#Kai 626

[yamayuandadu]

"Nine-headed hermit": the early history of Zhong Kui (and his sister)

Gong Kai's painting Zhongshan Going on Excursion, showing Zhong Kui, his sister and various demons during a journey (wikimedia commons) Zhong Kui is probably one of the most recognizable figures from Chinese mythology today and continues to star in novels, movies and other works. However, his modern image largely depends on sources the Ming and Qing periods. In this article, I’ll attempt to instead shed some light on some lesser known aspects of his earlier history. You will be able to learn why he was called a ���nine headed hermit” despite having only one head, what he had to do with foxes, when his sister was portrayed as an exorcist like him, and more. As a bonus, I’ve included a brief summary of Zhong Kui’s reception in medieval Japan.

The earliest history of Zhong Kui

Zhong Kui’s history goes all the way back to the Zhou period (most of the first millennium BCE). A homophone of his name (鍾馗), zhongkui (終葵; also zhongzui, 終椎) at the time referred to a type of ritual mallet used to expel demons. During the Six Dynasties period first cases of this term (now written as 鍾馗 ori 鍾葵) being used as a personal name start to pop up. The purpose was most likely to confer the protection granted by such objects to a child just through their name. Numerous cases are attested, and it doesn’t seem the bearers of the moniker Zhong Kui can be distinguished by a specific origin, social class or even gender. The earliest possible reference to a specific supernatural being named Zhong Kui comes from the Taishang Dongyuan Shenzhou Jing (太上洞淵神咒經; “Scripture of the Divine Incantations of the Abyssal Caverns of the Most High”), a Daoist work possibly composed as early as in the fourth century. The oldest surviving copy of the passage concerning Zhong Kui has been identified in a copy from Dunhuang dated to 664. He appears in it as an assistant of king Wu of Zhou and Confucius (sic) who helps them subjugate ghosts and disease demons. It is not impossible that to the compilers of Taishang Dongyuan Shenzhou Jing Zhong Kui was only a stand-in for an exorcist, though, not a single well defined figure. There’s an eyewitness account of such specialists dressing up in leopard skins, painting their faces red and announcing they are Zhong Kui in another, slightly newer Dunhuang text. It specifies that many Zhong Kui exist, and that they answer to the “General of Five Paths”, an originally apocryphal Buddhist figure eventually canonized as one of the kings of hell (you can find an excellent article about him here). In any case, regardless of the clear evidence for ambiguous use of the term in earlier times, it is agreed Zhong Kui became a well defined figure by the end of the Tang period. That’s also when legends about his origin started to circulate.

The legend of Zhong Kui

A typical depiction of Zhong Kui as a Tang period official by the Qing period artist Lü Xue (wikimedia commons)

According to the most popular version of Zhong Kui’s origin story, he was a scholar from the Zhongnan Mountains who lived during the reign of Gaozu of Tang (reigned 618-626). He took part either in the imperial examination or the imperial military examination (that’s an ahistorical detail - it was established by Wu Zetian in 702), but failed. This detail is not elaborated upon further in early accounts, but by the Ming period it was attributed not to lack of skill but rather to prejudice against Zhong Kui’s physical appearance (he is fairly consistently described as dark-skinned, unusually tall, with a bulbous head and excessive facial hair). It’s possible that this new backstory was based in part on experiences of real officials of foreign origin, whose appearance was sometimes mocked by their peers, as already documented in Tang sources. Another possibility is that the descriptions were meant to be exaggerated to the point of making him resemble a demon, though. Either way, out of despair caused by failure Zjong Kui committed suicide by smashing his head against the steps leading to the imperial palace. However, since in his final words he swore to protect the emperor and his realm, he didn’t return as a vengeful ghost, but rather as a queller of malevolent supernatural entities. Alternatively, he took this role out of gratitude for Gaozu, who was saddened by his death and organized the burial worthy of an honored official for him. Note that in later plays which often serve as the basis for modern adaptations, the burial is typically arranged by a certain Du Ping (杜平), a friend of Zhong Kui from back home. Apparently a version in which the kings of hell are so impressed by Zhong Kui that they decide to make him the king of the ghosts also exists, though I was unable to track down its original source. In any case, he is associated with Mount Fengdu - one of the terms referring to the realm of the dead - in a poem by Song Wu (宋无; 1260–1340) already. He, or at least generic clerk figures based on his iconography, also sometimes appear in Song period paintings of the Ten Kings.

Several Zhong Kui-like clerks from a depiction of hell in Sermon on Mani's Teaching of Salvation (wikimedia commons)

According to Shih-shan Huang a single example of such a figure has even been identified in a Manichaean context, specifically in the scroll Sermon on Mani’s Teaching on Salvation.

