rarely see credit sequences anymore and it's a shame, because when they're well done they tell stories in and of themselves, and this is one of the best I've seen.

Even the villain is set up here. He's pointing at girls and saying "that one, and her", like he's picking pigs for slaughter. How much more setup than that do you need, to want to murder that man dead? Not any more, that was enough.

Nobody speak to me I’m crying.

Subtle, but there. Trafficking (and traffickers) exists because it IS being tolerated by governments around the world.

Unnecessary title aside, who else says Natasha looks at herself in the mirror hear and repeats "pain only makes you stronger", as she's being hunted away from yet another family.

Then she's saying it again because it bears repeating and Natasha has been through A Lot these past few years. I love how unfiltered our first image of her is. After all she's been through, we basically see her stripped of all her tricks in a moment where she’s alone with herself and her thoughts(something we later learn she tries not to do much), and she's just a woman having a tiny breakdown in a semi-public bathroom. Again, human.

This is where I will leave you for this first part. Hey, I got through the intro, I count that as a win given just how long this breakdown has already been. If you’ve gotten this far, thank you for reading, come yell at me in my inbox whenever, see you for the next one xo

#MCU Breakdown #Black Widow #Black Widow Spoilers #Natasha Romanoff #I'd like to think that all my followers have already seen it but just in case

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the-hunchback-of-notre-dame · 3 years ago

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‘The Hunchback of Notre Dame’ at 25: An Oral History of Disney’s Darkest Animated Classic

Posted on Slashfilm on Monday, June 21st, 2021 by Josh Spiegel

“This Is Going to Change Your Life”

The future directors of The Hunchback of Notre Dame were riding high from the success of Beauty and the Beast. Or, at least, they were happy to be finished.

Gary Trousdale, director: After Beauty and the Beast, I was exhausted. Plus, Kirk and I were not entirely trusted at first, because we were novices. I was looking forward to going back to drawing.

Kirk Wise, director: It was this crazy, wonderful roller-coaster ride. I had all this vacation time and I took a couple months off.

Gary Trousdale: A little later, it was suggested: “If you want to get back into directing, start looking for a project. You can’t sit around doing nothing.”

Kirk Wise: [Songwriters] Lynn Ahrens and Stephen Flaherty had a pitch called Song of the Sea, a loose retelling of the Orpheus myth with humpback whales. I thought it was very strong.

Gary Trousdale: We were a few months in, and there was artwork and a rough draft. There were a couple tentative songs, and we were getting a head of steam.

Kirk Wise: The phone rang. It was Jeffrey [Katzenberg, then-chairman of Walt Disney Studios], saying, “Drop everything. I got your next picture: The Hunchback of Notre Dame.”

Gary Trousdale: “I’ve already got Alan Menken and Stephen Schwartz. You’re going to do this.” It wasn’t like we were given a choice. It was, “Here’s the project. You’re on.”

Kirk Wise: I was pleased that [Jeffrey] was so excited about it. I think the success of Beauty and the Beast had a lot to do with him pushing it our way. It would’ve been crazy to say no.

Gary Trousdale: What [Kirk and I] didn’t know is that Alan and Stephen were being used as bait for us. And Jeffrey was playing us as bait for Alan and Stephen.

Alan Menken, composer: Jeffrey made reference to it being Michael Eisner’s passion project, which implied he was less enthused about it as a story source for an animated picture.

Stephen Schwartz, lyricist: They had two ideas. One was an adaptation of Hunchback and the other was about whales. We chose Hunchback. I’d seen the [Charles Laughton] movie. Then I read the novel and really liked it.

Peter Schneider, president of Disney Feature Animation (1985-99): I think what attracted Stephen was the darkness. One’s lust for something and one’s power and vengeance, and this poor, helpless fellow, Quasimodo.

Roy Conli, co-producer: I was working at the Mark Taper Forum in Los Angeles, doing new play development. I was asked if I’d thought about producing animation. I said, “Yeah, sure.”

Don Hahn, producer: The goose had laid lots of golden eggs. The studio was trying to create two units so they could have multiple films come out. Roy was tasked with something hard, to build a crew out of whole cloth.

Kirk Wise: The idea appealed to me because [of] the setting and main character. I worked with an elder story man, Joe Grant, [who] goes back to Snow White. He said, “Some of the best animation ideas are about a little guy with a big problem.” Hunchback fit that bill.

Gary Trousdale: It’s a story I always liked. When Jeffrey said, “This is going to change your life,” Kirk and I said, “Cool.” When I was a kid, I [had an] Aurora Monster Model of Quasimodo lashed to the wheel. I thought, “He’s not a monster.”

Don Hahn: It’s a great piece of literature and it had a lot of elements I liked. The underdog hero. [He] was not a handsome prince. I loved the potential.

Gary Trousdale: We thought, “What are we going to do to make this dark piece of literature into a Disney cartoon without screwing it up?”

Peter Schneider: The subject matter is very difficult. The conflict was how far to go with it or not go with it. This is basically [about] a pederast who says “Fuck me or you’ll die.” Right?

“We Were Able to Take More Chances”

Wise and Trousdale recruited a group of disparate artists from the States and beyond to bring the story of Quasimodo the bell-ringer to animated life.

Paul Brizzi, sequence director: We were freshly arrived from Paris.

Gaëtan Brizzi, sequence director: [The filmmakers] were looking for a great dramatic prologue, and they couldn’t figure [it] out. Paul and I spent the better part of the night conceiving this prologue. They said, “You have to storyboard it. We love it.”

Roy Conli: We had two amazing artists in Paul and Gaëtan Brizzi who became spiritual leaders in the production. They were so incredible.

Gaëtan Brizzi: [“The Bells of Notre Dame”] was not supposed to be a song first.

Paul Brizzi: The prologue was traditional in the Disney way. Gaëtan and I were thinking of German expressionism to emphasize the drama. I’m not sure we could do that today.

Paul Kandel, voice of Clopin: They were toying with Clopin being the narrator. So they wrote “The Bells of Notre Dame” to open the movie.

Stephen Schwartz: [Alan and I] got called into a presentation, and on all these boards [was] laid out “The Bells of Notre Dame.” We musicalized the story they put up there. We used the pieces of dialogue they invented for Frollo and the other characters. I wrote lyrics that described the narrative. It was very exciting. I had never written a song like that.

Kirk Wise: Early on, we [took] a research trip with the core creative team to Paris. We spent two weeks all over Notre Dame. They gave us unrestricted access, going down into the catacombs. That was a huge inspiration.

Don Hahn: To crawl up in the bell towers and imagine Quasimodo there, to see the bells and the timbers, the scale of it all is unbelievable.

Kirk Wise: One morning, I was listening to this pipe organ in this shadowy cathedral, with light filtering through the stained-glass windows. The sound was so powerful, I could feel it thudding in my chest. I thought, “This is what the movie needs to feel like.”

Brenda Chapman, story: It was fun to sit in a room and draw and think up stuff. I liked the idea of this lonely character up in a bell tower and how we could portray his imagination.

Kathy Zielinski, supervising animator, Frollo: It was the earliest I’ve ever started on a production. I was doing character designs for months. I did a lot of design work for the gargoyles, as a springboard for the other supervisors.

James Baxter, supervising animator, Quasimodo: Kirk and Gary said, “We’d like you to do Quasimodo.” [I thought] that would be such a cool, amazing thing to do. They wanted this innocent vibe to him. Part of the design process was getting that part of his character to read.

Will Finn, head of story/supervising animator, Laverne: Kirk and Gary wanted me on the project. Kirk, Gary, and Don Hahn gave me opportunities no one else would have, and I am forever grateful.

Kathy Zielinski: I spent several months doing 50 or 60 designs [for Frollo]. I looked at villainous actors. Actually, one was Peter Schneider. [laughing] Not to say he’s a villain, but a lot of the mannerisms and poses. “Oh, that looks a little like Peter.”

James Baxter: I was doing design work on the characters with Tony Fucile, the animator on Esmerelda. I think Kirk and Gary felt Beauty and the Beast had been disparate and the characters weren’t as unified as they wanted.

Kathy Zielinski: Frollo stemmed from Hans Conried [the voice of Disney’s Captain Hook]. He had a longish nose and a very stern-looking face. Frollo was modeled a little bit after him.

Will Finn: The team they put together was a powerhouse group – Brenda Chapman, Kevin Harkey, Ed Gombert, and veterans like Burny Mattinson and Vance Gerry. I felt funny being their “supervisor.”

Kathy Zielinski: Half my crew was in France, eight hours ahead. We were able to do phone calls. But because of the time difference, our end of the day was their beginning of the morning. I was working a lot of late hours, because [Frollo] was challenging to draw.

Kirk Wise: Our secret weapon was James Baxter, who animated the ballroom sequence [in Beauty and the Beast] on his own. He had a unique gift of rotating characters in three-dimensional space perfectly.

Gary Trousdale: James Baxter is, to my mind, one of the greatest living animators in the world.

James Baxter: I’ve always enjoyed doing things that were quite elaborate in terms of camera movement and three-dimensional space. I’m a glutton for punishment, because those shots are very hard to do.

Gary Trousdale: In the scene with Quasimodo carrying Esmeralda over his shoulder, climbing up the cathedral, he looks back under his arms, snarling at the crowd below. James called that his King Kong moment.

As production continued, Roy Conli’s position shifted, as Don Hahn joined the project, and Jeffrey Katzenberg left Disney in heated fashion in 1994.

Roy Conli: Jeffrey was going to create his own animation studio. Peter Schneider was interested in maintaining a relationship with Don Hahn. We were into animation, ahead of schedule. They asked Don if he would produce and if I would run the studio in Paris.

Don Hahn: Roy hadn’t done an animated film before. I was able to be a more senior presence. I’d worked with Kirk and Gary before, which I enjoy. They’re unsung heroes of these movies.

Kirk Wise: The [production] pace was more leisurely. As leisurely as these things can be. We had more breathing room to develop the storyboards and the script and the songs.

Gary Trousdale: Jeffrey never liked characters to have facial hair. No beards, no mustaches, nothing. There’s original designs of Gaston [with] a little Errol Flynn mustache. Jeffrey hated it. “I don’t want any facial hair.” Once he left, we were like, “We could give [Phoebus] a beard now.”

Kirk Wise: The ballroom sequence [in Beauty] gave us confidence to incorporate more computer graphics into Hunchback. We [had] to create the illusion of a throng of thousands of cheering people. To do it by hand would have been prohibitive, and look cheap.

Stephen Schwartz: Michael Eisner started being more hands-on. Michael was annoyed at me for a while, because when Jeffrey left, I accepted the job of doing the score for Prince of Egypt. I got fired from Mulan because of it. But once he fired me, Michael couldn’t have been a more supportive, positive colleague on Hunchback.

Kirk Wise: [The executives] were distracted. We were able to take more chances than we would have under the circumstances that we made Beauty and the Beast.

Don Hahn: Hunchback was in a league of its own, feeling like we [could] step out and take some creative risks. We could have done princess movies forever, and been reasonably successful. Our long-term survival relied on trying those risks.

One sticking point revolved around Notre Dame’s gargoyles, three of whom interact with Quasimodo, but feel more lighthearted than the rest of the dark story.

Gary Trousdale: In the book and several of the movies, Quasimodo talks to the gargoyles. We thought, “This is Disney, we’re doing a cartoon. The gargoyles can talk back.” One thing led to another and we’ve got “A Guy Like You.”

Kirk Wise: “A Guy Like You” was literally created so we could lighten the mood so the audience wasn’t sitting in this trough of despair for so long.

Stephen Schwartz: Out of context, the number is pretty good. I think I wrote some funny lyrics. But ultimately it was a step too far tonally for the movie and it has been dropped from the stage version.

Gary Trousdale: People have been asking for a long time: are they real? Are they part of Quasimodo’s personality? There were discussions that maybe Quasimodo is schizophrenic. We never definitively answered it, and can argue convincingly both ways.

Jason Alexander, voice of Hugo: I wouldn’t dream of interfering with anyone’s choice on that. It’s ambiguous for a reason and part of that reason is the viewers’ participation in the answer. Whatever you believe about it, I’m going to say you’re right.

Brenda Chapman: I left before they landed on how [to play] the gargoyles. My concern was, what are the rules? Are they real? Are they in his imagination? What can they do? Can they do stuff or is it all Quasi? I looked at it a little askance in the finished film. I wasn’t sure if I liked how it ended up…[Laverne] with the boa on the piano.

Kirk Wise: There was a component of the audience that felt the gargoyles were incompatible with Hunchback. But all of Disney’s movies, including the darkest ones, have comic-relief characters. And Disney was the last person to treat the written word as gospel.

“A Fantastic Opportunity”

After a successful collaboration on Pocahontas, Menken and Schwartz worked on turning Victor Hugo’s tragic story into a musical.

Alan Menken: The world of the story was very appealing, and it had so much social relevance and cultural nuance.

Stephen Schwartz: The story lent itself quite well to musicalization because of the extremity of the characters and the emotions. There was a lot to sing about. There was a great milieu.

Alan Menken: To embed the liturgy of the Catholic Church into a piece of music that’s operatic and also classical and pop-oriented enriches it in a very original way. Stephen was amazing. He would take the theme from the story and specifically set it in Latin to that music.

Stephen Schwartz: The fact that we were doing a piece set in a church allowed us to use all those elements of the Catholic mass, and for Alan to do all that wonderful choral music.

Alan Menken: The first creative impulse was “Out There.” I’m a craftsman. I’m working towards a specific assignment, but that was a rare instance where that piece of music existed.

Stephen Schwartz: I would come in with a title, maybe a couple of lines for Alan to be inspired by. We would talk about the whole unit, its job from a storytelling point of view. He would write some music. I could say, “I liked that. Let’s follow that.” He’d push a button and there would be a sloppy printout, enough that I could play it as I was starting the lyrics.

Roy Conli: Stephen’s lyrics are absolutely phenomenal. With that as a guiding light, we were in really good shape.

Stephen Schwartz: Alan played [the “Out There” theme] for me, and I really liked it. I asked for one change in the original chorus. Other than that, the music was exactly as he gave it to me.

Gary Trousdale: Talking with these guys about music is always intimidating. There was one [lyric] Don and I both questioned in “Out There,” when Frollo is singing, “Why invite their calumny and consternation?” Don and I went, “Calumny?” Kirk said, “Nope, it’s OK, I saw it in an X-Men comic book.” I went, “All right! It’s in a comic book! It’s good.”

Stephen Schwartz: Disney made it possible for me to get into Notre Dame before it opened to the public. I’d climb up the steps to the bell tower. I’d sit there with my yellow pad and pencil. I’d have the tune for “Out There” in my head, and I would look out at Paris, and be Quasimodo. By the time we left Paris, the song was written.

Kirk Wise: Stephen’s lyrics are really smart and literate. I don’t think the comical stuff was necessarily [his] strongest area. But this movie was a perfect fit, because the power of the emotions were so strong. Stephen just has a natural ability to connect with that.

Will Finn: The directors wanted a funny song for the gargoyles and Stephen was not eager to write it. He came to me and Irene Mecchi and asked us to help him think of comedy ideas for “A Guy Like You,” and we pitched a bunch of gags.

Jason Alexander: Singing with an orchestra the likes of which Alan and Stephen and Disney can assemble is nirvana. It’s electrifying and gives you the boost to sing over and over. Fortunately, everyone was open to discovery. I love nuance and intention in interpretation. I was given wonderful freedom to find both.

Stephen Schwartz: “Topsy Turvy,” it’s one of those numbers of musical theater where you can accomplish an enormous amount of storytelling. If you didn’t have that, you’d feel you were drowning in exposition. When you put it in the context of the celebration of the Feast of Fools, you could get a lot of work done.

Paul Kandel: The first time I sang [“Topsy Turvy”] through, I got a little applause from the orchestra. That was a very nice thing to happen and calm me down a little bit.

Brenda Chapman: Poor Kevin Harkey must’ve worked on “Topsy Turvy” for over a year. Just hearing [singing] “Topsy turvy!” I thought, “I would shoot myself.” It’s a fun song, but to listen to that, that many times. I don’t know if he ever got to work on anything else.

Paul Kandel: There were places where I thought the music was squarer than it needed to be. I wanted to round it out because Clopin is unpredictable. Is he good? Is he bad? That’s what I was trying to edge in there.

Kirk Wise: “God Help the Outcasts” made Jeffrey restless. I think he wanted “Memory” from Cats. Alan and Stephen wrote “Someday.” Jeffrey said, “This is good, but it needs to be bigger!” Alan was sitting at his piano bench, and Jeffrey was next to him. Jeffrey said, “When I want it bigger, I’ll nudge you.” Alan started playing and Jeffrey was jabbing him in the ribs. “Bigger, bigger!”

Don Hahn: In terms of what told the story better, one song was poetic, but the other was specific. “Outcasts” was very specific about Quasimodo. “Someday” was “Somewhere Over the Rainbow.”

Kirk Wise: When Don watched the movie, he said, “It’s working pretty well. But ‘Someday,’ I don’t know. It feels like she’s yelling at God.” We played “God Help the Outcasts” for him and Don said, “Oh, this is perfect.” That song is the signature of the entire movie.

Don Hahn: “Someday” was lovely. But I had come off of working with Howard Ashman, and I felt, “This doesn’t move the plot forward much, does it?” We ended up with “Someday” as an end-credits song, which was fortunate. ‘Cause they’re both good songs.

Kirk Wise: It was all about what conveys the emotion of the scene and the central theme of the movie best. “God Help the Outcasts” did that.

Everyone agrees on one point.

Stephen Schwartz: Hunchback is Alan’s best score. And that’s saying a lot, because he’s written a whole bunch of really good ones.

Gary Trousdale: With Hunchback, there were a couple of people that said, “This is why I chose music as a career.” Alan and Stephen’s songs are so amazing, so that’s really something.

Paul Kandel: It has a beautiful score.

Jason Alexander: It has the singularly most sophisticated score of most of the animated films of that era.

Roy Conli: The score of Hunchback is one of the greatest we’ve done.

Don Hahn: This is Alan’s most brilliant score. The amount of gravitas Alan put in the score is amazing.

Alan Menken: It’s the most ambitious score I’ve ever written. It has emotional depth. It’s a different assignment. And it was the project where awards stopped happening. It’s almost like, “OK, now you’ve gone too far.”

Stephen Schwartz: It’s astonishing that Alan has won about 173 Academy Awards, and the one score he did not win for is his best score.

The film featured marquee performers singing covers of “God Help the Outcasts” and “Someday”. But one of the most famous performers ever nearly brought those songs to life.

Alan Menken: I met Michael Jackson when we were looking for someone to sing “A Whole New World” for Aladdin. Michael wanted to co-write the song. I could get a sense of who Michael was. He was a very unique, interesting individual…in his own world.

I get a call out of nowhere from Michael’s assistant, when Michael was at the Four Seasons Hotel in New York. He had to [deal with] allegations about inappropriate behavior with underage kids, and the breakup with Lisa Marie Presley. He’s looking to change the subject. And he obviously loves Disney so much. So I mentioned Hunchback. He said he’d love to come to my studio, watch the movie and talk about it. So we got in touch with Disney Animation. They said, “Meet with him! If he likes it…well, see what he says.” [laughing]

There’s three songs. One was “Out There,” one was “God Help the Outcasts,” one was “Someday.” Michael said, “I would like to produce the songs and record some of them.” Wow. Okay. What do we do now? Michael left. We got in touch with Disney. It was like somebody dropped a hot poker into a fragile bowl with explosives. “Uh, we’ll get back to you about that.”

Finally, predictably, the word came back, “Disney doesn’t want to do this with Michael Jackson.” I go, “OK, could someone tell him this?” You can hear a pin drop, no response, and nobody did [tell him]. It fell to my late manager, Scott Shukat, to tell Michael or Michael’s attorney.

In retrospect, it was the right decision. [But] Quasimodo is a character…if you look at his relationships with his family and his father, I would think there’s a lot of identification there.

“They’re Never Going to Do This Kind of Character Again”

The film is known for the way it grapples with the hypocrisy and lust typified by the villainous Judge Frollo, whose terrifying song “Hellfire” remains a high point of Disney animation.

Gary Trousdale: Somebody asked me recently: “How the hell did you get ‘Hellfire’ past Disney?” It’s a good question.

Alan Menken: When Stephen and I wrote “Hellfire,” I was so excited by what we accomplished. It really raised the bar for Disney animation. It raised the bar for Stephen’s and my collaboration.

Stephen Schwartz: I thought the would never let me get away with [“Hellfire”]. And they never asked for a single change.

Alan Menken: Lust and religious conflict. Now more than ever, these are very thorny issues to put in front of the Disney audience. We wanted to go at it as truthfully as possible.

Stephen Schwartz: When Alan and I tackled “Hellfire,” I did what I usually did: write what I thought it should be and assume that [Disney would] tell me what I couldn’t get away with. But they accepted exactly what we wrote.

Don Hahn: Every good song score needs a villain’s moment. Stephen and Alan approached it with “Hellfire.”

Alan Menken: It was very clear, we’d thrown the gauntlet pretty far. It was also clear within our creative team that everybody was excited about going there.

Don Hahn: You use all the tools in your toolkit, and one of the most powerful ones was Alan and Stephen. Stephen can be dark, but he’s also very funny. He’s brilliant.

Gary Trousdale: The [MPAA] said, “When Frollo says ‘This burning desire is turning me to sin,’ we don’t like the word ‘sin.’” We can’t change the lyrics now. It’s all recorded. Kinda tough. “What if we just dip the volume of the word ‘sin’ and increase the sound effects?” They said, “Good.”

Stephen Schwartz: It’s one of the most admirable things [laughs] I have ever seen Disney Animation do. It was very supportive and adventurous, which is a spirit that…let’s just say, I don’t think [the company would] make this movie today.

Don Hahn: It’s funny. Violence is far more accepted than sex in a family movie. You can go see a Star Wars movie and the body count’s pretty huge, but there’s rarely any sexual innuendo.

Kathy Zielinski: I got to watch [Tony Jay] record “Hellfire” with another actor. I was sweating watching him record, because it was unbelievably intense. Afterwards, he asked me, “Did you learn anything from my performance?” I said, “Yeah, I never want to be a singer.” [laughing]

Paul Kandel: Tony Jay knocked that out of the park. He [was] an incredible guy. Very sweet. He was terrified to record “Hellfire.” He was at a couple of my sessions. He went, “Oh my God, what’s going to happen when it’s my turn? I don’t sing. I’m not a singer. I never pretended to be a singer.” I said, “Look, I’m not a singer. I’m an actor who figured out that they could hold a tune.”

Kathy Zielinski: I listened to Tony sing “Hellfire” tons. I knew I had gone too far when, one morning, we were sitting at the breakfast table and my daughter, who was two or three at the time, started singing the song and doing the mannerisms. [laughs]

Don Hahn: We didn’t literally want to show [Frollo’s lust]. It turns into a Fantasia sequence, almost. A lot of the imagery is something you could see coming out of Frollo’s imagination. It’s very impressionistic. It does stretch the boundaries of what had been done before at Disney.

Kirk Wise: We stylized it like “Night on Bald Mountain.” The best of Walt’s films balanced very dark and light elements. Instead of making it explicit, we tried to make it more visual and use symbolic imagery.

Gaëtan Brizzi: We were totally free. We could show symbolically how sick Frollo is between his hate and his carnal desire.

Kathy Zielinski: The storyboards had a tremendous influence. Everybody was incredibly admiring of the work that [Paul and Gaëtan] had done.

Don Hahn: They brought the storyboarded sequence to life in a way that is exactly what the movie looks like. The strength of it is that we didn’t have to show anything as much as we did suggest things to the audience. Give the audience credit for filling in the blanks.

Gary Trousdale: It was absolutely gorgeous. Their draftsmanship and their cinematography. They are the top. They pitched it with a cassette recording of Stephen singing “Hellfire”, and we were all in the story room watching it, going “Oh shit!”

Paul Brizzi: When Frollo is at the fireplace with Esmeralda’s scarf, his face is hypnotized. From the smoke, there’s the silhouette of Esmeralda coming to him. She’s naked in our drawings.

Gary Trousdale: We joked, maybe because they’re French, Esmeralda was in the nude when she was in the fire. Roy Disney put his foot down and said, “That’s not going to happen.” Chris Jenkins, the head of effects, and I went over every drawing to make sure she was appropriately attired. That was the one concession we made to the studio.

Gaëtan Brizzi: It’s the role of storyboard artists to go far, and then you scale it down. Her body was meant to be suggestive. It was more poetic than provocative.

Brenda Chapman: I thought what the Brizzis did with “Hellfire” was just stunning.

Roy Conli: We make films for people from four to 104, and we’re trying to ensure that the thematic material engages adults and engages children. We had a lot of conversations on “Hellfire,” [which] was groundbreaking. You saw the torment, but you didn’t necessarily, if you were a kid, read it as sexual. And if you were an adult, you picked it up pretty well.

Will Finn: “Hellfire” was uncomfortable to watch with a family audience. I’m not a prude, but what are small kids to make of such a scene?

Kathy Zielinski: When I was working on “Hellfire,” I thought, “Wow. They’re never going to do this kind of character again.” And I’m pretty much right.

“Straight for the Heart”

“Hellfire” may be the apex of the maturity of The Hunchback of Notre Dame, but the entire film is the most complex and adult Disney animated feature of the modern era.

Gary Trousdale: We went straight for the heart and then pulled back.

Kirk Wise: I was comfortable with moments of broad comedy contrasted with moments that were dark or scary or violent. All of the Disney movies did that, particularly in Walt’s time.

Don Hahn: A lot of it is gut level, where [the story group would] sit around and talk to ourselves and pitch it to executives. But Walt Disney’s original animated films were really dark. We wanted to create something that had the impact of what animation can do.

Will Finn: Eisner insisted we follow the book to the letter, but he said the villain could not be a priest, and we had to have a happy ending. The book is an epic tragedy – everybody dies!

Kathy Zielinski: It’s a little scary that I felt comfortable with [Frollo]. [laughing] I don’t know what that means. Maybe I need to go to therapy. I’ve always had a desire to do villains. I just love evil.

Don Hahn: Kathy Zielinski is brilliant. She works on The Simpsons now, which is hilarious. She’s very intense, very aware of what [Frollo] had to do.

One specific choice in the relationship between Frollo and Esmeralda caused problems.

Stephen Schwartz: I remember there was great controversy over Frollo sniffing Esmeralda’s hair.

Kirk Wise: The scene that caused the most consternation was in the cathedral where Frollo grabs Esmeralda, whispers in her ear and sniffs her hair. The sniffing made people ask, “Is this too far?” We got a lot of support from Peter Schneider, Tom Schumacher, and Michael Eisner.

Kathy Zielinski: Brenda Chapman came up with that idea and the storyboard. I animated it. It’s interesting, because two females were responsible for that. That scene was problematic, so they had to cut it down. It used to be a lot longer.

Brenda Chapman: I know I’m probably pushing it too far, but let’s give it a go, you know?

Kirk Wise: We agreed it was going to be a matter of execution and our collective gut would tell us whether we were crossing the line. We learned that the difference between a G and PG is the loudness of a sniff. Ultimately, that’s what it came down to.

Brenda Chapman: I never knew that! [laughing]

Don Hahn: Is it rated G? That’s surprising.

Gary Trousdale: I’m sure there was backroom bargaining done that Kirk and I didn’t know about.

Don Hahn: It’s negotiation. The same was true of The Lion King. We had intensity notes on the fight at the end. You either say, we’re going to live with that and it’s PG, or we’re not and it’s G.

Brenda Chapman: I heard stories of little kids going, “Ewww, he’s rubbing his boogers in her hair!” [laughing] If that’s what they want to think, that’s fine. But there are plenty of adults that went, “Whoa!”

Don Hahn: You make the movies for yourselves, [but] we all have families, and you try to make something that’s appropriate for that audience. So we made some changes. Frollo isn’t a member of the clergy to take out any politicizing.

Gaëtan Brizzi: We developed the idea of Frollo’s racism against the gypsies. To feel that he desires Esmeralda and he wants to kill her. It was ambiguity that was interesting to develop. In the storyboards, Paul made [Frollo] handsome with a big jaw, a guy with class. They said he was too handsome. We had to break that formula.

Stephen Schwartz: I [and others] said, “It doesn’t make any sense for him to not be the Archdeacon, because what’s he doing with Quasimodo? What possible relationship could they have?” Which is what led to the backstory that became “The Bells of Notre Dame.”

Don Hahn: The things Frollo represents are alive and well in the world. Bigotry and prejudice are human traits and always have been. One of his traits was lust. How do you portray that in a Disney movie? We tried to portray that in a way that might be over kids’ heads and may not give them nightmares necessarily, but it’s not going to pull its punches. So it was a fine line.

Stephen Schwartz: Hugo’s novel is not critical of the church the way a lot of French literature is. It creates this character of Frollo, who’s a deeply hypocritical person and tormented by his hypocrisy.

Peter Schneider: I am going to be controversial. I think it failed. The fundamental basis is problematic, if you’re going to try and do a Disney movie. In [light of] the #MeToo movement, you couldn’t still do the movie and try what we tried to do. As much as we tried to soften it, you couldn’t get away from the fundamental darkness.

Don Hahn: Yeah, that sounds like Peter. He’s always the contrarian.

Peter Schneider: I’m not sure we should have made the movie, in retrospect. I mean, it did well, Kirk and Gary did a beautiful job. The voices are beautiful. The songs are lovely, but I’m not sure we should have made the movie.

Gaëtan Brizzi: The hardest part was to stick to the commercial side of the movie…to make sure we were still addressing kids.

Kirk Wise: We knew it was going to be a challenge to honor the source material while delivering a movie that would fit comfortably on the shelf with the other Disney musicals. We embraced it.

Roy Conli: I don’t think it was too mature. I do find it at times slightly provocative, but not in a judgmental or negative way. I stand by the film 100 percent in sending a message of hope.

Peter Schneider: It never settled its tone. If you look at the gargoyles and bringing in Jason Alexander to try and give comedy to this rather bleak story of a judge keeping a deformed young man in the tower…there’s so many icky factors for a Disney movie.

Jason Alexander: Some children might be frightened by Quasi’s look or not be able to understand the complexity. But what we see is an honest, innocent and capable underdog confront his obstacles and naysayers and emerge triumphant, seen and accepted. I think young people rally to those stories. They can handle the fearsome and celebrate the good.

Brenda Chapman: There was a scene where Frollo was locking Quasimodo in the tower, and Quasi was quite upset. I had to pull back from how cruel Frollo was in that moment, if I’m remembering correctly. I wanted to make him a very human monster, which can be scarier than a real monster.

Roy Conli: We walked such a tight line and we were on the edge and the fact that Disney allowed us to be on the edge was a huge tribute to them.

“Hear the Voice”

The story was set, the songs were ready. All that was left was getting a cast together to bring the characters’ voices to life.

Jason Alexander: Disney, Alan Menken, Stephen Schwartz, Victor Hugo – you had me at hello.

Paul Kandel: I was in Tommy, on Broadway. I was also a Tony nominee. So I had those prerequisites. Then I got a call from my agent that Jeffrey Katzenberg decided he wanted a star. I was out of a job I already had. I said, “I want to go back in and audition again.” I wanted to let them choose between me and whoever had a name that would help sell the film. So that series of auditions went on and I got the job back.

Kirk Wise: Everybody auditioned, with the exception of Kevin Kline and Demi Moore. We went to them with an offer. But we had a few people come in for Quasimodo, including Meat Loaf.

Will Finn: Katzenberg saw Meat Loaf and Cher playing Quasimodo and Esmeralda – more of a rock opera. He also wanted Leno, Letterman, and Arsenio as the gargoyles at one point.

Kirk Wise: Meat Loaf sat with Alan and rehearsed the song. It was very different than what we ended up with, because Meat Loaf has a very distinct sound. Ultimately, I think his record company and Disney couldn’t play nice together, and the deal fell apart.

Gary Trousdale: We all had the drawings of the characters we were currently casting for in front of us. Instead of watching the actor, we’d be looking down at the piece of paper, trying to hear that voice come out of the drawing. And it was, we learned, a little disconcerting for some of the actors and actresses, who would put on hair and makeup and clothes and they’ve got their body language and expressions. We just want to hear the voice.

Kirk Wise: We cast Cyndi Lauper as one of the gargoyles. We thought she was hilarious and sweet. The little fat obnoxious gargoyle had a different name, and was going to be played by Sam McMurray. We had Cyndi and Sam record, and Roy Disney hated it. The quality of Cyndi’s voice and Sam’s voice were extremely grating to his ear. This is no disrespect to them – Cyndi Lauper is amazing. And Sam McMurray is very funny. But it was not working for the people in the room on that day.

Jason Alexander: The authors cast you for a reason – they think they’ve heard a voice in you that fits their character. I always try to look at the image of the character – his shape, his size, his energy and start to allow sounds, pitches, vocal tics to emerge. Then everyone kicks that around, nudging here, tweaking there and within a few minutes you have the approach to the vocalization. It’s not usually a long process, but it is fun.

Kirk Wise: We decided to reconceive the gargoyles. We always knew we wanted three of them. We wanted a Laurel and Hardy pair. The third gargoyle, the female gargoyle, was up in the air. I think it was Will Finn who said, “Why don’t we make her older?” As the wisdom-keeper. That led us to Mary Wickes, who was absolutely terrific. We thoroughly enjoyed working with Mary, and 98% of the dialogue is her. But she sadly passed away before we were finished.