Manichaean curiosities aside, supposedly the first person to be aided by Zhong Kui was emperor Xuanzong of Tang. At some point he fell gravely ill. In a dream, he saw a demon who attempted to steal a flute which was one of his most prized possessions. However, the attempt was foiled by a fearsome giant, who dealt with the thief rather brutally, poking out one of his eyes and then devouring him. After completing this act of demon quelling, he explained that he is Zhong Kui, and how he came to fulfill his current role. After waking up, Xuanzong felt healthy again. He was so impressed he commissioned Wu Daozi, arguably the most famous artist in China at the time, to prepare a painting of Zhong Kui which could be used as a talisman against any further supernatural issues. Supposedly it left quite the impression on the general populace, and soon numerous images of Zhong Kui started to be distributed as talismans. There is definitely a kernel of truth to this part of the legend, as eyewitness accounts of Wu Daozi’s painting exist, but the work itself is lost. As a side note, it’s worth pointing out the flute thief demon, despite meeting a gruesome end here, enjoyed a literary afterlife of his own. A certain Li Mingfeng (李鳴鳳), the author of a colophon on one of the earliest surviving Zhong Kui paintings, suggests that the (in)famous rebel An Lushan might have been a reincarnation of this specific entity. While I am not aware of any other attempts at providing him with a backstory, in Ming period retellings of the legend, he received a name, Xu Hao (虛耗).

Zhong Kui’s later career

Zhong Kui’s popularity grew after the Tang period, and he arguably eclipsed figures such as the fangxiang (方相) or the baize (白沢) as the demon queller par excellence. Legends about his origin and his first notable act of demon quelling which I summarized above spread far and wide during the reign of the Song dynasty. After becoming a well defined figure, Zhong Kui came to be most commonly classified as a ghost (鬼; gui). In texts from the Song and Yuan periods he is often labeled more specifically as a “big ghost” (大鬼, dagui) or “ghost hero” (鬼雄, guixiong). However, his popularity effectively made him a god in popular imagination, and as a matter of fact he is referred to as such. His divinity is not exactly conventional, though. This topic is addressed in Fu Lu Shou Xianguan Qinghui 福祿壽仙官慶會 (The Immortal Officials of Happiness, Wealth and Longevity Gather in Celebration) by the Ming playwright Zhu Youdun (朱有燉; 1379-1435). Zhong Kui says himself that unlike his peers, he has no festival to call his own, and receives no regular offerings - and yet, he still vanquishes malicious entities on behalf of humans as long as talismans showing him continue to be distributed.

Interestingly, despite his long career in texts, no images of Zhong Kui older than the thirteenth century are known. This is mostly a matter of selective preservation, though - we know that depictions of him existed as early as in the ninth century, and that they were mass produced, presumably as woodblock prints, in the tenth. However, he didn’t necessarily look similar to his modern depictions. He actually only came to be depicted as a Tang scholar in the Song period. It seems earlier his costume might have varied. One thing which seemingly remained consistent when it comes to Zhong Kui’s appearance is his facial hair. This feature is even emphasized in many of his epithets, such as “Old Beard” (老髯, Lao Ran), “Bearded Elder” (髯翁, Ran Wong) or “Bearded Lord” (髯君, Ran Jun). It’s possible that this was initially a way to highlight his vitality and his opposition to disease-causing demons. Tang and Song sources indicate the state of facial hair could be viewed as an indicator of health. There’s even a handful of peculiar anecdotes about certain emperors, like Taizong of Tang or Renzong of Song, believing their facial hair has supernatural healing powers and offering ailing courtiers concoctions in which it was one of the ingredients. There’s no evidence Zhong Kui’s hair was ever believed to serve a similar purpose, though. Not all of Zhong Kui’s titles revolve around his beard, though. An interesting example is “Nine-Headed Hermit” (九首山人). The intent isn’t to imply he has nine heads, it’s a multilayered pun instead. The character 馗 in Zhong Kui’s name is a combination of 九, “nine”, and 首, “head”. Referring to him as a “hermit”, literally “man of the mountain”, is likely supposed to show that he traverses areas traditionally believed to be inhabited by demons.

The nine-headed snake Xiangliu (wikimedia commons)

Chun-Yi Tsai suggests that this title also highlights Zhong Kui’s physical prowess by implicitly evoking “a nine-headed serpent known for its tremendous strength in Guideways through Mountains and Seas” (presumably Xiangliu).

Zhong Kui’s strength lets him punish his enemies in various unexpectedly creative ways. The earliest sources already mention he could grind vanquished demons in a mill, for instance. References to eating them are particularly common. Depending on the source, Zhong Kui might simply devour them whole, hunt and prepare them like game animals, chop them up to pickle them, mince them to prepare meat snacks, squeeze them to make juice and wine, and so on. Such comedically gruesome descriptions are generally limited to textual sources, since violence was rarely depicted in other mediums, even in relation to military topics. Wu Daozi’s lost painting was apparently one of the exceptions, as according to a tenth century description it showed Zhong Kui gouging out the eyes of the captured demon.