Will Finn: We brought in a ton of voice-over actresses and none sounded like Mary. One night, I woke up thinking about Jane Withers, who had been a character actress in the golden age of Hollywood. She had a similar twang in her voice, and very luckily, she was alive and well.

Kirk Wise: Our first session with Kevin Kline went OK, but something was missing. It just didn’t feel like there was enough of a twinkle in his voice. Roy Conli said, “Guys, he’s an actor. Give him a prop.” For the next session, the supervising animator for Phoebus brought in a medieval broadsword. Before the session started, we said “Kevin, we’ve got a present for you.” We brought out this sword, and he lit up like a kid at Christmas. He would gesture with it and lean on it. Roy found the key there.

Gary Trousdale: Kevin Kline is naturally funny, so we may have [written] some funnier lines for him. When he’s sparring with Esmeralda in the cathedral and he gets hit by the goat. “I didn’t know you had a kid,” which is the worst line ever. But he pulls it off. He had good comic timing.

Kirk Wise: Tom Hulce had a terrific body of work, including Amadeus. But the performance that stuck with me was in Dominic and Eugene. There was a sensitivity and emotional reality to that performance that made us lean in and think he might make a good Quasimodo.

Gary Trousdale: [His voice] had a nice mix of youthful and adult. He had a maturity, but he had an innocence as well. We’re picturing Quasimodo as a guy who’s basically an innocent. It was a quality of his voice that we could hear.

Don Hahn: He’s one of those actors who could perform and act while he sang. Solo songs, especially for Quasimodo, are monologues set to music. So you’re looking for someone who can portray all the emotion of the scene. It’s about performance and storytelling, and creating a character while you’re singing. That’s why Tom rose to the top.

Stephen Schwartz: I thought Tom did great. I had known Tom a little bit beforehand, as an actor in New York. I’d seen him do Equus and I was sort of surprised. I just knew him as an actor in straight plays. I didn’t know that he sang at all, and then it turned out that he really sang.

Paul Kandel: [Tom] didn’t think of himself as a singer. He’s an actor who can sing. “Out There,” his big number – whether he’s going to admit it to you or not – that was scary for him. But a beautiful job.

Brenda Chapman: Quasimodo was the key to make it family-friendly. Tom Hulce did such a great job making him appealing.

Kirk Wise: Gary came back with the audiotape of Tom’s first session. And his first appearance with the little bird, where he asks if the bird is ready to fly…that whole scene was his rehearsal tape. His instincts were so good. He just nailed it. I think he was surprised that we went with that take. It was the least overworked and the most spontaneous, and felt emotionally real to us.

Kathy Zielinski: Early on, they wanted Anthony Hopkins to do the voice [of Frollo]. [We] did an animation test with a line of his from Silence of the Lambs.

Kirk Wise: We were thinking of Hannibal Lecter in the earliest iterations of Frollo. They made an offer, but Hopkins passed. We came full circle to Tony, because it had been such a good experience working with him on Beauty and the Beast. It was the combination of the quality of his voice, the familiarity of working with him, and knowing how professional and sharp he was.

Though the role of Quasimodo went to Tom Hulce (who did not respond to multiple requests for comment), there was one audition those involved haven’t forgotten.

Kirk Wise: We had a few people come in for Quasimodo, including Mandy Patinkin.

Stephen Schwartz: That was a difficult day. [laughing]

Kirk Wise: Mandy informed Alan and Stephen that he brought his own accompanist, which was unexpected because we had one in the room. He had taken a few liberties with [“Out There”]. He had done a little rearranging. You could see Alan’s and Stephen’s spines stiffen. It was not the feel that Alan and Stephen were going for. Stephen pretty much said so in the room. I think his words were a little sharper and more pointed than mine.

Stephen Schwartz: I’ve never worked with Mandy Patinkin. But I admired Evita and Sunday in the Park with George. He came in to audition for Quasimodo. When I came in, Ben Vereen was sitting in the hallway. Ben is a friend of mine and kind of a giant star. I felt we should be polite in terms of bringing him in relatively close to the time for which he was called.

Mandy took a long time with his audition, and asked to do it over and over again. If you’re Mandy Patinkin, you should have enough time scheduled to feel you were able to show what you wanted to show. However, that amount of time was not scheduled. At a certain point, I became a bit agitated because I knew Ben was sitting there, cooling his heels. I remember asking [to] move along or something. That created a huge contretemps.

Kirk Wise: Gary and I stepped outside to work on a dialogue scene with Mandy. As we were explaining the scene and our take on the character, Mandy threw up his hands and said, “Guys, I’m really sorry. I can’t do this.” He turned on his heel and went into the rehearsal hall and shut the door. We started hearing an intense argument. He basically went in and read Alan and Stephen the riot act. The door opens, smoke issuing from the crater that he left inside. Mandy storms out, and he’s gone. We step back in the room, asking, “What the hell happened?”

Gary Trousdale: I did a drawing of it afterwards. The Patinkin Incident.

Stephen Schwartz: Battleship Patinkin!

“Join the Party”

The darkness in the film made it difficult to market. Even some involved acknowledged the issue. In the run-up to release, Jason Alexander said to Entertainment Weekly, “Disney would have us believe this movie’s like the Ringling Bros., for children of all ages. But I won’t be taking my 4-year old. I wouldn’t expose him to it, not for another year.”

Alan Menken: There was all the outrage about Jason Alexander referring to it as a dark story that’s not for kids. Probably Disney wasn’t happy he said that.

Jason Alexander: Most Disney animated films are entertaining and engaging for any child with an attention span. All of them have elements that are frightening. But people are abused in Hunchback. These are people, not cute animals. Some children could be overwhelmed by some of it at a very young age. My son at the time could not tolerate any sense of dread in movies so it would have been hard for him. However, that is certainly not all children.

Don Hahn: I don’t think Jason was wrong. People have to decide for themselves. It probably wasn’t a movie for four-year olds. You as a parent know your kid better than I do.

If everyone agrees the score is excellent, they also agree on something that was not.

Alan Menken: God knows we couldn’t control how Disney marketing dealt with the movie, which was a parade with Quasimodo on everybody’s shoulders going, “Join the party.” [laughing]

Roy Conli: I always thought “Animation comes of age” would be a great [tagline]. I think the marketing ended up, “Join the party.”

Brenda Chapman: Marketing had it as this big party. And then you get into the story and there’s all this darkness. I think audiences were not expecting that, if they didn’t know the original story.

Kathy Zielinski: It was a hard movie for Disney to merchandise and sell to the public.

Gaëtan Brizzi: People must have been totally surprised by the dramatic sequences. The advertising was not reflecting what the movie was about.

Stephen Schwartz: To this day, they just don’t know how to market “Disney’s Hunchback of Notre Dame.” I understand what their quandary is. They have developed a brand that says, “If you see the word Disney on something, it means you can take your 6-year old.” You probably shouldn’t even take your 8-year old, unless he or she is very mature, to Hunchback.

Alan Menken: We [Disney] had such a run of successful projects. It was inevitable there was going to be a time where people said, “I’ve seen all those, but what else is out there?” I had that experience sitting at a diner with my family, overhearing a family talk about Hunchback and say, “Oh yeah, we saw Beauty and Aladdin, but this one…let’s see something else.”

Stephen Schwartz: I did have a sense that some in the critical community didn’t know how to reconcile animation and an adult approach. They have the same attitude some critics have about musicals. “It’s fine if it’s tap-dancing and about silly subjects. But if it’s something that has intellectual import, you can’t do that.” Obviously we have Hamilton and Sweeney Todd and Wicked. Over the years, that’s changed to some extent, but not for everybody.

Roy Conli: Every film is not a Lion King. [But] if that story has legs and will touch people, then you’ve succeeded.

Kirk Wise: We were a little disappointed in its initial weekend. It didn’t do as well as we hoped. We were also disappointed in the critical reaction. It was well-reviewed, but more mixed. Roger Ebert loved us. The New York Times hated us! I felt whipsawed. It was the same critic [Janet Maslin] who praised Beauty and the Beast to the high heavens. She utterly shat on Hunchback.

Don Hahn: We had really good previews, but we also knew it was out of the box creatively. We were also worried about the French and we were worried about the handicapped community and those were the two communities that supported the movie the most.

Will Finn: I knew we were in trouble when the first trailers played and audiences laughed at Quasimodo singing “Out There” on the roof.

Kirk Wise: All of us were proud of the movie on an artistic level. In terms of animation and backgrounds and music and the use of the camera and the performances. It’s the entire studio operating at its peak level of performance, as far as I’m concerned.

Gary Trousdale: I didn’t think people were going to have such a negative reaction to the gargoyles. They’re a little silly. And they do undercut the gravity. But speaking with friends who were kids at the time, they have nothing but fond memories. There were adults, high school age and older when they saw it, they were turned off. We thought it was going to do really great. We thought, “We’re topping ourselves.” It’s a sophisticated story and the music is amazing.

Kirk Wise: The 2D animated movies used to be released before Christmas [or] Thanksgiving. The Lion King changed that. Now everything was a summer release. I always questioned the wisdom of releasing Hunchback in the summertime, in competition with other blockbusters.

Paul Kandel: It made $300 million and it cost $80 million to make. So they were not hurting as far as profits were concerned. But I thought it was groundbreaking in so many ways that I was surprised at the mixed reviews.

Kirk Wise: By most measures, it was a hit. I think The Lion King spoiled everybody, because [it] was such a phenomenon, a bolt from the blue, not-to-be-repeated kind of event.

Gary Trousdale: We were getting mixed reviews. Some of them were really good. “This is a stunning masterpiece.” And other people were saying, “This is a travesty.” And the box office was coming in, not as well as hoped.

Don Hahn: I was in Argentina doing South American press. I got a call from Peter Schneider, who said, “It’s performing OK, but it’s probably going to hit 100 million.” Which, for any other moviemaker, would be a goldmine. But we’d been used to huge successes. I was disappointed.

Peter Schneider: I think it was a hit, right? It just wasn’t the same. As they say in the theater, you don’t set out to make a failure.

Don Hahn: If you’re the New York Yankees, and you’ve had a winning season where you could not lose, and then people hit standup singles instead of home runs…that’s OK. But it has this aura of disappointment. That’s the feeling that’s awful to have, because it’s selfish. Animation is an art, and the arts are meant to be without a price tag hanging off of them all the time.

Paul Brizzi: We are still grateful to Kirk and Gary and Don. We worked on [Hunchback] for maybe a year or a year and a half. Every sequence, we did with passion.

Gaëtan Brizzi: Our work on Hunchback was a triumph of our career.

Kathy Zielinski: There are certainly a whole crowd of people who wish we had not [done] the comedy, because that wasn’t faithful. That’s the main complaint I heard – we should’ve gone for this total dramatic piece and not worried about the kiddies.

Gaetan Brizzi: The only concern we had was the lack of homogeneity. The drama was really strong, and the [comedy] was sometimes a little bit goofy. It was a paradox. When you go from “Hellfire” to a big joke, the transition was not working well. Otherwise, we were very proud.

James Baxter: We were happy with what we did, but we understood it was going to be a slightly harder sell. The Hunchback of Notre Dame usually doesn’t engender connotations like, “Oh, that’s going to be a Disney classic.” I was very happy that it did as well as it did.

Jason Alexander: I thought it was even more mature and emotional on screen. It was an exciting maturation of what a Disney animated feature could be. I was impressed and touched.

“An Undersung Hero”

25 years later, The Hunchback of Notre Dame endures. The animated film inspired an even darker stage show that played both domestically and overseas, and in recent years, there have been rumors that Josh Gad would star as Quasimodo in a live-action remake.

Alan Menken: I think it’s a project that with every passing year will more and more become recognized as a really important part of my career.

Stephen Schwartz: This will be immodest, but I think it’s a really fine adaptation. I think it’s the best musical adaptation of the Victor Hugo novel, and there have been a lot. I think the music is just unbelievably good. I think, as a lyricist, I was working at pretty much the top of my form. I have so many people telling me it’s their favorite Disney film.

Alan Menken: During the pandemic, there was this hundred-piece choir doing “The Bells of Notre Dame.” People are picking up on it. It’s the combination of the storytelling and how well the score is constructed that gets it to longevity. If something is good enough, it gets found.

Paul Kandel: I think people were more sensitive. There was an expectation that a new Disney animated film would not push boundaries at all, which it did. For critics, it pushed a little too hard and I don’t think they would think that now. It’s a work of art.

Gaëtan Brizzi: Hunchback is poetic, because of its dark romanticism. We have tons of animated movies, but I think they all look alike because of the computer technique. This movie is very important in making people understand that hate has no place in our society, between a culture or people or a country. That’s the message of the movie, and of Victor Hugo himself.

Jason Alexander: I think it’s an undersung hero. It’s one of the most beautiful and moving animated films. But it is not the title that lives on everyone’s tongue. I think more people haven’t seen this one than any of the others. I adore it.

Peter Schneider: What Disney did around this period [is] we stopped making musicals. I think that was probably a mistake on some level, but the animators were bored with it.

Don Hahn: You know people reacted to Beauty and the Beast or The Lion King. They were successful movies in their day. You don’t know the reaction to anything else. So when [I] go to Comic-Con or do press on other movies, people started talking about Hunchback. “My favorite Alan Menken score is Hunchback.” It’s always surprising and delightful.

Kirk Wise: I’ve had so many people come up to me and say, “This is my absolute favorite movie. I adored this movie as a kid. I wore out my VHS.” That makes all the difference in the world.

Paul Kandel: Sitting on my desk right now are four long letters and requests for autographs. I get 20 of those a week. People are still seeing that film and being moved by it.

Alan Menken: Now there’s a discussion about a live-action film with Hunchback. And that’s [sighs] exciting and problematic. We have to, once again, wade into the troubled waters of “What is Disney’s movie version of Hunchback?” Especially now.

Jason Alexander: Live action could work because the vast majority of characters are human. The story of an actual human who is in some ways less abled and who is defined by how he looks, rather than his heart and character, is timely and important, to say the least.

Kirk Wise: I imagine if there were a live-action adaptation, it would skew more towards the stage version. That’s just my guess.

Stephen Schwartz: I think it would lend itself extremely well to a live-action movie, particularly if they use the stage show as the basis. I think the stage show is fantastic.

Kirk Wise: It’s gratifying to be involved in movies like Beauty and the Beast and Hunchback that have created so much affection. But animation is as legitimate a form of storytelling as live-action is. It might be different, but I don’t think it’s better. I feel like [saying], “Just put on the old one. It’s still good!”

Gary Trousdale: There were enough versions before. Somebody wants to make another version? Okay. Most people can tell the difference between the animated version and a live-action reboot. Mostly I’m not a fan of those. But if that’s what Disney wants to do, great.

Don Hahn: It’s very visual. It’s got huge potential because of its setting and the drama, and the music. It’s pretty powerful, so it makes sense to remake that movie. I think we will someday.

Brenda Chapman: It’s a history lesson. Now that Notre Dame is in such dire straits, after having burned so badly, hopefully [this] will increase interest in all that history.

James Baxter: It meant two children. I met my wife on that movie. [laughs] In a wider sense, the legacy is another step of broadening the scope of what Disney feature animation could be.

Kirk Wise: Hunchback is the movie where the final product turned out closest to the original vision. There was such terrific passion by the crew that carried throughout the process.

Roy Conli: It’s one of the most beautiful films we’ve made. 25 years later, I’d say “Join the party.” [laughs]

#long post behind read more #the hunchback of notre dame #hunchback of notre dame #notre dame de paris #victor hugo #interviews #disney #alan menken #stephen schwartz #quasimodo #esmeralda #frollo #phoebus #movies #movie history

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willowbird · 3 years ago

Note

For the prompt thing, could you do 2 for au, 4 for trope and 5 for prompt with andreil?

Hogwarts au, meet messy, "you have the emotional capacity of a brick"

Dearest anon, how did you know that I have been literally aching for an excuse to do something with a hogwarts au?

For context, because idk if I'll be able to explain it in the ficlet, Andrew and Aaron have been raised by their real father, Joseph Minyard, and his wife, Betsy Dobson, since the twins were seven. Andrew instinctively retaliated against an abuser with magic when he was in foster care, bringing him to the attention of whatever the US's ministry of magic is called (I forgot). They found his dad, who is a British wizard, and also discovered Aaron's existence. The twins, upon meeting each other and finding out they were wizards, chose to stay together and go with their dad rather than risk potentially being separated in whatever system the US magic people has for orphaned magic kids.

(look, I've been thinking about this A LOT okay?)

The following scene would take place the summer before the twins' fifth year. They are fifteen, Kevin is sixteen, Neil is fourteen.

Please be aware that all these characters are a lot younger and significantly less traumatized. I mean, shit still happened to them, but they all get rescued from their abusive home lives a lot earlier than in canon.

---

Andrew Minyard had lost a bet.

It was a really shitty bet, and Andrew should have known at the time that he was being fucking set up. But, well - what was it that broody fucker always said? Oh. C'est la vie. Or something. Whatever.

Point being, Andrew made a stupid bet and then he lost and it was really his own damn fault. Now he was stuck going to stupid Kevin Day's stupid house to play stupid broom-ball over summer break when he could have been basking in the wonders of muggle efficiency like television and air conditioning. What made it worse was that his mom had been so damn delighted that he was going over to a friend's house, too, and Andrew didn't usually have it in him to smash her hopes and dreams when she was so genuinely happy for him.

So. Here he was, broom in hand (because if he had to do this he was at least going to suffer with the familiarity of his own fucking broom), staring up at obviously haunted creaky old manor house that Day apparently lived in.

"Great," he grumbled to himself. "Just.. great." Andrew did not like ghosts, did not like them one fucking bit. They always wanted to chat you up and had absolutely no respect for personal space.

The longer he delayed, though, the longer Day was probably going to force him to participate in his bullshit "training camp", so Andrew straightened his shoulders and trudged up the cracked stone staircase that lead up the hill to the front door of the house. The very second Andrew had both feet on the dilapidated front porch, one hand reaching for the knocker, the front door began to swing slowly open. You know, as they were wont to do in creepy old ghost-infested houses owned by wizards.

Without waiting for a welcome (because the door fucking opened for him, that was invitation enough), Andrew strolled inside. He didn't even flinch when the door slammed shut behind him.

(Okay, maybe he jumped a little bit. Just a little.)

No one was waiting for him in the foyer, because of course that would be too easy. At least the inside of the house didn't look as abandoned as the outside did. On the contrary, the foyer was well-lit and free dust and cobwebs. It opened up into a round sitting room that looked lived-in rather than haunted, personal affects strewn about here and there in vaguely organized chaos and family pictures on the mantle above the fireplace.

This, Andrew had learned quickly upon his introduction to the magical world about seven or so years ago now, was fairly common when it came to magical families living in and around muggle neighborhoods. Sure, there were wholly wizarding villages, but not a ton of them. Most of the magical community had to coexist or at least peripherally exist with the muggle one. With the work of a couple of charms and a heavy dose of aesthetic, a magical family could live comfortably without the muggles looking too closely - and even if they did look closely, it was the haunted old house at the end of the street so strange things were bound to happen around it, right?

Homey as it may be on the inside, it was still actually haunted, though. Andrew had a good sense about ghostly lairs and this was definitely one of them.

Heaving a sigh, Andrew moved through the sitting room and ventured deeper into the house. The sooner he found Kevin, the sooner he could leave.

The rest of the house, Andrew swiftly found, was an uncanny combination of the haunted image it presented to outsiders and the cozy haven of the front sitting room. The hall leading off the sitting room was normal when you looked down it heading away from the sitting room, but when Andrew looked back over his shoulder it was like looking into something out of a cheap horror film (of which Andrew had viewed many, much to his father and brother's chagrin, but his mother liked to critique them with him).

Andrew checked each door he came across. Some of them were locked. Some opened into perfectly normal coat closets and bathrooms. At least one of them opened onto an actual cemetery where a bunch of ghosts were playing croquet. Andrew quickly shut that door before any of them tried to talk to him.

It was when he came to the staircase, however, that he finally started to get somewhere. Voices could be heard when he hit the first landing, but they completely vanished when tried to move beyond it - either further up the stairs or out into the hall. Turning to inspect the walls, Andrew realized that one of them wasn't actually a wall at all, but an illusion -- his hand right through!

"This is getting ridiculous," Andrew grumbled to himself as he stepped through the goddamn fucking wall.

He found himself in a wide, clean hallway bathed in the bright sunlight that was streaming in from the skylights placed every few feet. From one of the open doors a bit down the hall, Andrew could finally make out the words of what was obviously an argument.

"How many times do I have to tell you that I'm not going to your bloody school, Day?!"

"You can't just not go to school, Neil! The Ministry will have your wand, and then where will you be?"

"Oh come off it, do you really still buy into all that regulatory shit? They can't track me if I'm not a student unless they have an open warrant out on me. I could turn the corner store into a giant anthropomorphic pig that pisses coffee and they wouldn't know it happened until the story hit the local news, and even then they'd have a hard time tracking me down, considering those lazy twats barely even know how to read let alone track a rogue wizard."

"Galloping Gargoyles, Neil. Where in Merlin's name do you come up with this shit."

"It's called an imagination, Day. I was able to foster one while not being indoctrinated into the sheep-brain miasma that is Ministry-approved wizarding society."

This 'Neil' was getting more worked up as he spoke, spitting out his words like he was crafting a very pointed hex. There was the scuff of footsteps and a shadow fell across the hall as someone stepped toward the hall. "I'll be leaving now, thanks. Have fun being institutionally programed to fit the conservative mediocrity."

A larger shadow blotted out most of Neil's. "You can't just go, Neil!"

There was a scuffle, then a short kid wearing oversized robes stumbled into the hall. "Try and bloody catch me then, you lumbering infant of a Bandersnatch!" And then the kid turned and bolted down the hall -- right toward where Andrew had paused to eavesdrop on their conversation.

Now, Andrew was all ready to step aside. This was none of his business, after all. If this mouthy kid wanted to run away and join the circus or something, more power to him. He, also, thought school was a nightmare. But then Kevin stumbled out into the hall and shouted, "Andrew! Block him!"

And, well. Look. This was all fucking Kevin's fault. Kevin and his stupid cross-House quidditch club and his obsession with running drills. It was also Nicky's fault, for forcing them all to go so they could bond or what the fuck ever the purpose was. But Kevin shouted 'block!' and Andrew had spent two years as a beater and one year as a keeper and, well, reflexes kicked in.

He blocked.

Except, he had spent two years as a beater, and he was holding a broom. So.

His arms moved on their own, and it was a mighty, vicious swing. The next second the kid was flat on his back, gasping to try and catch his breath. Kevin loped over on legs too long, shooting Andrew an appreciative grin that Andrew kind of wanted to punch off of him.

"What.. the.. actual... fuck..." the kid - Neil - wheezed from the floor.

Now that he was officially drawn into this mess, Andrew allowed himself to indulge his curiosity and slung his broom up against one shoulder to approach the fallen boy. He felt a little bad (okay, more than a little), so he figured he'd offer him a hand up at least. Except, when he got to the kid and looked down he was shocked to find just about the prettiest boy in the whole Nimue-cursed universe.

(Andrew's gay awakening had happened when he was twelve years old. The keeper of the Gryffindor quidditch team smiled at him and told him he'd make a pretty good beater. Andrew had tried out for his own House team the very next week, and it had all been downhill from there.)

Andrew cleared his throat and opened his mouth to say something cool and unbothered, because that's what you did when you met someone pretty and wanted to impress them. Instead, like the utter dork that he was, he said, "Red hair and a hand-me-down robe? You must be a Weasley."

"What the fuck is a Weasley?" the sharp, pretty boy on the floor shot back through gritted teeth, pushing himself up into a sitting position.

Kevin's obnoxious shadow fell across the both of him and he sighed, putting his hands on his hips. "Don't mind Andrew, he remembers everything he hears and has a tendency to regurgitate random lines from other things when he feels awkward or anxious."

"Don't mind Kevin," Andrew followed up conversationally, "he's an insufferable know-it-all with a tendency to overshare and force people to play stupid broom-ball when they should be having a perfectly air-conditioned summer break."

"You emotionally wound me."

"You have the emotional capacity of a brick, don't try me Day."

Kevin rolled his eyes. Neil honed in on Andrew with eerie intensity. "You have an air-conditioner?"

Aha! Mission accomplished: cute boy impressed.

Andrew smirked. "Yup." He popped the 'p', feeling quite good about himself, his earlier bumble placed in the back of his head where he could obsess about it later.

Neil's narrowed eyes scanned him up and down, then relaxed, the blue of them bright and intelligent. He looked like he was figuring something out about Andrew but Andrew had no idea what or why. It took some effort, but instead of squirming he met Neil's gaze full-on. After a long moment, Neil seemed to have made a decision. He pushed himself up to his feet and nodded. "Alright then. You play quidditch?" He gestured to Andrew's broom with the jerk of his chin.

He hadn't noticed it earlier because he'd been so fascinated with the argument itself, but now that he could focus on Neil's voice, Andrew realized that there was something of about his accent. It wasn't that it seemed fake but more that it... it reminded him of his own, back when he'd been younger and had only been in England for a couple of years. He remembered being teased for it, and getting into a lot of fights because of that. Well, he remembered getting into fights because Aaron was also teased, and no one picked on his brother but him.

"I thought you were going to run off and join the circus." Andrew arched a brow.

Neil wrinkled his nose. "No. I'm still not going to your stupid castle school." He paused and looked from Andrew to the broom back over to Kevin and sighed. "But... one or two games of quidditch before I go can't hurt."

Kevin looked overjoyed. He grinned at Andrew and Andrew supposed that they really must be friends now, because he felt quite pleased about that.

"Great!" said Kevin. "Let's go! We should be able to get in some warm-up rounds before the others get here!"

"Others?" Andrew and Neil said with identical inflections of disdain. The sound of an echo startled the both of them and the looked at each other. Then, Neil smiled.

Andrew supposed a day without AC playing stupid broom-ball wasn't so bad after all.

Fun little prompt things

#asks #ficlet prompts #aftg #aftg fanfic #andreil #hogwarts au #andrew minyard #neil josten #kevin day #andrew minyard x neil josten #did this turn into more of of a meet-cute?#meet messy #meet cute

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nightswithkookmin · 3 years ago

Text

Dear new friend,

I just finished reading your messages. First of all, thank you. I think I would have been less traumatized out here if a lot of people took to sharing their thoughts on matters such as these in the manner in which you do.

I think I set myself up too because I be wanting to participate in certain topics and discussions and so often I find myself trying to sieve through the vitriol and pejoratives.

The gender of the word is feminine not masculine. I don’t see how that is misinformation.

"Sorry, the misinformation bit was because I was thinking about that tweet that went viral about this word being used only for woman. The person said it was an adjective, and you said it was an adjective, so I thought you were basing this information on that tweet. That day was crazy, some people spread this, wanted to change his pronouns, trend a hashtag and were saying he had came out... This was too much. And the "debunked" thing was about this tweet, as well. Not about the words being feminine and masculine. That's a fact, you're right."

I had no idea a tweet went viral like that claiming he wanted to change his pronouns. That's wild and I disagree. Lol. I think I've always maintained he uses He/him pronouns and said time and again I do not think he wants to be emasculated at all. As I said, that would have made him transgender not bigender and thus defeat the purpose. To be bigender he has to be two genders at the same time not one.

But I have been following the discussions on this topic on the bird app and I try my best to bring nuance to certain discussions. I try. Lol.

I take note of the differences between your language and Latin as you rightly pointed out. But I also do see the similarities and I think the explanation you gave and the examples you provided gives me a better understanding of the language structure.

"Yeah, totally fine hahah We tend to interpret things according to our own experiences; for me, a gendered word is part of my daily life, normal, and I don't bat an eye about it. Is just a word, the importance is in its meaning ─ and it suits filter SOOO well. For you, it's something more. At the end of the day, art is here to be interpreted, and if Jimin doesn't explicitly explain the filter performance, tattoos, set, outfits... It's open for interpretation. (And I'm not a person that tries to find hidden meanings. I simply enjoy what I enjoy. I have this thing about being as accurate as possible, so I try to stick to facts (like: I don't feel comfortable saying he chose these words, because I don't know if HE was the person that chose it (in the sense that he was the one that bring it up to the staff/company). Maybe someone else showed it to him and he was like: "Nice! I want it!". But I feel okay saying he's had a tattoo with these words (A fact). Also I don't make a big deal of most things ─ for me Jimin is Jimin and I'm supporting him regardless, he's precious)

(But Memories 2020 is coming and I'm almost sure they are going to show filter behind the scenes!!!! So we're going to understand better this masterpiece (I HOPE SO))

I understand what you mean. Some people are inclined towards taking the literal meaning of texts or in this case art and not read much into situations beyond what is presented at face value- not me🤣🤣🤣🤣

I do the magnifying glass and errthang👁

I think humans are complex and there's always a possibility of a psychological and or pathological stimulus underscoring their behaviors, choices and actions in most cases.

But that aside, I think it's easier to take a heteronormative view on things sometimes because cis straight has always been the norm even in appreciating art- but truth is, coding and co opting codified expressions is almost always part of queer culture and behavior too. If any other queer celebrity had used that expression, I would be reading much into it too beyond its semantics.

For me it's simple, would I be reading too too much into the language and art choice of someone I thought was cis straight? Hell No. Straight is boring and blunt as fuck.

Unless of course they were being intentionally witty or secretive about something, I'd assume and expect their expressions to be pretty much straight forward- generally. I went home to be would mean just that.

If I sensed the author were queer coding Home would mean something else entirely to be. Home becomes a symbol not a word. And if he chose to write that in Latin and not the language they spoke naturally, I'd assume there's something about that language that he likes and perhaps uses to code a queer message.

For closeted queer people who live in a world where they are constantly coerced to take on a duality and have an expressional alter egos- two identical identities with one being the facade and pretense through which they openly and largely perform normalcy of self, the other being their real self which they tuck away because it is inconsistent with the acceptable norms- I'd a take a very different approach to their art. But that's me.

If a straight person said they needed escape, it would mean something totally different to me than say if a queer person said they needed escape. Because those two are escaping two very different things.

For example, the words Moon and moonlight used by a straight person means nothing to me- perhaps because I just don't care much to look for its deeper meaning beyond the literal meaning of the words as presented. If it appears in a queer person's parlance, even if in passing, I assume immediately they are referencing something much more deeper, meaningful and coded.

Queer coding is a thing you know? And it's born out of necessity not choice sometimes.

Take for instance BTS's proclivity to 'queer codify' their music. Moon and moonlight has become symbolic of the inner struggles of a queer person amongst black 'educated' queer men and women. It's come to symbolize cultural norms and expectations and how those affect queer people- perhaps of all race.

In the Movie Moonlight, which has become the epitome of queer black struggles and desires for liberation, this motif was used to represent the struggles of a black boy dealing with the pressures of a hyper masculine society.

When RM references this in 4 Oclock, 'the whole world is blue under the moonlight' is he queer coding or just appropraiting queer parlance as buzz word? That expression takes on a whole new meaning were he queer. Blue symbolizes queerness- a theory popularized of course by the Film. When V who once wrote an allegedly 'queer coded song' Stigma says he is blue- what does he mean now? On the surface blue means blue. Would you take a straightforward view on this or assume its symbolic? And what is it symbolic of?? Sadness?? Gayness?

If RM had an accompanying tattoo as compliment to the song in his performance that evoked similar sentiments or hinted at a possible second meaning I wouldn't assume that that tattoo meant nothing or that it didn't have a deeper meaning behind it.

It's just as how Lil Nas X posted a city of rainbows and people said 'rainbows are rainbows. Y'all shouldn't read much into it.' But for queer people that was pretty much a declaration of his sexuality.

Later he had to post again and reiterate that that rainbow post was his coming out moment. 'I thought I made it obvious.'

Somethings are pretty much obvious.

For JM who don't speak Latin- unless he is secretly fluent in which case my bad- I don't think he cares so much about the grammar of the language beyond it's meaning. And perhaps gender? Grammatical gender I mean. That's just because the first thing you learn about Latin is that all the nouns are gendered?

I won't lie. When I first learned that I was supper fascinated about grammatical gender and why speakers of the language felt a need to gender every word of the language.

In the end, we all don't know. I'm out here convinced two Asian men are so gay they can't straight to save their asses. I have a tendency to view everything they do through queer lens. If they are not gay I'm pretty much gaslighting them you know?

I'm always fascinated by different point of views on a myriad of subjects. Just as you said, our diverse experiences inform our experiences and perspectives. I just hope people acknowledge how their straightness informs their understanding of queerness too and how that has a tendency to be invalidating and dismissive of queer issues and experiences.

But to me it's like, if Jikook are gay why do you have to interpret what they do through straight lens?

Personally, I wouldn't interpret straight through queer lens and force that view on to straight people. That would be homonormative? Assuming rainbow means straight people are gay when they are not, moon means feminine to straight men, that the use of the word God makes one a Christian- that's just silly and bizarre.

I use Namaste often and suddenly some people here think I'm Indian. I wish. They have one hell of a culture.

When I was reading through your messages, all that kept playing in my head was- that's a very 'straight' view on the matter. Lol. Please tell me you got the pun. Lol.