Zhong Kui’s sister and other assistants

While Zhong Kui is often depicted in the company of nondescript demons, there are relatively few recurring figures associated with him. The main exception is his sister. The Song period painter Gong Kai (龔開) and his contemporary Li Mingfeng (李鳴鳳) simply refer to her as Amei (阿妹), literally “younger sister”, though here it’s apparently a personal name, following Chun-yi Tsai’s interpretation. Her origin is unknown, and she is not present in any of the early variants of the legend. 

Zhong Kui Marrying Off His Sister (wikimedia commons)

Today Zhong Kui’s sister is known chiefly from works of art in various mediums which can be broadly subsumed under the label “Zhong Kui marrying off his sister” (鍾馗嫁妹, Zhong Kui jiamei) which proliferated through the Ming and Qing periods. This label is sometimes applied to earlier paintings too, for example Zhong Kui Marrying Off His Sister (鍾馗嫁妹圖, Zhong Kui jiamei tu) is the conventional modern title of a scroll attributed to the poorly known painter Yan Geng (顏庚). A colophon from the Ming period describing this work calls the figure presumed to be Zhong Kui’s sister Ayi (阿姨; an informal way to refer a maternal aunt) as opposed to Amei. Chun-yi Tsai states it is not impossible that the woman is supposed to be Zhong Kui’s wife, rather than his sister, though. The painting can be dated to the Yuan period, and there is no evidence for the story of Zhong Kui marrying off his sister before the Ming plays - granted, it is not impossible that it was already in circulation earlier. Still, other paintings showing Zhong Kui marrying off his sister only date to the Qing period. Additionally, the procession might be a parody of paintings showing rural marriages or couples moving to a new house. 

While as far as I am aware this eventually went out of fashion, in early sources Zhong Kui’s sister could be portrayed as an exorcist herself. An example can be found in one of the sermons of the Chan monk Yuanwu (圓悟; 1063–1135), in which he states that celebrations on the “Double Fifth” (端午節, duanwu jie) - the fifth day of the fifth month - involved a dance of “Zhong Kui and his little sister”. A reference to performers dressed up as the pair (as well as kings of hell, gods of soil and stove, various warrior deities and more) has alsobeen identified in an account of celebrations in Kaifeng from the end of the reign of the Northern Song dynasty.

Similar evidence can be found in art too. For example, Zheng Yuanyou (鄭元祐; 1292-1364) in a poem inspired by a painting titled Zhong Kui’s Sister (馗妹圖; as far as I am aware, this work has not been identified) states that she travels alongside her brother, that she’s armed with a sword, and that demons fear her. A related portrayal of her is known from a critical review of the works of Si Yizhen (姒頤真), a Song dynasty painter. According to Gong Kai, in one of his paintings she is shown in tattered (or unbuttoned - the term used, 披襟, can mean both) clothes, and chases away a boar attacking her brother. He was evidently not fond of this innovation, and criticizes it as “vulgar” and inappropriate. It needs to be stressed that Gong Kai’s displeasure wasn’t necessarily tied to presenting Zhong Kui’s sister as a demon queller, though. In fact, he is actually the author of the most famous work portraying her in this role. 

Gong Kai's take on Zhong Kui's sister and her attendants (wikimedia commons; cropped for the ease of viewing)

Gong Kai depicted Amei in unusual black makeup, which is also worn by female demons accompanying her (note the one carrying a kitty!). This might be a parody of the sanbai (三白; “three whites”) face painting popular in the Song period. She and her attendants wear robes decorated with depictions of the “five poisons” (五毒), a term referring to animals perceived as particularly dangerous and inauspicious. The exact list varies, though centipedes, scorpions and snakes in particular are mainstays. The five poisons are directly associated with Zhong Kui, as he can be invoked to ward them off. Direct evidence first appears in the Qing period in accounts of the well known Dragon Boat Festival, but it’s not impossible this was an earlier development.

It is presumed that Gong Kai’s painting might depict Zhong Kui and Amei looking for a demonic version of Yang Guifei, as indicated by various hints in colophons. Her portrayals in art are quite diverse, but attributing demonic traits to her would be hardly unparalleled - she could even be described as a “palace demon” (宮妖, gong yao). The decline of the Tang dynasty was blamed on her, and metaphorically she might have been invoked to criticize other people believed to improperly use the power granted to them by the imperial court.

Gong Kai’s painting also depicts a less recurring member of Zhong Kui’s entourage. One of the demons carries a fox, specifically a nine-tailed specimen. The association between this animal and Zhong Kui goes all the way back to the early Tang period. In one of the Dunhuang manuscripts, the demon queller’s entourage includes a nine-tailed fox and a baize, who acted as bringers of good luck alongside him. It’s also worth pointing out that in another text from the same site, his mount during the hunt for a wangliang (魍魎; I will likely cover this entity a future article, stay tuned) is a “wild fox”. Chun-Yi Tsai attributes the inclusion of a nine-tailed fox among Zhong Kui’s servants as a “family pet” of sorts to the portrayals of this supernatural creature both as an apotropaic antidote to poison (including the five poisons) and as a demon in its own right. It would be a suitable member of Zhong Kui’s entourage both as a conquered malevolent being and as an amplifier for his exorcistic, protective power. A further possibility is that the association is the result of wordplay. A new year celebration involving a procession of people dressed up as members of Zhong Kui’s entourage, including his sister and various supernatural attendants, was known as dayehu (打夜胡). The homphony between 胡 and 狐, “fox”, might have resulted in the inclusion of the animal among the helpers.

Post scriptum: Zhong Kui in Japan

Zhong Kui, as depicted in Extermination of Evil (wikimedia commons)

Zhong Kui - or rather Shōki, following the Japanese reading of his name - probably reached Japan in the Insei period. Many other figures originating in China reached a considerable degree of popularity in Japan at roughly the same time - Taishan Fujun, Siming, Wudao Dashen, Pangu, Shennong, the examples keep piling up.

The oldest known Japanese depiction of Zhong Kui, which you can see above, is a painting from the twelfth century set known as Extermination of Evil. It might look a bit outlandish compared to most of the other depictions shown through this article, but I was able to locate a very close Chinese parallel:

A Yuan period depiction of Zhong Kui from the collection of the Beijing Library, via Richard von Glahn’s Sinister Way. Reproduced here for educational purposes only.

This is a Yuan period illustration said to be based on Wu Daozi’s painting. Zhong Kui doesn’t look like a Tang scholar yet, and the jacket and wide-brimmed hat are remarkably similar. It seems safe to assume that the Japanese painter was following a similar model - presumably one of the many now lost early depictions of Zhong Kui. Slightly antiquated iconography surviving far away from the core area associated with a specific figure would hardly be unparalleled - it has been recently suggested that the baize/hakutaku is a similar case, with Japanese depictions and descriptions matching Tang sources fairly closely, but missing the elements which developed in the Song period or later. For the most part, Zhong Kui fulfilled a similar role in Japan as in China: he was regarded as a fearsome demon queller, and images representing him were distributed for apotropaic purposes. However, it’s also important to note that there were certain innovations. He arrived in Japan at the brink of the middle ages - theologically speaking an era of unparalleled innovation, during which both native and imported figures were interpreted in unexpected ways, leading to the rise of a new “medieval mythology”. Zhong Kui was hardly an exception from this trend. A “medieval myth” involving Zhong Kui is known from Hoki Naiden (ほき内伝; “Inner Tradition of the Square and the Round Offering Vessels”), an onmyōdō treatise traditionally attributed to Abe no Seimei, but most likely written by one of his descendants in the fourteenth century. Curiously, Zhong Kui’s name is written in it as 商貴 instead of the expected 鍾馗.

Tenkeisei (wikimedia commons)

In the Hoki Naiden, Zhong Kui is still a queller of malevolent supernatural beings. However, instead of being a scorned scholar, he is a yaksha who became the ruler of Rājagṛha, a city in India. He is said to correspond to both the medieval Japanese deity Gozu Tennō (牛頭天王), and to his celestial “double” Tenkeisei (天刑星; from Chinese Tianxingxing), the “star of heavenly punishment” (I covered him here). They are said to be his manifestations respectively on earth and in heaven. This equation might seem random at first glance, but both of them actually had a lot in common with Zhong Kui: all three were believed to keep demons, especially those causing diseases, in check. Curiously, the reinterpretation of Zhong Kui as a yaksha turned king can also be found in the Genkō Shakusho (元亨釈書), a Kamakura period Buddhist history book. However, I am not aware of any studies examining it in more detail. I assume identifying him as a yaksha was a result of association with Gozu Tennō (I briefly discussed his yaksha credentials here), rather than the other way around, though.

While Hoki Naiden ultimately pertains more to medieval than modern religion, it’s worth noting that an unconventional take on Zhong Kui is still part of an extant tradition. Through history, Zhong Kui could be identified as a dōsojin (道祖神). This term denotes a class of deities meant to protect roads, crossroads and borders of villages. In parts of the Niigata prefecture this form of him is sometimes referred to as Shōki Daimyōjin (鍾馗大明神) today.