I think my opinion will remain the same on the matter if you placed any queer person in Jimin's stead. Any queer person that I believed was queer and had hinted a few times at exploring a dual identity or going through that phase at least.

I think I'd enjoy your blog if you had one.

I love love the lesson on Italian or is it Spanish?

Also, I would love your take on V and Stigma. A lot of queer stans have a queer reading of the lyrics- I see the appeal however I don't have a queer reading of it at all. Thoughts??

Namaste.

Signed,

GOLDY

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crimsonheart01 · 4 years ago

Text

Make the Season Bright (Fred Weasley x Female!Reader)

A/N: FRED DESERVED TO LIVE! We were all robbed and I will spend my days making sure that fanon supersedes canon! To my lovely Nonny who requested this, here is the wintery fluff Fred Weasley we all need!

Prompt: 24. “I’m watching the Barbie Nutcracker.”

Word Count: 2.2K words

Playlist: The Christmas Song - Nat King Cole [YouTube] [Spotify]

Warnings: None!

“They know that Santa’s on his way He’s loaded lots of toys and goodies on his sleigh And every mother’s child is gonna spy To see if reindeers really know how to fly.” The Christmas Song – Nat King Cole

He apparated into the alleyway behind her apartment complex and peered around the corner to ensure that no muggles caught him. The snow was falling in thick flakes, the silence of it crossing over everything. He could see the busy street of muggle cars zooming by, but their sound muffled by the weather. An experience not everyone got to experience. It was hard to explain, but it was one of his favourite things about winter, the hols aside. He thoroughly enjoyed a serene snowfall.

He scanned up and down the parking lot before making a clear beeline for the double low-rise apartments in front of him. His booted feet crunching with each step. He murmured a quick charm to brush away his footprints from the alley behind him. It was unlikely that anyone would notice the one-way prints, but he didn’t want to compromise himself or her.

A flurry of snowflakes floated past him in the breeze, and he hunched his shoulders forward while shoving his mittened hands into his pockets. He really should’ve worn a thicker jumper. There was no way she was going to believe he hoofed it on the underground all the way here in what he was wearing. He briefly thought about transfiguring it into a peacoat but knew it was putting too much at risk. He’d find a way to distract her from asking too many questions.

He hopped up the few steps into the courtyard, heading to his left to come up to the building doors. He paused before pressing on her buzzer and looked up into the second-floor window. He could see that her curtains were pulled closed, but he could still make out her shadow on the couch. He could see the flicker of light from her TV.

He was called out of his thoughts by the sound of someone approaching. Fred had become a keen ear on all things around him ever since the war. He figured it was overcompensation for George losing one of his. He spent more time reading body language and listening to everything around him. He could catch the smallest scrape from across the busy shop. In tonight’s quiet, it wasn’t hard at all for him to hear as the door was unlocked and then the hesitation of the other person before stepping through.

“Hey, buddy,” The stranger next to him called out, “You coming in or not?”

Fred whipped around, always surprised at the cold politeness of muggles. It made him chuckle. They were still offering to hold doors open or letting people pass, but it was always coated with distinct antipathy. He guessed that it wasn’t too much different from the way that the old purebloods of the wizarding world looked down on everyone else. That forced civility with the lower class always present in the way they held themselves.

He smirked to himself. The thought that purebloods and muggles had something in common made him want to taunt and tease a few specific people, but the war was over, and people were trying their best to move on and, in some cases, change. However, he knew that if others were making attempts to adjust to a new society, he couldn’t continue to treat them as unkindly as he’d done in the past. Shaking his head, he brought himself back to the present and turned fully towards the door.

With a broad smile to the other man, he nodded, “Yes sir, thanks!”

He bustled through the opened door behind him, and they parted ways as Fred skipped up the stairs two at a time. He was fascinated by the layout of muggle apartment buildings. Everyone in the wizarding world, or at least everyone he knew, lived in houses—most similar to the Burrow but some as grand as a Manor.

Reaching the second floor, he turned to his right to the first door and knocked lightly while trying the handle. The latch popped open, and the door opened easily under his touch. He raised his eyebrows in concerned shock but then remembered that they made this arrangement a few days ago. She was expecting him.

He poked his head through the door, looking straight and then to his right to where she was curled up on the sofa. He grinned at how comfortable she looked. There was a mug in her hand while her feet were curled next to her on the cushion with a blanket thrown over her lower half. He admired her small grin as she watched whatever was on the screen, but he found he couldn’t take his eyes off of her.

He sent a silent prayer out to Granger, the smartest muggleborn out there. She’d given him a crash course in all things muggle that had helped him woo this fine woman. He was still trying to find the courage to tell her who and what he really was, but it was always hard. Every time he found himself on the verge of uttering that infamous phrase, he always chickened out. Oh, if George could see him now.

Pushing the door open, he extended his arms out with a flourish, “Honey, I’m home!”

He did a bit of a spin while she looked over at him and chuckled at his entrance. The sound of her laughter sent his heart into a flurry, and his stomach filled with butterflies. He realized at that moment that tonight was going to be the night that he finally told her. Stopping in his twirl, he leaned over her sectional couch and sent her his signature wink. She clutched at the mug in her hands as she tipped her head to the side and laughed out loud at his antics.

He quickly toed off his shoes and shed his jumper, hat and gloves. He hopped over the back of her sofa, ignoring her protests as she stepped all over the cushions until he was cuddled up against her. He leaned in as close as he could get, only her cup stopping him from making it all the way. He gauged the scowl on her face, finding the mirth laying unhidden in her expression. He lit up into a bright smile before smashing his lips against hers.

She sighed at the greeting, letting her shoulders relax and her hands holding the mug settled into her lap. She lifted one hand away from the item to lay it against his cheek, sneakily threading her fingers up into his hair. He broke the kiss with a fake but content growl. She laughed again, quietly, only for the two of them.

Taking a liberty, he lifted her cup and leaned forward onto the table while taking a moment to watch the movie playing. He furrowed his brows at the scene before him, utterly confused. She’d shown him animated movies before, but this one looked very strange. Almost as if they were plastic dolls or something. He wasn’t sure he liked it.

He snuggled back into her, ducking under one of her arms and wrapping both of his around her.

“What’re we watching?” He asked, his eyes glued to the screen.

She smiled, “I’m watching Barbie Nutcracker.” There was a bit of pause where she shifted to get more comfortable before continuing, “I always watch it at least once around this time of year. To satisfy my younger self.”

He didn’t know what to say to that, having no idea what a Barbie was, so all he did was nod in agreement. Together, they hunkered down and finished the entire film, Fred weirdly fascinated with the storyline. He recognized a few tidbits from wizarding traditions, but so much had been dumbed down by, or even for, muggles. He wondered if this was the only version there was out there or if they had multiple ones.

It didn’t take long for the movie to end, and he found himself wanting to ask her a thousand questions, but as the credits rolled up the screen, she shuffled out from under him. He pouted at the loss of her warmth, but when she bent to pick up her mug, he understood.

She walked around the coffee table, calling over her shoulder, “Do you want a hot chocolate?”

He watched her as she went, wondering again how he managed to get her to give him any time of day. Instead of spending too much time stuck on the how, he focused on the now.

“Yes, please, my dear.” He shouted out to her.

He heard her tinkling laughter at his response before there was the sound of her moving about her minuscule kitchen. He continued to stare at the direction she’d gone in, resolving to figure out a way in how to announce his truth. He wondered if he could apparate quickly over to Granger’s flat and get her opinion on the matter, but he figured that was stomping over boundaries and chose not to do it that way. Or perhaps a Patronus to his twin and give him a double surprise.

Letting out an aggravated groan, he stood up and wiped his suddenly clammy hands down his jeans. Why couldn’t this be any easier? He strolled around the sofa to pick up his effects and hang them up properly. As he was walking over to the coat rack, he dropped a mitten, and as he bent to pick it up, a small WWW box fell out of his pocket. He eyed it warily, knowing he hadn’t put it there, and before he could figure out who or what it was, it was exploding into the room around him.

There was a loud bang as their signature product burst to life in her tiny living room. He heard the clank of cups onto the counter and heard her footsteps as they came running. He swallowed, panicking and tried to yell for her to stay put, but it was too late. She was standing in the entryway of her kitchen, staring directly at him and the Weasley’s Wizard Wheezes fireworks popping off around him.

He glanced over at her sheepishly. This was quite a stitch and one he was completely inept at talking himself out of. How did he explain magic to a muggle?

“Oh, Merlin,” She whispered, more to herself than anyone.

Fred floundered for an explanation, but once he registered her exclamation, he stopped.

“You’re a – are you a witch?” He blurted out.

She licked her lips, staring at the bright W now illuminating her entire flat.

“Are you one of the Weasley twins?” She countered.

They both stared at each other, astonished at the turn of events. Then simultaneously, they registered the other’s question and answered at the same time.

“Yes.”

“Merlin.”

Then they both dissolved into shocked laughter. She leaned heavily on the wall behind her before sinking down to the floor, giggles continuing to fall out, to the point that she was wiping tears from her eyes. Fred followed suit, finding himself sitting cross-legged in the middle of her living room. With a quick wave of his hand, he snuffed out the fireworks and left them sitting there with nothing but the smell of gunpowder and fresh hot chocolate between them.

“You lied!” She exclaimed, pointing a finger over at him, “You told me your last name was Weekes!”

His mouth fell open at the accusation, and he tried to feel ashamed, but he was in the same boat as her.

He pointed back, “You lied to me too! You let me think you were a muggle this whole time!”

She laughed incredulously, “Only because I thought you were one!”

“We’re a right pair, aren’t we?” He shook his head, running a hand through his hair.

A long moment passed where neither one said anything. They were both processing the events that had transpired. Then Fred looked up and regarded her questioningly.

“Do you really live here?” He asked.

She grinned and let out a huff, “Yes, I prefer it.”

Then he had another thought, “How come you didn’t recognize me?”

“I had my suspicions at the beginning, but after a while and all the hints I kept dropping, I figured I was making a baseless assumption on the red hair.” She shrugged.

He let out a loud guffaw, “I wish George were here to see this. He’d be in stitches over all of this.”

She smiled over at him, realizing belatedly that she’d been dating one of the most eligible bachelors this side of the Atlantic. She blinked a few times, the shock of that setting in. She wondered if she should mention it, but he didn’t seem phased by it when he thought she was a muggle, so maybe it wasn’t worth worrying about.

“So, where do we go from here?” She finally asked.

He gave her a wicked grin, “You wanna see the shop after hours?”

She raised her eyebrows, “Really?”

“Yeah, I happen to know the bloke who runs the place,” He nodded conspiratorially.

She let out an amused and slightly exasperated sigh, his classic mischievousness and devilish personality connecting a lot of dots. She nodded at him before crawling over the short distance between them and taking his face in her hands. She kissed him soundly, rendering him speechless.

“No more secrets.” She murmured, and he nodded in full agreement.

#fred weasley #fred weasley x reader #fred weasley imagine #fred weasley imagines #harry potter imagines #harry potter imagine #fred lives #12 days of ficmas 2020 #holiday prompts

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iron--spider · 4 years ago

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Okay, so. Cherry. I loved Cherry.

Behind the cut is a review of sorts, with some spoilers and some loving and some bitching! It’s very, very long.

The reviews and responses have been rolling in for months now, and there have been a few notorious critiques that had me worried. As most people who follow this blog know, I’m not the biggest fan of the Russos, for reasons that are obvious lmfao. I was hoping this would be a different situation, especially since I’ve gotten to watch a LOT of interviews where they’ve discussed why they made certain choices in the film, why it’s so personal to them, etc. But the early reactions really got me nervous and I was worried they’d botched this one. I got an early screening on February 12th through American Cinematheque, and I went in looking forward to Tom and anxious about everything else.

I loved it. I loved every single choice that was made, on every single level. I’d like to preface this by saying I absolutely hated the book. Sure, it had moments, shining lines here and there, but overall I felt nothing for the main character and the stream of consciousness and the way the events were presented. The absolute lack of an ending. When I read the book I already knew Tom was gonna be in the movie, so I was building what I wanted the film to look like in my head.

The narration. I knew we would need that to keep the story grounded, to give it a center, and they included that and it worked so beautifully. Breaking the fourth wall. The entire book you feel like this guy is talking to you, and if there was anything to carry over, it was that connection with the audience, but they enhanced it by paring it down and using his eye contact and words to us sparingly. A solid, almost unreliable POV from the main character, which they included in spades with all their different stylistic choices, from the different lenses to the names of the banks and the authority figures to the lack of information about particular things to the quick cuts in certain places and lingering shots in others. The stylistic choices were one of the main things, if not THE main thing, everybody has been complaining about, and I was truly sitting here expecting something outrageous. But it all flowed beautifully, it all felt extremely purposeful, and none of it took me out of the moment. In fact, all of it immersed me even deeper in the movie and the story, and made the lead even more real. We were seeing it all through his eyes, through his feelings, through his changing circumstances. It was an EXPERIENCE to me, a journey that needed these particular choices. I feel like the whole thing would have been more of an uphill battle had they not done the six chapters, so that’s another choice I felt like added to the film in a positive way and made it better. It also highlighted the changes that the main character was going through in such an excellent fashion, and added to the whole ‘odyssey’ feel.

Before I get into speaking about Tom, I will speak critically for a second. I’ve seen this thing four times now, three viewings before the review embargo was up and one after. I tried to watch it from a different headspace and see what they were talking about. My opinion never really changed drastically, but I can acknowledge some things. I loved the ‘breaking the fourth wall’, but I do think there could have been more of it. It enhanced the movie a lot for me and there were a couple more moments where I could have gone for it (though I think people do miss some of the eye contact moments, such as the one in the car during the whole thing between James and Pills&Coke). I think the entire bit in the beginning is absolutely necessary to get to know our character and understand where he’s beginning, what his circumstances are, but I do think it pales in comparison to the rest of the movie. I didn’t notice the first couple times, but while he’s in the doctor’s office discussing pain levels/PTSD, there’s a cut to the doctor that’s literally a millisecond long that was pretty unnecessary. I can also say that the scene with Tommy (drunk guy in the bar) was one of those moments from the book that didn’t need to be included, though it’s clear that they were trying to test the character’s mettle for the upcoming war he’d have to participate in because of his bad choices, and it was also a look at a version of what he could (would) become after he got home. But it didn’t really need to be in there.

Those are literally the only things I “didn’t like”, and even then that’s the wrong phrasing, because I liked everything lmfao.

Ciara was a casting choice I questioned initially, purely because she has such a young-looking face, but I was completely incorrect about doubting her. She killed it. She’s such a natural actress and she was able to meet Tom beat by beat in such a difficult story. Their chemistry was lovely. In fact, I loved all of the supporting characters and what they added to the story. They made the whole experience that much more real.

Now, Tom. I mean. You guys know I love him and a lot of people like to say that if you have a bias towards someone, your opinion counts less when it comes to judging them. But I feel like there’s a reason why I have this bias to begin with, and it’s because Tom’s talent is just undeniable. He always pulls me in, he always makes me excited for what’s next, he is everything I want to see in an actor. He brought Peter to life in a way that had never been done before, and he uplifts every single movie he touches. This one really gets me particularly emotional because he’s said on so many different occasions that Cherry means a lot to him, because of the work he put in and because of the message it carries and because of the people he met and learned about during the whole process. I just—there are hardly any words big enough or meaningful enough to even describe his performance. It’s one for the ages. It’s agonizing and heartbreaking and mammoth. It is truly special. I know that they changed the book a lot, so this is based on a real person and his real experiences, but in the end it’s more of a composite of what Nico was at the time and not an exact replica—so I feel safe in saying that Tom, through this huge, powerhouse of a performance, created an entire person that felt so, so real. You can feel his past and all the memories in his head and the way he thinks about things. You can imagine what he’d say about something in a scene without him actually saying it. This character changes so drastically from the first scene to the last, and yet you still feel like you know him as he progresses through his journey. Tom expertly weathers every single nuance, every time the character experiences a moment that will push him further into darkness, every hesitation despite falling headfirst into such mistakes. I love Tom because he’s so subtle even in his bigger moments, and by this I mean he’s always got layers upon layers upon layers going on in each individual moment. Like the hospital scene in particular, after Emily’s overdose. There’s so much going on with Tom’s character there, from the deep horror in possibly losing the love of his life, to the heavy shame he feels in having facilitated her journey here. Just the way his voice hitches as he tries to help, while still hiding what they’ve done. The way he avoids the nurses’ gazes as he’s trying to connect with them to get an answer about her well-being. The way he almost deflates when he finally reveals that she took heroin. He is phenomenal. Every moment and every movement tells you more about this character, and that’s just down to Tom’s incredible talent.