Bibliography

Joshua Capitanio, Epidemics and Plague in Premodern Chinese Buddhism

Bernard Faure, Rage and Ravage (Gods of Medieval Japan vol. 3)

Richard von Glahn, The Sinister Way: The Divine and the Demonic in Chinese Religious Culture

Shih-shan Susan Huang, Picturing the True Form. Daoist Visual Culture in Traditional China

Wilt Idema & Stephen H. West, Zhong Kui at Work: A Complete Translation of The Immortal Officials Of Happiness, Wealth, and Longevity Gather in Celebration , by Zhu Youdun (1379–1439)

Chun-Yi Joyce Tsai, Imagining the Supernatural Grotesque: Paintings of Zhong Kui and Demons in the Late Southern Song (1127-1279) and Yuan (1271-1368) Dynasties

[beautybydrkay]

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[stitchandani]

Doverstar Trick or treat!

[courtofmuses-archive]

...suddenly Tory and Robby are professional ballroom dancers? 

C’mon...so dumb. 

[ao3feed-izuku-midoriya]

Your Aspirations to Shreds

Your Aspirations To Shreds by BossPotato01

"If you wanna be a hero so bad, why don't you make it easier for yourself and take a swan dive off the roof? Maybe you'll have a quirk in your next life!"

Izuku Midoriya is left alone on the roof after his hopes and dreams have been shattered by his favourite hero. Maybe a villain can make it hurt less.

(you can read this as stand-alone and not the series too if you want, this one isn't connected yet)

Words: 626, Chapters: 1/?, Language: English

Series: Part 2 of The Kids Aren't Alright

Fandoms: 僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia

Rating: Mature

Warnings: Graphic Depictions Of Violence

Characters: Midoriya Izuku, Chisaki Kai | Overhaul, Eri, Kurono Hari | Chronostasis, Bakugou Katsuki, Midoriya Inko

Additional Tags: Suicide Attempt, Blood and Gore, Child Abuse, Bullying, Suicidal Midoriya Izuku

Read Here: https://archiveofourown.org/works/30957587

[ao3feed-todoroki]

A Second Chance

A Second Chance by autumn california

The League of Villains got caught but instead of spending their life in prison the heroes decided to try out a new program.

Words: 626, Chapters: 1/?, Language: English

Fandoms: 僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia

Rating: Teen And Up Audiences

Warnings: Graphic Depictions Of Violence

Categories: M/M

Characters: Shigaraki Tomura | Shimura Tenko, Dabi, Yagi Toshinori | All Might, Aizawa Shouta | Eraserhead, Eri, Toga Himiko, Takami Keigo | Hawks, Todoroki Enji | Endeavor, Usagiyama Rumi | Miruko, Bubaigawara Jin | Twice, Iguchi Shuuichi | Spinner, Hakamata Tsunagu | Best Jeanist, Sakamata Kuugo | Gang Orca, Kurogiri, Yamada Hizashi | Present Mic, Shirakumo Oboro, Sako Atsuhiro | Mr. Compress, Toyomitsu Taishirou | Fat Gum, Takeyama Yuu | Mount Lady, Sensei | All For One, Todoroki Fuyumi, Todoroki Natsuo, Todoroki Shouto, Midoriya Izuku, Todoroki Rei, Yotsubashi Rikiya | Re-Destro, Geten, Chikazoku Tomoyasu | Skeptic, Hanabata Koukuu | Trumpet, Gigantomachia, League of Villains, Pro Heroes, Todoroki Touya, Chisaki Kai | Overhaul

Relationships: Dabi/Shigaraki Tomura | Shimura Tenko, Sensei | All For One & Shigaraki Tomura | Shimura Tenko, Shigaraki Tomura | Shimura Tenko & Yagi Toshinori | All Might, Kurogiri & Yamada Hizashi | Present Mic, Aizawa Shouta | Eraserhead & Shigaraki Tomura | Shimura Tenko, Aizawa Shouta | Eraserhead & Kurogiri, Eri & Shigaraki Tomura | Shimura Tenko, Midoriya Izuku & Shigaraki Tomura | Shimura Tenko, Shigaraki Tomura | Shimura Tenko & Shinsou Hitoshi, Dabi & Todoroki Shouto, Dabi & Todoroki Natsuo, Dabi & Todoroki Fuyumi, League of Villains & Shigaraki Tomura | Shimura Tenko, Kurogiri & Shigaraki Tomura | Shimura Tenko, Dabi & Todoroki Enji | Endeavor, Dabi & Takami Keigo | Hawks, Chisaki Kai | Overhaul & Eri