Tom deep dives into every moment and commits fully. People have asked me what my favorite scene in this film is and it’s so hard because the entire thing is just a showcase of just how good he is. The bus station scene in particular stands out, because it’s one of those moments where he just truly disappears. The entire movie you hardly remember you’re watching Tom, but in that scene it’s like you’re there, like you’re actually witnessing this heart wrenching moment between two broken people. The way he shrinks into himself with that horrific shame after what’s happened to her. The complete and utter pain in his eyes when she tells him there’s no stopping what she plans to do. Tom never ever seems like one of those actors who knows what’s coming, who has rehearsed this moment or that moment over and over and over again. Everything is natural, everything comes as it comes and that’s why what he does feels so real. He isn’t acting. He is becoming.

The Russos have said more than one time that they chose Tom for this role because he’s so likable and you feel empathy and sympathy for him, and that’s also one of the best changes from the book. The character feels so far from you in the book, you feel so disconnected from him, but Tom just has something that connects you with him, that makes you root for him. Every single time. He’s one of the most immensely watchable actors I’ve ever seen. If this was any other “indie” actor, any of the Hollywood favorite directors, I know this film would have been an awards darling.

That leads me to how critics are behaving. This movie was not the movie they made it out to be. They have loved films that are so much more outrageous in terms of story and filmmaking choices, and yet they’re acting like this is the craziest most off the wall thing they’ve ever seen. It’s really really whack and over the top to me. These ~film~ people, professionals and “film Twitter” have gotten it in their heads that as soon as someone is involved with Marvel movies that they’re suddenly damaged goods, can’t act, can’t do their jobs. I feel like Scarlett is the only one who’s escaped from this, with JoJo and Marriage Story, though the latter did get some slack, too. It drives me insane when all of these people writing about Tom are like “oh this is such a departure from Spider-Man!” No, Spider-Man is a departure from all his previous films. The vast majority of his movies are dramas. His first movie was The Impossible! But despite all this, critics love to shit on him and bring him down because he’s Spider-Man. It absolutely doesn’t help that this was helmed by the Russos, in fact it hurts the situation even more. Critics revel in bringing them down, in acting like they’re glorified for no reason. And like I said, they’re not my favorite, but these critics knew what their opinion was gonna be before they even watched Cherry. And they held onto that no matter what they actually felt. Thankfully, MOST of them are acknowledging how wonderful and impressive Tom was. But whatever score this movie has on RT now (a site that should be abolished, frankly) it doesn’t deserve something so low.

I understand film is subjective. But these people don’t seem to. I hate the gleeful “Cherry is bad!” bullshit, which goes beyond criticism so many times, is always extremely exaggerated, and acts as if because this particular person believes it’s bad, then everyone else should as well, and if they don’t, they don’t understand film. I’m tired of this shit and I’m tired of them underestimating and trying to stop Tom in his tracks. They want so desperately for this MARVEL BAD narrative to be true that they’ll rip these people apart whenever they get the opportunity. It felt very strange to have already seen the movie when the embargo was lifted, because it was like “did they see the same movie I saw?”

After all that, I’d just like to say, do not be influenced by people like that. That’s what they want. They want you to listen to them and completely write off the movie, forgoing to see it at all. Please make your own decisions—if you love Tom, this is not something to be missed. He is a revelation. I personally, and wholeheartedly, think it was a beautiful movie. I’m gonna watch it again. It reminded me of so many of my favorites, and it rose above them too. It did not shy away from its subject, it is a cautionary tale, but it is told with love, with care and with kindness. It’s clear this was done by people who are close to the subject, who want people who struggle with PTSD and drug use to come out of the shadows they’re forced into and get the help they deserve. Cherry is so rewatchable to me, and it’s so staggering to see Tom just shine here. He is the best actor of his generation. And he’s only getting better.

#cherry #tom holland #if this is TLDR just know that i loved it and i don't think you should listen to critics #watch it to find out for yourself #but i loved loved loved it

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allthefilmsiveseenforfree · 4 years ago

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Godzilla vs. Kong

From the first rumble in the seats in the Dolby theater, I was so glad I chose to see this movie on the big screen. At times it felt like I was on one of those “4-D” roller coasters where the seats rumble and they spray water on your or pipe smells into the audience. That’s how close I was to the action! As at least a casual fan of the previous entries in the Monsterverse, I was looking forward to Godzilla vs Kong and my goodness, those medium expectations sure were met. How medium was it? Well...

I would like the science in this movie to win Best Comedy or Musical in next year’s Golden Globes. This is probably the hardest I’ve laughed in a theater in over a year (obviously there are other reasons for that, but the sentiment still stands). This movie was nonsensical, loud, shiny, dumb fun and I had a great fucking time watching it. Oh, you probably want a plot summary - I’m just gonna refer you to the title of the film. That about covers all you need to know.

Some thoughts:

“Somewhere on Skull Island” - whaaaaat is with this title card? It’s a tiny island. How many possible locations could there possibly be for a giant fuck-off ape to be taking his nap?

I know we’re not here for any semblance of plot but boy, they really sprained something trying to lift these clunky paragraphs of exposition into anything resembling what actual humans would say.

These opening credits are one of the funniest sequences I’ve seen in ages.

My main man Brian Tyree Henry! I had no idea he was in this (frankly I knew virtually nothing about this movie because what do you even need to know about a movie with the title Godzilla vs. Kong). He’s playing a completely different vibe than I’ve ever seen him play - the comedic relief and a mile-a-minute vaguely conspiracy theorist podcast host who is obsessed with Sir Zilla and the other Titans. I really enjoyed seeing this other side of him!

Absolutely terrible waste of Kyle Chandler, who was probably paid more than my yearly salary for 60 seconds of Protective and Frazzled Dad perfection.

One of the highlights of the film is the performance of young actress Kaylee Hottle as Jia. Jia is Deaf, and so is Kaylee in real life, and I’m always here for more Deaf representation onscreen! And her friendship with Kong is one of the few things in the movie that elicits any genuine emotion of any kind. When he booped her I literally said “Aw!” out loud.

The visuals of the hollow Earth are very cool and remind me of those space age desktop backgrounds that most of the guys I know who built their own PCs and spent a lot of time on Tor.com would have had.

Even the most ridiculous films like this one will sometimes include little bits of worldbuilding that are thoughtful and have fascinating implications. For example, the “Titan Shelters” in Hong Kong - who pays for those? The government? Do rich people have reinforced private Titan Shelters while poor folks have to rely on the public ones, which are likely overcrowded and possibly don’t have enough resources? (I think we all know the answer to that).

I am very much enjoying all the neon in the Hong Kong fight, and how much more visually interesting it makes two giant blobs slamming their blob bodies against each other while causing a staggering amount of property damage.

Finally a realistic “I can crack the password!” scene!

Did I Cry? Ok, a teeny tiny bit, about Kong and Jia’s friendship.

Times I laughed LOUDLY in the theater: when Mr. Zilla, who can literally shoot lightning out of his damn mouth just straight up punches Kong in the face. When Kong gets attacked by all those lizard things in the hollow Earth and just uses one motherfucker to slap another motherfucker. When they use an anti-gravity machine (whatever that actually means) as a defibrillator for an ape that is sometimes as big as a skyscraper and other times as big as a mountain.

And now a series of questions:

Why is this high school class just watching the news in the middle of the day? The G-Z has attacked cities at least 3 other times in this universe that we know of. Like, this isn’t their 9/11, this is a thing that just regularly happens.

You decided it was a good idea to transport Kong over the ocean...where Big Daddy G hangs out all the time? Like...that’s where he lives, you guys. You’re basically trying to sneak Kong over the roof of Godzilla’s house and hoping he doesn’t notice.

OH and you had a Kong-sized net and a team of Kong transport helicopters ready the WHOLE TIME? But you still chose “sneaking over Godzilla’s house” as your first plan of action????

How long can Kong hold his breath? He goes underwater for some long ass periods.

In fact, what are the details of Kong’s physiology in general? How tall is he? Because at one point in his fight with The GZA, he’s standing on the floor of the Tasman Sea, no big deal - except the Tasman Sea has a depth of roughly 18,000 feet. And Kong’s just chilling out in the water at waist level? But he’s also shorter than the skyscrapers in Hong Kong? I choose to believe he can grow and shrink at will because that makes more sense than the sloppy joe approach to his biology the screenwriters are using.

I like Millie Bobby Brown as much as the next guy, but does it bother anyone else that she always sounds congested? Is that a consequence of her doing her American accent? It’s incredibly distracting.

Oh, this entire scene is set in Antarctica but no one is wearing hats or gloves? Sure sure sure.

And no one is having any problems breathing the air in the middle of the fucking earth? No one thought to check that the atmosphere was breathable before everyone takes off their helmets? No noxious fumes to worry about in the center of a planet that produces magma and shit?

You’re taking your child to the literal center of the earth? Is this not the ONE TIME you think you might need a babysitter?

The ship that can *checks notes* withstand the forces present during an entire reversal of gravity is crushed by Kong’s fist like it’s a tube of toothpaste?

Even though the Earth is hollow, I’m assuming the distance to reach the core is still about the same, so Godzilla’s lighting can 1) act as a drill to - I cannot reiterate this strongly enough - the CENTER OF THE FUCKING EARTH and 2) Godzilla and Kong can yell at each other for 3,958 miles (give or take) and still hear each other? Do they have superhearing? Is this something we’re studying or are we content to just have them Hulk smash all of that incredibly important evolutionary biology to bits while everyone stands around?

Because this is a “vs” movie, of course there is no clear-cut “winner” at the end. Instead the two parties leave each other with a grudging respect formed, an uneasy truce in place. But I’m obsessed with the way this final scene plays out, as though Godzilla is a bitter ex walking away from Kong after their doomed relationship has run its course. The lighting, the soft music, the absolute melodrama of this giant lizard slinking slowly back into the sea. Godzilla is giving the gays everything they want in 2k21 and I am here for it. Here’s hoping the next entry in the franchise has Kong hooking up with Rodan to make G jealous and they all have a messy public fight over brunch, Real Housewives style.

If you liked this review, please consider reblogging or subscribing to my Patreon! For as low as $1, you can access bonus content and movie reviews, or even request that I review any movie of your choice.

#121in2021 #godzilla vs kong #godzilla vs kong review #millie bobby brown #brian tyree henry #kyle chandler #rebecca hall #Alexander Skarsgard #kaylee hottle #godzilla #king kong #movie reviews #film reviews

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jcisthebestfightme · 4 years ago

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5 times Yizhan choose each other over something else + 1 time we can do the same for them

Disclaimer: Treat this as fanfiction, because it’s actually based off a bjyx fanfiction prompt on ao3: “5 times yizhan were asked to make a choice between love and any other thing”. I saw this prompt over a month ago and it stuck with me. Since I don’t have the patience to write an actual fanfiction, I started to observe if I can realistic instances to fit this prompt.

1) Gg chooses dd over his pride. During the TJ fan-meetinng, the host talked about gg and dd’s thin waist. Dd was extremely unhappy and rudely rebutted the host. Afterwards, it can be seen that gg is telling dd that it was fine and he should’ve just laughed it off. Here, gg is more worried about dd being seen as “rude” and would rather take the hit than to cause harm to dd.

Easter Egg: The tone here is almost scolding, warning dd that his straightforwardness could be misinterpreted and use against him. Gg is usually polite but this lecturing response shows us that he treats dd as someone that he cares about, someone that is close to him.

2) Dd chooses gg over dancing. I’ve mentioned more in detail here. But basically, dd loves to synchronize his dance moves exactly with the beat of the music. Usually when dancing by himself or with others, he’s more focused on the dance moves. Even with his own trainee, he is more focused on demonstrating the right moves (becoming a role model) and hoping they can catch up to him. However, when dancing with gg on variety shows, he’s more focus on synchronizing with gg and making him feel comfortable. (People joke that he’s watching his face and not body.) He would repeat moves he already did or moves backwards when gg did in order to match him. Of course there is also the difference between dancing for fun vs dancing for a performance. But we can all see how happy dd is after he dance with gg regardless.

3) Gg chooses dd over his schedule. This comes directly from Bombology (great video btw, highly recommend.) Gg was suppose to be filming a commercial for two days. However, dd wanted gg to attend the 11th anniversary of ttxs where every host brings their “musical partner”. (Strange right? They’re acting partners, not really musical partners. But the key here is that gg’s attendance that day was NOT to promote The Untamed.) The director of the commercial later said during a live stream that they had to condense their 2 day filming schedule into 1 because gg had to go film ttxs. What goes into this change in schedule? For someone as polite and serious about their job as gg, it probably took him a lot of apology and coordination with the other cast and crew to achieve this, not to mention extra work now that they have to fit 2 days of filming into 1. And then when he went to ttxs, he had to learn the aforementioned dance routine on the spot. Did he seem mad about all this? Nope. He did it in whatever way to make dd feel happy.

4) Dd chose gg over motorcycle. Everyone that knows WYB knows how much he loves motorcycle. His fans are even call “motorcycle jie jie” because he once said his motorcycle is his girlfriend. So this became a shock to me when I noticed something. This may be over or mis-interpreted so don’t quote me on this. Remember the bts where gg said that dd sent him 5 high-def photoshoot images? Dd then refuted with “What no, you sent photos to me first.” Gg then said “I send you photos of helmets.” (The sub here said selfies but if you listen carefully, it’s actually helmets. It’s probably helmets that gg is asking dd to choose for his birthday present.) However, dd didn’t hear the word helmet and continue to argue, “You sent me selfies.” Then gg admitted that he sent selfies but that they weren’t high-def photos with large files. The point here isn’t that dd misheard selfies for helmet, but the fact that gg did indeed sent both helmet AND selfies. But what did dd pay attention to and remember more? The selfies. Yes, dd has found someone that grabs his attention more than motorcycle.

You think this is stretch? dd mentioned before in order for him to want to talk to you, you must have some similar interest with him like skateboard or motorcycle, etc. However gg has 0 interest overlap with him yet he talks to him the most.

Easter egg: One time, during an interview, the host ask dd what he would respond to fans saying “You only have us.” He said “No, I still have my motorcycle.” What is interesting is that when he said motorcycle, he looked over at gg who was sitting next to him.

5) Gg chooses dd over rest. During the filming of The Untamed, you can see dd having more energy and wanted to play with/bother gg. But gg has significantly more lines to memorize and scenes to film so he’s usually either tired or trying to memorize his lines. There are of course instances when he does play around with dd. But what’s more telling are the times when he needed some rest or some time to focus on his lines and dd is just frankly (to me), being annoying. However, gg never once demonstrate any body language or words of finding him annoying. Yes he does tease him like saying “shut up” or telling others to ignore him (I think that roof thing had something more to it though, related to something that happened earlier that day but I’m not really sure). But even during these times, you never feel like he’s annoyed at dd. Instead, even when he’s busy, he’s creating a safe environment for dd to just play around and be himself.

I just want to point out that even though they made each “choice”, none of these are “sacrifices.” They willing did these things for the one they love and they never have to feel like they’re giving up a part of themselves for each other.

The 1 time we can choose them over ourselves: Respect them. Do not give false media the means to harm them by ignoring negative, berating news. Do not give stalker videos or information attention so they’re not encouraged. Support all their works, even if certain contents may “ruin the ship” because that’s part of their job. And if bjyx turns out not be real, be happy for them anyways because they found people that can make them as happy as they are now.

#bjyx #yizhan

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chaotic-tired-cat · 3 years ago

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world walker to date is one of my most favorite fanfics ever. it's so well-written! not too op, with real difficulties and plot, but still light-hearted and funny! <3 <3 <3 <3 <3 i hope life smoothens out for you so we can get an update of this awesome story! :D :D :D

Aaaa thanks Anon!! This ask made me super happy - I'm glad you like World Walker and that it hit the right balance between angst and comedic moments (tbh that's one of the things that's really hard to get right). Things are still hectic but as soon as they're not that chapter is getting finished!!!

Since it might be a while, have a post-World Walker scene from the pov of a couple civilians. It was written to try out Cryptid as Izuku's hero name (/^o^)/

(Note: this scene isn't canon to World Walker and was written before I knew how the story would end.)

“Why do you even think this is going to work?” Yua hovers around Mariko’s efforts in the Denny’s parking lot, careful to avoid stepping on the complicated design taking place under Mariko’s second piece of chalk. The first one was sacrificed to ward off a raccoon. They specifically chose to do this after midnight for the ambiance, but Yua is starting to have second thoughts.

It’s very dark, and they’re both fem-presenting teenagers with emitter quirks in a deserted part of town.

This is not a good place to be.

“I got the pattern off a hero,” Mariko assures her. “You know how I was in the gym when Uravity's fight hit school, right?”

Yes, and Yua is trying desperately to forget the worst day of her life, thank you.

“Uravity and Cryptid dug me out, but it was weird, because he drew this symbol on a piece of the roof and it just- stayed. In the air. Even when nothing was supporting it.” Mariko pauses, beaming at the magic circle that’s mostly made of lines and squiggles to complete the aesthetic. One of the symbols doesn't look right. It slides out of focus, and Yua carefully steps back, because hell no.

“How is that supposed to help us summon a ghost-”

“Finished! Start filming, hurry, hurry, hurry!” Mariko drops her piece of chalk as Yua scrambles to swipe open her camera. Before Yua can stop her, Mariko has drawn a pocket knife, cut the pad of her thumb, and is smearing blood on the unsanitary parking lot ground.

Delightful.

Her hand is going to get so infected.

That’s right about when the air above the circle tears itself apart.

Mariko shrieks. Yua almost runs, then remembers herself and makes sure her phone is pointed at the sliver of starlight shining out of thin air. She knows her horror film tropes. Whatever they released into the world is taking them first, but she can at least get a video account to warn people of what they did.

Eaten by a demon or some shit. That’s a bomb-ass obituary.

Pro Hero Cryptid crashes out of the portal, one hand protectively wrapped around a bowl half-full of salad. His Uravity sweatshirt mostly obscures Froppy sweatpants, but Yua is more alarmed by the fact that Cryptid looks surprisingly human. No needle-sharp teeth, no starlit eyes. Spinach flutters to the ground around the hero in a gentle shower of greenery that nestles in his curly hair as if adding to the foliage. He stares blankly at them, then at the scribbles under his feet, before pointing a truly pissed-off look at the sky.

“Are you serious?” Cryptid yells at the city skyline. A spinach leaf falls off his shoulder. “Right in front of my salad?”

“Holy shit,” Yua whispers, and discovers that she can, in fact, be more embarrassed than the time their teacher made the whole class sing ‘Happy Birthday’ while she stood in silent mortification on a chair. “We summoned him.”

Mariko claps both hands over her mouth to keep in her laughter, eyes wide. “We really did.”

This seems to draw the hero’s attention back to them.

“You two okay? Yes? Nobody’s hurt? Oh, thank goodness.” Cryptid stabs a fork into his vegetables, shoves it into his mouth, and makes grabby hands for the chalk. Mariko passes it over with a potent mix of awe and glee.

“I am so sorry,” Yua breathes.

Mariko sniffs. “I’m not.”

“And I’m glad to be summoned,” Cryptid finishes with a sunshine-smile. He’s very… human. The wrinkled eyebrows he directs at Mariko’s chalk art do not resemble the otherworldly creature that showed up during All Might’s last battle. “Better for me to be dropped here than for y’all to get… hm. Yeah, this is good.”

Hm?

Hm??

What does ‘hm’ mean?

Yua reaches over and frantically swats at Mariko’s sweatshirt in an attempt at telepathically communicating her many, many feelings concerning accidentally summoning a hero into this godsforsaken Denny’s parking lot.

“How did you find a stasis glyph?” Cryptid mumbles around his fork.

“Copied it from you. My quirk lets me mimic actions if I see them without blinking.” Mariko peers around his shoulder at the lines taking form.

“That’s such a cool quirk,” Cryptid tells her instantly. “Do you need a clear line of sight? Is it only capable of copying real-life actions or can you use recordings? Oh, are you limited to your own flexibility and strength, or is this a mirror skill instead of a mimic? You could use that for anything, it’s a very adaptable power.”

Yua cautiously edges closer to give the camera a better angle at the ground while Mariko preens. “What are you even doing?”

“Editing. Here, look- right there, you tied it down with intent contrary to the meaning.” Cryptid shuffles over so she can see and points out a circled section. He smudges out the blurry patch.

Mariko watches eagerly as the hero replaces it with a mishmash of lines that Yua can actually make sense of. “I don’t understand any of what you just said, but hell fuckin’ yeah, you funky lil’ cryptid.”

“Oh, sorry. I get called whenever the void gets angry, and this is the language it speaks,” Cryptid says, like this makes sense. He taps the lines eagerly. “Put a stasis glyph on the ground and continents will stop shifting, which is a whole lot of bad news."

"Uh huh," Mariko says. Yua swats at her again, because there's no way she understands and going along with this for entertainment value alone is going to get them into some sort of horror movie B-Plot.

Cryptid just looks amused. "Next time you need to experiment, use a paper base instead of the concrete. It’s safer. And- is that blood?”

“Maybe,” Mariko says, partially as a dare for him to say anything because she isn’t really the type to listen to anyone, regardless of if they’re a hero. “It worked, didn’t it?”

“Huh. Yeah, you got me there.” Cryptid puts his bowl of salad on the ground and fishes around in his Uravity sweatshirt for a tiny med kit.

“Where’d we go wrong,” Mariko asks, like they are ever going to try this again. Yua hisses for her to stop and is ignored with the extreme confidence of someone determined to keep making the same continuous mistake until success is summoned through stubborn willpower alone.

“You didn’t need to hurt yourself.” Cryptid bandages her hand, slips away the medkit, and says gravely, “Blood never brings anything good.”

“Holy shit,” Yua repeats as Cryptid takes a bite of salad and goes right back to his art project like this happens every other Tuesday. Mariko glares at her, but honestly, this is the wildest thing.

The hero keeps saying things.

“Not to lecture either of you, but it’s a bad idea to mess around with unborn languages without supervision.” Cryptid hands back the chalk and takes another bite of his salad. “This stuff can blow up in your face. So, can I escort you guys anywhere? Because it’s a little dark and this isn’t exactly the safest part of town.”

That’s about when Yua realizes something under the spinach is glowing.

#Anon #Tired cat asks #World Walker #Fic snippet

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tomhardysteeth · 4 years ago

Note

u wanna say anything for spn ending? Today's their last day of filming

Yeah sure! I love how you worded this ask, it makes me want to give a very serious answer. I’ve been rewatching random episodes the past few days and thinking about how much of my life was shaped by this random lil tv show, both positively and negatively, so here we go.

I started watching Supernatural during my junior year of college, when I was grappling with being gay and religious, and had a pseudo-girlfriend who was emotionally abusive. I remember I started watching the show because I had been on tumblr for a while and thought, well this is a popular show on tumblr and looks like something I’d enjoy, so I might as well try it. I remember barely paying attention to the first season and thinking it was kind of silly, and I distinctly remember making fun of it right up until the season 1 finale when that truck slammed into the Impala and I said oh.

I remember sitting in the dining hall between classes, hiding in a corner with my pink headphones and my laptop, watching one episode after the other, completely consumed by it. My personal life was a mess at the time and I was angry and sad and frustrated, but I could forget about everything for a little while when I watched spn. I remember falling in love with Dean Winchester, season 3, when Sam gave him the amulet.

Because I had already spent a lot of time on tumblr, I knew about Castiel. I couldn’t wait to get to season 4, the anticipation killed me. I didn’t really have a choice in shipping destiel, I literally shipped it before I even watched a single episode of the show lol. My first time watching seasons 4 and 5, I remember how mad I would feel every time the opening credits scrolled at the bottom of the screen and Misha Collins wasn’t listed. I cared about almost nothing but Dean and Cas interacting with each other. I was totally enamored by them, by their potential. At some point I got over that and watched the show because I liked the show, but boy did my heart and brain break for destiel.

I broke up with my abusive girlfriend. I started coming out to more people, including people involved in the Christian campus ministry I was heavily involved in, and it was very very hard. It was 2013. The first episode of Supernatural I watched live was the episode where Dean turns into a fucking dog.

I don’t remember when I started reading fanfic, and I had no idea how to read fanfic. A friend invited me to ao3, what is ao3? I didn’t know. I used my email address as my username. I read Twist and Shout and Pie Without Plot and other very popular fics that I knew about because everybody knew about them. I vividly remember the first fics I read because I was 21 years old and had never had an orgasm in my life and believed sex was sinful and so when the sex scenes in fics turned me on, I felt guilty about it.

I quickly got over that and started writing explicit destiel fanfic.

I still had no idea what I was doing. I know the very first fic I ever wrote was a mess, I’ve completely erased all traces of it, but other than that I began posting with abandon. Pretty much everything I’ve ever written for spn is still on tumblr and/or ao3. I was running a Hannibal blog at the time and started posting more Supernatural content than Hannibal content, so I created a sideblog, @deancasheadcanons, and things very quickly got out of hand after that.

I was depressed, I was confused, I was spending my last couple years of college trying to figure out my sexuality, trying to hold onto a religion that was rejecting who I was becoming, trying to find my identity while picking a career path and being sad and being pulled in a hundred different directions. Sometimes I was working three jobs at once, on top of 17-credit-hour semesters. I was getting a degree in a field I did not care about, and I spent every class reading and writing fanfic, scrolling through tumblr, making internet friends, letting my life be consumed by Supernatural. I projected myself completely onto Dean Winchester and partially onto Castiel and did not even realize it.

I started dressing like Dean, and my sister and brother-in-law noticed and assumed I was gay. They were extremely unsubtle in their attempts at getting me to come out by pointing out the flannel and army jackets, and I did not have it in me to admit to them that I was dressing like a fictional character, but I DID tell them I was bisexual.

I went to therapy every week during my senior year of college, and I was embarrassed about how often I talked about my “internet life,” as I called it. I remember having the arbitrary goal of getting 1,000 kudos on a fanfic, and I remember the day it happened for the first time and I remember going to therapy that week and saying that I didn’t feel any different, that I thought getting attention for my writing would make me feel better, somehow, but I still felt the same, and my therapist asked me if I would still be writing if I was the only one who got anything out of it and I said yes. But I was still obsessed with writing things that were meaningful, and despite the fact that I would receive 10 negative/mean anons per day, I never turned anon off because I desperately wanted people to tell me that my writing meant something to them, that it mattered to them. I was fighting with myself every day over my sexuality and my identity and my purpose, and I put all of that on the shoulders of Dean and Cas.

There was also chubby!dean. I had lived my entire life with this inexplicable thing, this shame that I knew I could not share, that I knew I would just have to suffer with for my whole life, and then I joined the spn fandom and found that there were others like me, others that had a fetish and had similar experiences as I did and were drawn to Dean Winchester because there’s no other character that could make eating and gaining weight be as enticing as he makes it (in fanfic). For the first time in my life I had a community of people that I could relate to about a thing that I never thought I would ever be able to talk about with anyone in my life. I don’t remember if I consciously chose to start posting publicly about it, but at some point I did, and I started writing kink fic, but I was still so uncomfortable with myself and so scared of the things I felt, and I tried so hard to temper myself and not offend anyone and not go “too far” and not be too weird and I was so sexually repressed and pent up and full of guilt and shame, and so now when I go back and reread some of the stuff I wrote it feels like reopening an old wound and letting myself bleed out.

I was constantly comparing myself to others and wondering why I wasn’t getting as much attention as so-and-so, and I always made excuses about how maybe my writing was too weird and I was too much and maybe I just wasn’t good enough and I hated myself and wanted to delete everything I ever wrote, but also I’m awesome and receive a lot of attention and get a lot of good feedback but maybe that means I’m just a narcissist! I acted like an asshole online and justified it by saying it wasn’t really me, that I could be someone totally different on tumblr than the person I was in “real life,” but in hindsight, now when I think back on my early 20s, I cannot separate what I was doing in “real life” from what I was doing in the spn fandom. I shared so much of myself with the spn fandom without even recognizing that that’s what I was doing.

And I made mistakes, god I made mistakes, and I tried to be so careful about everything I said but I was also presenting a certain version of myself to the spn fandom so that people would like me (for instance: running a destiel blog and trying my best to hide the fact that I also ship wincest) and still I got in trouble constantly, and I grew bitter and mean because you can only receive the “when are you posting the next chapter?” comment so many times before you want to bang your head into a wall. I became defensive and unkind, afraid to check my inbox because it was a nightmare, and yet unable to turn off anon because, like I said, I desperately needed that feedback, I needed people to tell me that they felt what I felt, that they understood what I was writing and why I was writing it.

I expected Supernatural to give me everything I needed. I fantasized about Dean Winchester being canonically bisexual because I thought it would confirm something in me, that it would somehow make my life a little bit easier. I didn’t want to watch other shows that could maybe help me, I wanted Supernatural to do things for me that it had never promised and would never deliver, and it’s because I was defined by it for so many years. Now that I’m back on tumblr, I’ve been going back through some of my old posts on deancasheadcanons and it’s like reading a stranger’s words. Even so, I find myself telling people “I was deancasheadcanons” instead of “I ran a sideblog called deancasheadcanons” because it really was such a huge part of my identity. What’s wild is that every time I’ve tried to explain it to someone in real life, they just look at me like I’m not making any sense.

It was easy to stop watching Supernatural. I didn’t have cable, and I had been driving to my dad and stepmom’s house each week and watching it on their tv after they had gone to bed. I was in a new relationship with a woman I nearly married, I was back in school for a new career, I was working full time and absolutely did not have time to continue writing fanfic as prolifically as I had done for so many years. I finally reached a breaking point in 2017 and haven’t watched any new episodes since then (I don’t remember the last episode I saw). But now, as I rewatch some old episodes, it is easy to feel the way I felt the first time I watched the show. It’s easy to see why this campy little heartfelt show was a lifeline during my formative adult years.

So it turns out I have never reckoned with any of this, have never written it down, hence the 2k jumble of words you see here. And it’s like, I know that a lot of this may seem silly, trivial, especially for a show that in itself is not very serious, but as it comes to an end I have to reflect on it as a person who put so much of my heart, my creativity, my pain and my floundering identity into it. I am somewhat embarrassed and wish I could respond to this ask with a joke instead, but we’re in a pandemic and I live alone and have had way too much time to think and reflect and become a lot more self-aware, and part of that reflection has definitely been about my time in the spn fandom. I remember thinking the show was never going to end, yet here we are at the end and I felt compelled to type all this out with a desire to, I don’t know, get some closure? Convince myself that I was a whole person, that I wasn’t just a faceless URL posting destiel fics into the void, that my real life was not at all disparate from the time I spent online? In any case, I’ll always think fondly of the time I devoted to Supernatural, and I’ll take the good and the bad and everything in between. Thanks for the nice ask, anon, apparently I needed to get some things off my chest.

#madd replies #long post #spn for ts #this is 2k words i am sorry lmao #wouldn't it be cool if i had any semblance of chill

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teawizard-n-coffeewitch · 4 years ago

Text

The Staffordshire Spell

1. Spilled Coffee

The actress moves with grace as she proceeds to walk up the stairs and accept her Emmy. The audience clap and cheer as she smiles softly at them. The scene then unfolds to her walking down the red carpet, after the award ceremony and her red dress helping her stand out from all the other celebrities.

"Exquisite footage of Tina Goldstein-- the great movie star of our time -- an ideal -- the perfect star and woman -- her life full of glamour and sophistication and mystery." Newt mutters to himself as stops looking at the shop's teli (television) and continues on his way.

We follow him as he walks down Manor Drive Road, carrying a brown briefcase in one hand. It is spring.

"Of course, I've seen her films and always thought she was, well, fabulous -- but, you know, million miles from the world I live in. Which is here -- Staffordshire -- not a bad place to be..." Newt tells himself, exciting Manor Drive Road and entering Burton Market Hall.

"It's a full fruit market day." Newt thinks to himself, observing the countless of people swarming in both the inside market hall and outdoor market.

"There's the Outdoor Market on Market Place, Burton. Open on Thursday, Friday, and Saturday. Selling every fruit and vegetable known to man..." Newt points out, as he studies the cabbages when he walks beside the veggie stands.

Existing the market hall Newt notices a man in denims walking out of the tattoo studio. Newt shakes his head solemnly. "The tattoo parlour -- with a guy outside who got drunk and now can't remember why he chose 'I Love Ken'..." The man looks at his arm and has a confused face, and frowns, as if he were experiencing a headache.

Newt continues walking and passes the hair salon. "Ah, the racial hair-dressers where

everyone comes out looking like the Cookie Monster, whether they like it or not..." Newt teases and sure enough, a girl exits the salon with a huge threaded blue bouffant. Newt coughs back a laugh and walks quickly.

Before he knows it, it's Saturday and the Weekend Antique Market is in full swing. Newt smiles softly at the smiles of the tourists and locals, all shopping. "Then suddenly it's the weekend, and from break of day, hundreds of stalls appears out of nowhere, filling Burton upon Trent with a frantic crowd in the market... and thousands of people buy millions of antiques, some genuine..." Newt thinks, walking down the stands, studying the antiques.

His eyes settles on a stall selling beautiful stained glass windows of various sizes, some featuring biblical scenes and saints. "... and some not so genuine." Newt thinks, frowning a bit.

As Newt continues his walk, he passes by a familiar door. He smiles proudly. "And what's great is that lots of friends have ended up in this part of the United Kingdom -- that's Jacob, soldier turned baker from New York, who recently invested all the money he ever earned in a new bakery..."