Additional Tags: Other Additional Tags to Be Added, Alternate Universe, Alternate Universe - Canon Divergence, Redemption AU, Rating May Change, League of Villains as Family, League of Villains Shenanigans, Villains to Heroes, No Beta, We Die Like Men, Dabi is Todoroki Touya, Dabi is a Todoroki, Quirk Misuse, Canon-Typical Violence, Dabi is Bad at Feelings, Protective Shigaraki Tomura | Shimura Tenko, Parental Kurogiri, Protective Kurogiri, Shigaraki Tomura | Shimura Tenko is Bad at Feelings, Everyone Needs A Hug, Shigaraki Tomura | Shimura Tenko Being an Asshole, Shigaraki Tomura | Shimura Tenko has a crush on Aizawa, Shigaraki Tomura | Shimura Tenko is a Brat, Hurt/Comfort, Todoroki Enji | Endeavor's Bad Parenting, Protective Yagi Toshinori | All Might, Parental Yagi Toshinori | All Might, Sensei | All For One's Bad Parenting, Mentioned Chisaki Kai | Overhaul

Read Here: https://archiveofourown.org/works/24967678

[pidaycosplay]

PiCast Episode 148 -Big Brother 22 with Felicia

PiCast Episode 148 -Big Brother 22 with Felicia

  On this episode of the PiCast Brittany talks to our friend Felicia (@becomingfelicity). They talk all about the reality show Big Brother. Both have been fans for a long time! Big Brother is currently on season 22 and it’s an All Star cast, some moments of this season have been less than all-star and we talk all about it! If you have any comments about Big Brother let us know!

  Coming Soon (i.e. Topics you can call in and leave your thoughts on): 

  The boys

Shameless

Doom Patrol

Umbrella Academy

Lucifer

Cobra Kai Season 2+

Drive in movies

  Contact us at PiDayFamily@gmail.com

Leave us a Voicemail on the Pi Line 626-66-PIDAY

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or Tumblr http://pidaycosplay.tumblr.com

  The music in this episode is “Advertime” Written by Rafael Krux. This music is available for commercial and non-commercial purposes. FreePD.com

  On this episode:

#BigBrother #BB22 #CBSAllAccess #RealityTV

[tv-lists]

Diverse Kids Animation

Coco - 2017 computer animated Pixar film following Miguel, a 12 year old boy in Santa Cellia Mexico. He dreams of becoming a musician, but his family wont allow it. After discovering a hidden photograph and playing a secret guitar, he's transported to the Land of the Dead and is able to interact with his deceased relatives. But, if he doesnt leave soon, he'll be stuck there forever.

Home - 2015 sci-fi comedy adventure Dreamworks film. Set on earth after a hive-mind alien race called the Boov have invaded, the Boov relocate all the human population excepting a little girl named Tip who managed to hide from the aliens. When Tip meets a fugitive Boov called Oh, there's mutual distrust. However, Oh is not like the rest of his kind, he craves friendship and fun

Lilo & Stitch - 2002 Disney sci-fi adventure comedy film following two rather unique individuals: Lilo Pelekai, a Native Hawaiian human girl whose parents died in an accident, and Stitch, an extraterrestrial creature formerly dubbed "Experiment 626" who is genetically engineered to cause chaos and mischief. The two learn about 'ohana, the meaning of family, while being hunted down by an intergalactic federation.

Moana - This 2016 Disney musical adventure film tells the story of Moana, the fierce, strong-willed daughter of the chief of a Polynesian village. Despite her family's warnings to stay safe on the island, Moana has been chosen by the ocean itself to reunite the mystical Heart of Te-Fiti with a Goddess to save her family and home.

Mulan - 1998 musical action-adventure Disney film based off the Chinese legend of Hua Mulan. It takes place in China during the Han dynasty and follows Fa Mulan, the daughter of aging soldier Fa Zhou, as she impersonates a man to take her father's place after a conscription orders that one man from every family joins the Chinese army.

Ni Hao, Kai-Lan - Nickelodeon show that ran from 2007 to 2011, based off the memories of the show's creator, Karen Chau, of growing up in a bicultural household. It follows preschooler Kai-Lan, as she shares pieces of both Chinese and American culture with viewers and introduces them to basic phrases in Mandarin. General themes revolve around anger management, sharing, teamwork, and patience.

Steven Universe - Cartoon Network adventure/coming-of-age series set in the fictional town of Beach City, currently being protected from danger by members of a genderless female-presenting alien race calling themselves the "Crystal Gems" and a half-gem human boy, Steven. Three of the gem main characters could be considered lesbians, and there's a non-binary character that uses they/them pronouns introduced later in the show. 156 episodes and counting!

The Book Of Life - 2014 computer animated musical fantasy-adventure film set on the Day of the Dead and following a bullfighter embarking on an afterlife adventure with the mission to fufill the expectations of his family and friends. It was highly praised for having strong themes centering around being yourself and for confronting a topic most kids films shy away from: death.

The Princess and the Frog - 2009 musical Disney princess film set in 1920's New Orleans and telling the story of Tiana, a hardworking waitress with big dreams of one day owning her own restaurant. After kissing a frog that was once a prince, Tiana is turned into a frog herself and must find a way to change back before her time is up.