Newt waves at Jacob as he's proudly setting out a board outside his bakery, the sign stating; Today's Special is Pumpkin Juice and macaroons! Jacob waves back at Newt with a huge smile.

"So this is where I spend my days and years -- in this small village in the middle of the U.K -- in a house with a Robin egg blue color door that I bought after best friend left me for a man who looked like Callum Turner back in London. That man being my older brother..." Newt thought to himself before he arrived outside his blue-doored house just off Peel's Cut.

"... and where I now lead a strange half-life with a lodger called..." Newt shuffles his keys back in his pocket as he yells, entering the house, "Credence!" Newt walks towards the large kettle in the house.

The house has far too many things in it. House plants, some dishes scattered, and a few clothes on the floor. Definitely two-bachelor flat.

Credence appears. An unusual looking fellow. He has his black hair in an unusual haircut, and an unusual Welsh accent: very white, as though his flesh has never seen the sun. He wears only shorts.

Credence smiles at Newt. "Even he. Hey, you couldn't help me with an incredibly important decision, could you?"

Newt smiles crouching down and puts on his gloves before he begins petting his temporary companion platypus, named Niffler. "This is important in comparison to, let's say, whether they should cancel third world debt?" he asks looking at Credence.

Credence nods, snapping his fingers happily. "That's right -- I'm at last going out on a date with the great Nagini and I just want to be sure I've picked the right t-shirt."

Newt closes the kettle and nods at Credence. "Alright then. What are the choices?"

Credence smirks proudly. "Well... wait for it..." He pulls on a t-shirt and shows Newt. "First there's this one..."

The t-shirt is white with a horrible looking plastic alien coming out of it, jaws open, blood everywhere. It says 'Avada Kedavra.'

Newt stays silent. Just eyeing the shirt. He smiled awkwardly as he stutters, "Yes -- might make it hard to strike a really romantic note.

Credence hums as he thinks. Nodding, he replies, "Point taken." He heads back up the stairs... and talks as he changes. "I suspect you'll prefer the next one." Newt smiles, intrigued at the next shirt Credence will show him.

He re-enters in a white t-shirt, with a large arrow, pointing down to his flies, saying, 'Get It Here.' Credence has a huge smile as he says smugly, "Cool, huh?"

Newt laughs softly before answering awkwardly, "Yes -- she might think you don't have true love on your mind."

Credence nods, taking Newt's advice. "You are right. Wouldn't want that..." he says and back up he goes up the stairs. "Okay -- just one more." Newt hears him speak loudly.

He comes down wearing the last shirt. The shirt has lots of hearts, saying, 'You're the most beautiful woman in the world.' Newt smiles approvingly.

"Well, yes, that's perfect. Well done." Newt says, holding a thumps up. Credence laughs happily. "Thanks. Great! Wish me luck!" Credence says.

Newt salutes him with two fingers, "Good luck."

Credence turns and walks upstairs proudly. As he does so, revealing that on the back of the t-shirt, also printed in big letters, is written 'Fancy a fuck?'

Newt chokes back a laugh before turning around, shaking his head. He puts on his long blue coat.

Newt then walks up towards a house plant and picks up his pet Phasmid. A green stick insect, whose name is Pickett. He grabs him on his hand and gets his brown brief case with his other hand. "Come along now." Newt tells Pickett as he opens the door and yells a farewell to Credence.

And so it was just another hopeless Saturday, as Newt sets off through the market to work, little suspecting that this was the day which would change his life forever. As Newt walks down the busy street a woman, with short dark hair and a dark long coat, dashes pass him. She covers half her face with her coat and Newt just gives her an odd look.

Finally he arrives. In front of a small corner bookshop. This is work, by the way, Newt's little Zoology book shop...

A few years ago he was a Zoologist at the London Zoo but now he owns his own Zoology bookstore. The reason being was because after his best friend left him he was devastated. Being in London hurt so much he moved far away and kept close to himself. When the opportunity presented itself, a small bookstore just a few houses down his home was perfect.

Thus why a small unpretentious shop... named 'Magical Creature Books' was in the street. The book shop, well, sells creature books -- and, to be frank with you, doesn't always sell many of those. Newt enters and sets Pickett down on the shop's bonsai tree. He studies his small shop. It is slightly chaotic, bookshelves everywhere, with little secret bits round corners with even more books.

Bunty, Newt's sole employee, is waiting enthusiastically. She is very keen, an uncrushable optimist. Perhaps without cause. She's a pretty small young woman with frizzy blonde locks and a sweet smile. Like Newt, she has a passion for zoology as well.

A few seconds later, after Newt has hung his blue coat, he stands gloomily behind the main desk.

"Classic. Absolutely classic. Profit from major sales push -- minus 347?" Newt mutters, punching in numbers on the calculator. Bunty frowns sadly at her boss's sad state. "Shall I go get a butter-beer? Ease the pain." Bunty suggest with a small smile. Newt smiles back.

"Yes, better get me a half. All I can afford." Newt sadly jokes as Bunty shakes her head with a soft laugh. "I get your logic. Butter-beer coming up." She salutes and bolts out the door. As she does, a woman walks in. Newt only catches a glimpse of her.

He continues working before he looks up casually and finally he sees her. His reaction is hard to read as he awes the woman. It's the same woman who dashed past him earlier. She takes off her shades and places them on her head. After a pause... Newt breaths calmly.

"Can I help you?" Newt asks, a bit nervously.

The woman who just entered is none other than Tina Goldstein, the biggest movie star in the world-- here -- in his shop. The most subtle woman on earth in his opinion. Newt is speechless. This cannot be happening. How? Why? In his shop? When she speaks she is very self-assured and self - contained.

"No, thanks. I'll just look around." Tina replies softly, her eyes with a spark of hesitant. Newt nods, "Alright then." He watches as she wanders around and picks out a small book on the coffee table.

Newt doesn't know how or why he did it but as Tina proceeds to open the book and skim through it, he can't help but blurt out, "That book's really not good-"

Tina stops and raises an eyebrow at him. Newt flushes awkwardly as he stammers, "J-Just in case, you...you know, boring turned to buying. You'd be wasting your money." He curses at himself for acting like such a fool.

"Really?" asks Tina, slightly finding Newt's red face amusing.

"Yes." Newt flushes before embarrassing himself more by adding, "This one though is... very good." He picks up a book on the counter.

"I think the man who wrote it has actually studied Komodo dragons, which helps. There's also a very amusing incident with its hatchlings." Newt stutters out, scratching his back neck nervously.

Tina just stares at him before she replies, "Thanks. I'll think about it." Before he can apologize for acting like a fool Newt suddenly spies something odd on the small TV monitor beside him.

He gives Tina an apologetic look as he mumbles, "If you could just give me a second." Newt then walks out of his main desk. Tina's eyes follow him as he moves toward the back of the shop and approaches a man in slightly ill-fitting clothes. She studies at how he'll approach the situation.

"Excuse me." Newt begins, a bit nervous. The man raises an eyebrow at Newt. "Yes?" he asks, giving Newt an odd look. Newt winces, knowing this won't be easy. "Bad news." Newt begins.

"What?" the man asks in an annoyed tone. "We've got a security camera in this bit of the shop." Newt says. The man tries to keep it cool as he shoots back a, "So?"

Newt crosses his arms, trying to act a bit confident. "So, I saw you put that book down your trousers." The man just stares at him.

"What book?" he challenges. Newt sighs. "The one down your trousers." he adds embarrassed.

"I haven't got a book down my trousers." the man snaps to which Newt's ears turn red. "Right -- well, then we have something of an impasse. I tell you what -- I'll call the police -- and, what can I say? Er -- If I'm wrong about the whole book-down-the-trousers scenario, I sincerely apologize." Newt offers to which the man stays silent for a moment.

"Okay -- what if I did have a book down my trousers?" asks the man to which Newt replies, "Well, ideally, when I went back to the desk, you'd remove the Mythologies of Basilisk Snakes from your trousers, and either wipe it and put it back, or buy it. See you in a sec." Newt says before returning to his desk. In the monitor Newt glimpse, seeing the book coming out of the trousers and put back on the shelves.

The man drifts out towards the door. Tina who has observed all this, is looking at the book on the counter, the one Newt suggested.

"Sorry about that..." Newt apologies to Tina as she walks up to the cash register and places the book she was skimming through.

"No, that's fine. I was going to steal one myself but now I've changed my mind." she lightly teases before seeing how the book she was about to purchase had a signature. "Signed by the author, I see." she points out to which Newt replies with a soft laugh, "Yes, we couldn't stop him. If you can find an unsigned copy, it's worth an absolute fortune. That's Gilderoy Lockhart for you."

Tina gives him a small nervous smile. Suddenly the thief man is there, standing right beside Tina.

"Excuse me." he begins. Tina looks at him. "Yes?" she answers. "Can I have your autograph?" he asks, making Tina look a bit uncomfortable before nodding. He gives her a piece of paper and pen and she gets it.

"What's your name?" Tina asks him boldly. "Tom." the young man replies to which Tina nods. She signs his scruffy piece of paper and gives it to him. He tries to read it before asking, "What does it say?"

"Well, that's the signature -- and above, it says 'Dear Tom -- you belong in Azkaban.' " Tina says without missing a beat.

"Nice one. Would you like my phone number?" Tom asks to which Tina smiles and acts as if she's thinking deeply. "Tempting..." she begins breaking out of her thoughts, "but... no, thank you."

The man, Tom, then leaves, leaving Newt and Tina alone.

"I apologize about that." Newt begins, making Tina shake her head and hold her hand out to stop him from apologizing.

She hands Newt a twenty euros note and the book he said was rubbish. He talks as he handles the transaction. "Oh -- right -- on second thoughts maybe it wasn't that bad. Actually -- it's a sort of masterpiece really. None of those childish mythology stories you get in so many books these days." Newt word vomits out nervously as she looks at him with a slight smile.

He gives her the book she just purchased with a small smile. "Thanks." Tina says and walks out the shop quietly. And leaves. She's out of his life forever.

Newt leans on his desk, a little dazed. Seconds later Bunty comes back in, with two butter-beers at hand.

She gives Newt his. "Thanks. I don't think you'll believe who was just in here." Bunty's face breaks out with a shock expression as she asks, "Who? Was it someone famous?"

But Newt's innate natural English discretion takes over. He knows better than to expose Tina's whereabouts.

"No. No-one -- no-one." Newt replies causing Bunty to frown. They set about drinking their butter-beers.

"It be exciting if someone famous did come into the shop though, wouldn't it? Do you know -- this is pretty incredible actually -- I once saw Grindelwald. Or at least I think it was Grindelwald. It might have been that broke from 'Pirates of The Caribbean,' John."

"Johnny." Newt corrects Bunty as she snaps her fingers. "That's right -- Johnny." Bunty repeats the name with a smile.

"But Johnny Depp doesn't look anything like Grindelwald." says Newt as he finishes his butter-beer.

"No, well... he was quite a long way away." Bunty points out. "So it could have been neither of them?"

"I suppose so." Bunty says slowly. "Right. It's not a classic anecdotes, is it?" asks Newt. "Not classic, no." she says.

Bunty shakes his head. Newt takes her empty butter-beer cup and throws it in the garbage can, along his.

"Right -- want another one?" Newt asks her to which she nods. "Yes. No, wait -- let's go crazy -- I'll have an ice coffee."

Newt groans but obeys her order. And so be it, Newt sets off to the only place in the street that makes coffee; Jacob's bakery.

Entering the bakery Jacob pulls him into a hug and decides to catch up on their morning. Newt desperately desires to tell Jacob about Tina but in the end, decides to not. Jacob gives Newt two ice coffees and teases him about finally acting like an American. Newt rolls his eyes as he collects his coffee.

He swings out of Jacob's bakery, biding him a farewell and as he turns the corner of the road he accidentally bumps straight into someone.

That someone being Tina! The cold coffees, in its paper cups, fly out of Newt's grasps, soaking Tina.

"Oh Mercy Lewis!" Tina gasps as her white button shirt is soaked in black coffee. She tightens her hands on her brown bags.

"Oh I am so so sorry. I really do apologize!" Newt stutters as he tries helping Tina.

"Here, let me help." Newt offers as he grabs the paper napkins that came with the coffees and tries to clean the soaked coffee off -- getting far too near her breasts in the panic of it...

Tina jumps back as she snaps, "What are you doing?!" Newt jumps back, realizing his stupid mistake.

"Nothing, nothing... I swear! Look, uh..I live just over the street. Uh... you could get cleaned up." he offers awkwardly as she glares at him.

"No thank you. I need to get my car back." Tina replies, trying to wipe the coffee out of her shirt.

"I also have a phone." Newt mumbles. "I'm confident that in five minutes we can have you

spick and span and back on the street again... in the non-prostitute sense obviously."

In his diffident way, he is confident, despite her being genuinely annoyed. She sighs before she turns and looks at him.

"Okay. So what does 'just over the street' mean -- give it to me in yards." Tina orders, placing her hand on her forehead, as if she were experiencing a headache.

"Eighteen yards." Newt automatically replies, surprising himself. He points to his house's blue door. "That's my house there. The one with the Robin egg blue color door."

Tina's eyes follow his finger and she sees that he doesn't lie -- it is eighteen yards away. She looks down, debating if she should allow him to escort her or not.

She looks up at Newt and nods softly. He nods and together they walk towards Newt's house.

They pass by many people but no one seems to recognize Tina. She is once again, hiding her face with her black coat and shades.

They both enter Newt's house and stand in the corridor. She carries a few stylish bags. She gives Newt an uncertain look.

"Come on in. I'll just..." he begins and walks in further -- it's a mess. He kicks some old shoes

under the stairs, picks up Pickett's scattered food and hides a plate of Credence's breakfast in a cupboard. Tina enters the kitchen slowly.

"It's not that tidy, I fear." Newt apologizes, as he stands nervously.

Tina doesn't seem to mind and realizing why she's in his house in the first place, he guides her up the stairs, after taking the bag of books from her and settling them down the stairs. On top of a small coffee table.

"The bathroom is right at the top of the stairs and there's a phone on the desk up there." Newt tells Tina as he tries gesturing with his hand where the bathroom is. Tina nods and she heads upstairs.

The second Newt hears the bathroom door close he enters the kitchen and goes mad. He's tidying up frantically; from throwing dishes in the sink, to wiping the long wooden table clean, and sweeping. Then he hears Tina's movement on the stairs. Newt stops and sees as she walks down, wearing a new set of white jeans and a blue silk shirt beneath her black coat. Newt is utterly dazzled by the sight of her.

"Would you like a cup of tea before you go?" Newt asks, trying to cut the awkward silence.

"No thanks." Tina replies.

"Pumpkin Juice?"

"No."

"What about coffee -- oh- er-probably not." Newt says as he moves to his very empty fridge -- and offers its only contents. "Something else cold -- soda, water, some disgusting sugary drink pretending to have something to do with fruits of the forest?" he offers as Tina stares at him.

"Really, no." she insists.

"Would you like something to nibble -- apricots, soaked in honey -- quite why, no one knows -- because it stops them tasting of apricots, and make them taste like honey, and if you wanted honey, you'd just buy honey, instead of apricots, but nevertheless -- um -- they're yours if you want them." Newt stutters holding the glass jar of apricots soaked in honey.

"No." Tina answers, as she observes Newt make a fool out of himself.

There is a moment of silence before Newt, stupidly but boldly asks, "Do you always say 'no' to everything?"

There is a pause. Frankly because Tina did not expect Newt to ask her a question so... striking. She looks at him deep and cocks her head to a side before replying softly, "No."

There is silence again but it's not awkward. It's a moment of peace before Tina breaks it, saying, "I better be going. Thanks for your help."

"You're welcome and, may I also say... heavenly." Newt says as he closes the fridge door, leading Tina back to the corridor, "It has taken a lot to get this out loud. He is not a smooth - talking man." Newt takes a deep breath before says daring, "Take my one chance to say it. After you've read that terrible book, you're certainly not going to be coming back to the shop."

Tina looks at him and smiles. She's cool and well amused at his opinion for that book she bought.

"Thank you."

Newt looks down nervously, "Yes. Well. My pleasure."

He guides her towards the house's blue door. "Nice to meet you. Surreal but nice." Newt reveals causing Tina to silently laugh. In a slightly awkward moment, he shows her out the door. She gives him a nod before stepping out. He closes the door and shakes his head in wonder. Then slaps his forehead as he mutters, " 'Surreal but nice.' What was I thinking?"

He shakes his head again in horror and wanders back along the corridor in silence. There's a knock on the door. He moves back, speaking up, "Coming."

He opens the door and is surprised. It's her.

#newtina #newt scamander #tina goldstein #fantastic beats and where to find them #fbawtft #salamander eyes

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