The Proud Family - Disney family sit-com that ran from 2001 to 2005. It was the first Disney cartoon following an African-American family and didnt shy away from important and relevant racial issues. It followed the Proud family, comprised of 14 year old Penny Proud, her mom and dad: Oscar and Trudy Proud, her hip grandmother: Suga Momma Proud, and her little twin siblings: BeBe & CeCe Proud.

[oyorooms540-blog]

OYO Hotel Wichita Falls

OYO Hotel Wichita Falls is well-located for traveling to Lake Wichita Park, the Lake Kickapoo, and the Kay Yeager Coliseum. Full of amenities, the hotel ensures satisfaction and comfort for every guest. There are several restaurant options nearby like Curry Garden, Luby's Cafeteria and IHOP. Our hotel offers many free guest amenities, free WiFi, free parking, free swimming pool & gym, hairdryer, 24 hours reception desk and more

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626-244-8274

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[ao3feed-johnnylawrence]

You belong with me

by Hawks_mohawk

Tommy secretly has been crushing on Johnny from afar and after him and Ali ended it began to get worse to the point that people are starting to notice and by people I mean Bobby and jimmy

Words: 626, Chapters: 1/?, Language: English

Fandoms: Karate Kid (Movies), Cobra Kai (TV)

Rating: General Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Categories: M/M

Characters: Johnny Lawrence, Bobby Brown (Karate Kid), Tommy (Karate Kid), Dutch (Karate Kid), Jimmy (Karate Kid), Daniel LaRusso, Ali Mills (Karate Kid)

Relationships: Johnny Lawrence/Tommy, Onsided, Daniel LaRusso/Johnny Lawrence, Bobby Brown/Daniel LaRusso, Dutch/Jimmy (Karate Kid)

Additional Tags: Protective Johnny Lawrence, Johnny Lawrence is Bad at Feelings, Johnny finds out Tommy’s secret, Good Friend Bobby Brown (Karate Kid), Bobby likes Daniel, pining tommy, Tommy has a crush on Johnny, Tommy blushes, Dutch Needs a Hug (Karate Kid), Jimmy is willing to hug him

source https://archiveofourown.org/works/44051052

[beautybydrkay]

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[stitchandani]

Headcanon: AT some point, Mason ends up being serious danger of being taken away, for a number of reasons (His guardian not round enough for him, kai's considered a bad influence). So he and Kai run themselves ragged trying desperately to prove that he should stay. Eventually the ohana comes into help

Doverstar

This. Is. My FAVORITE headcanon someone has sent in so far. Oh my gosh-

First of all, what a cute "episode" idea. Mason finding out he's in danger of being taken away (though technically Cobra would be assigned that case? because he's Mason's social worker? not likely; probably some other branch of the social workers are after him and Cobra is indisposed and hasn't heard yet so he isn't there to help) because Mrs. Bridge has been working overtime and isn't around, and the social workers are concerned she's neglecting Mason. (She did adopt Mason, so there might be legal things I have to research when it comes to social workers butting into a legal family's business, but I'm too lazy to read up on the details of that right now.) Mason runs immediately to tell only Kai. And Kai and Mason get up to all kinds of crazy shenanigans, yes, trying to make it so that Mason has to stay, but none of the adults take any notice. What the social workers do notice is that Kai is a rude, seemingly badly-behaved kid and Mason's apparent only friend. More bad news for Mason's credibility when it comes to remaining on Kauai and not being shipped off to a new foster family. Eventually Ani and Stitch figure out what the problem is, just in time for Mason to totally lose hope and decide he's ruNNING AWAY- So Mason goes and hides somewhere on the island, and when the Pelekai family finally hears about what's happening (because Mrs. Bridge doubtless goes to them first when she finds out Mason is missing), everyone grabs flashlights and heads out into the night to find him. Kai, Ani, and Stitch find Mason curled up in an old barn further inland, where he thinks he's undetectable, and they decide if Mason is gonna be a fugitive, they will too (because Ani is very sweet and empathetic, despite being often bullied by the two boys, and does care about Mason because she was RAISED RIGHT; hello, one of her mother's best friends is Mertle Edmonds, who used to torment her daily - and Stitch is there too because he loves Ani, and someone has to protect these kids if they're gonna become fugitives of the law). The adults eventually discover the kids in the barn, and the social workers see that though Mrs. Bridge may not always be around to nurture Mason, Lilo and Stitch and Kai and Ani and their crazy Ohana will always be around for him. So he can stay, because as it turns out, he's not without care, love, protection, provision, etc. Because that's what 'ohana is. And Mason has one of those now.

[cataclizard]

@alphahusk OH YEAH I KEEP REALIZING I NEVER ELABORATE ON THAT ONE TIME TZAQ ALMOST BIT IT

'Kay so Amos was made essentially to be like Stitch/626 but made of Rock, and his purpose aside from destruction was "Keep going and fighting until you're dead, I dont care how it happens"

SO IMAGINE IF U WOULD a fight where Amos is sent out onto the field and Tzaq sees this huge [like Wrathguard in Outlands huge] guy show up and looking to flank his fellow Lightforged group. Tzaq is able to get a good few whacks on him but Amos has size/more MOOSCLE on his side, manages to knock him down and almost do a Batman vs Bane back breaker- that would basically snap Taco in half- when Tzaq kinda went 'kill or be killed.... OR AT LEAST GET AWAY FROM THIS DUDE' and managed to stab Amos in the side w/ his horns.

Given the chance/momentum he probably would've been able to use his horns and tear a good size gash into Amos' side

BUT YEAH TZA'QUUR ALMOST DIED ONE TIME but he found Amos later and was like " >B[ we're cool but I'll absolutely end you if I need to"

[netzonexo-blog]

[NAVER] EXO PERFORMANCE AT THE 2018 PYEONGCHANG OLYMPICS CLOSING CEREMONY

[NAVER] EXO's passionate performance of 'Growl' · 'Power' at the Pyeongchang Olympics closing ceremony 

[+8904; -2660] I think EXO really showed an amazing performance 

[+8502; -2040] I like how they showed a different performance from (traditional) Korean into Kpop 

[+8421; -2199] EXO is really cool 

[+8042; -1896] I want to tattoo the words 'Kai is God' 

[+7806; -1979] As expected of the nation's pick EXO!!! 

[+2471; -562] EXO shines the brightest today 

[+2351; -436] EXO is really cool, it makes me proud!! 

[+2300; -385] Kai's dance solo is crazy 

[+2358; -457] EXO is the best ㅠㅠ ♥ They decorated the closing ceremony magnificently!!! 

[+2121; -303] Wow the dance solo really gave me goosebumps.. ㄷㄷ 

[+2058; -322] They were cool ㅜㅜ Even I was this nervous, EXO who completed the performance without mistake is really cool!! They’re amazing!!!

[+2052; -291] Kai was f*king awesome 

[+1989; -354] It’s really a performance of the king of Kpop.

[+1957; -350] I was speechless while watching the performance. The way CL controlled the stage was daebak. EXO was daebak too. I watched it with my parents and i felt really proud, as expected of the nation’s pick

[+1844; -263] EXO was really cool. I think they filled up that huge stage well 

[NAVER] EXO, “closing ceremony performance, nervous and heart fluttering... Unforgettable Pyeongchang”

[+4462; -1229] EXO is so cool. Dancing while wearing traditional clothes, it suits the Olympic well

[+4291; -1168] The reaction from overseas (audience / media) were good too~ I’ve watched the performance well!!

[+3967; -854] You’ve worked hard on a cold day! After listening to Power, i went to search for the lyrics. I like how the lyrics holds the meaning of cheering for the Olympic athletes!

[+3922; -860] EXO performance was really great! From Korea’s traditional dance to a hit song, the song selection matches the Olympic well.

[+3780; -758] EXO must have felt really nervous. As great the position (of performing at the closing ceremony) is, the burden would be equally great. Thank you for showing us a cool performance!! I hope for your greater success in the future

[+1328; -183] Dancing to the small gong while wearing traditional clothes complements each other especially well 

[+1281; -186] The dance solo was really awesome

[+1259; -239] Thank you for showing a cool performance at the most watched Olympic closing ceremony in the history of Olympics. EXO is indeed deserving of the title Korea’s greatest boy group.

[+1219; -205] I’ve watched the performance well. I did not expect much but i’m surprised that i really liked it. I’ll watch over you in the future. 

[+1139; -248] The audience response, the response from overseas, it’s really the best ㅇㅅㅇ  The comments keep coming in ㅋ

[NAVER] “Hallyu Idol’s dignity”.. EXO decorating the finale of Pyeongchang Olympics closing ceremony

[+2212; -132] But it was really cool though? I watched it with my family. The guy who did the dance solo was really cool, they’re all so handsome ㅋㅋ

[+2138; -94] EXO, you are thoroughly awesome

[+2058; -85] You’ve worked hard EXO ㅠㅠㅠㅠㅠ It was an elegant performance that made us proud

[+2010; -81] EXO is the best!!!

[+1952; -79] EXO is jjang ㅠㅠㅠㅠㅠㅠㅠㅠㅠ

[+662; -29] Kpop’s representative, EXO!!! I’m so very proud!!! You were so cool

[+647; -26] As expected of EXO. You can just see how much effort they put into this. Kai is really... Every time i see him, i’ll get goosebumps

[+626; -26] From the start to finish, everything was the best! Thank you for giving us a cool performance, EXO!!!

[+595; -24] You’ve worked hard, i’m so proud!!!!!

[+487; -13] I like how clean Power (performance) was!