#Sofia Andres

[artistaforever]

[artfulfashion]

Sofia Andres wearing a pearl gown by Ken Batino and Jevin Salaysay photographed by Jerick Sanchez for Mega Magazine 2021

[digitalfilipina]

Love, Bonito’s new festive collection ‘For Every Holiday Mood’

Love, Bonito’s new festive collection ‘For Every Holiday Mood’

Love, Bonito, Southeast Asia’s largest omni-channel womenswear brand, has unwrapped its festive year end 80-piece collection with its For Every Holiday Mood campaign. Customers can get into the holiday spirit with curated looks from notable fashion inspirations, including its Singaporean co-founder Rachel Lim, actress and entrepreneur Sofia Andres, TV host and entrepreneur Grace Chan, and…

[igetthedisneybox]

So.

Kids always get up to wild shit. Especially when their little.

Everyone's parent has a story of how their kid nearly gave them a heart attack.

What stories do the madrigals have regarding your next gen fic?

Oh god, so many.

Like, soooo many.

I decided to do just the biggest heart-attack inducing event for each kid.

Miranda: She's well-behaved, so the biggest moment was when she first got her gift at age eight and almost floated off into the stratosphere XD.

Amelia: At fifteen, she snuck out with her girlfriend and they got caught kissing....rather passionately.

Sofía: Got angsty one time at age ten and decided that she wanted to live in the walls like her father did. She was missing for half a day, and everyone was panicking.

Princesa: At the ripe old age of six, she was experimenting with her gift and almost caused a rock slide.

Fuega: She was twelve, and got so angry at one of the townspeople that instead of bursting into flames, she just straight up passed out for a minute.

Leta: That time she tried to climb the walls of the Encanto and fell like fifty feet, breaking her arm. I'd say she was around sixteen or so.

Andrés: When he first got his gift and just straight up vanished from sight lol.

Carlos: When he duplicated his birthday cake one too many times and made himself sick. He was five, this was the night he got his gift.

Avila: When she was nine, she wanted to see if she could freeze herself in time. Turns out she can, but when she's frozen, she can't unfreeze herself until it wears off. The family was actually very worried that she'd be stuck like that forever.

Amada: Got angry when she was eleven, and went to go sulk in the town's canal. Turns out, her water powers also let her breathe underwater, which no one knew.

Tomás: Tried to hover a giant wagon with his powers, and almost dropped it on his head. He was around eight or so.

Rómulo: When he was seven, he used his super speed to jump out of one of Mariana's portals, and ended up running himself straight into the ground. He was very injured. Did that stop him from doing it again? No.

Zoe: Straight up wandered away from her family while in town when she was five. They spent hours looking for her, only to discover that she'd found a tree to take a nap under.

Hugo: He befriended a big-ass spider, and let it crawl around on his head for a few months, until it died. He was nine.

José: Swindled a few men from the city for around 100 Colombian Pesos. They were not happy, and were actually probably gonna hurt José if they didn't get their money back. Luckily the family were able to yeet them out of the Encanto before anything got bad. José was nine, and very very very grounded.

Héctor: When he was five, he turned into an elephant to show off, and passed out after three seconds of transformation.

Óscar: Soon after he got his gift, he had a huge meltdown because he was seeing ghosts and things that other people couldn't see. The family was worried he was seriously hurt or something.

Beatriz: Was trying so hard to keep a surprise birthday party a secret, she projectile vomited all over the kitchen table. Poor kid was six, and so embarassased.

Lidia: Had a temper tantrum at age five, and made a scribble monster that wrecked havoc on the town until Pepa made it rain.

[phoenixes-and-wizards]

sobbing shaking throwing up because of that one scene with wovey finally emerging from her hiding place and saying “is it over? can WE go home now?” sweet, sweet angel just wanted all of her new friends to see their families again and be safe and instead she got a faceful of snakes and no one to hold her while she died dear god😭

[desolatedahhlia]

what do we think of this duo guys…

ARE THEY NOT THE SAME

[danandfuckingjonlmao]

my entire family after they go on a wild goose chase to find goncharov (1973) bc @panicatthechuckecheese and i spent the whole day telling them about it and saying they should watch it:

[666frames]

The Viewing (2022)

[madhogthymaster]

I Played Every BioShock Game in One Month, And I Must Scream!

On January 2nd 2023, I made the sporadic, partially ill-begotten decision to buy all three BioShock videogames. Up to that point, I had never experienced these titles directly save only through cultural osmosis, the occasional meme and, naturally, The Discourse! I would spend the following lunar cycle playing them, writing down my thoughts and posting them on Twitter dot com. Today, after enough time passed for my heightened feelings to reset, I have collected those floating brain bubbles and transliterated them into some manner of structured essay for your reading pleasure - or utter lack thereof. Did I have anything meaningful to add to the conversation on one of the most dissected and dissertated franchises in the history of the art form? You may be the judge of that. It begins.

-

Part One: Atlas Drowned

BioShock. The first BioShock. BioShock the First. "Spiritual" successor to System Shock 2, Bioshock. Yes, that BioShock. This is most certainly not a title that requires any sort of elaborate introduction. Since 2007, there have been many videos, articles, essays, podcasts, and everything in-between, dedicated to its analysis. For better and (decisively) for worse, the concept of Videogame Discourse was birthed from the metaphorical wreckage of this opus smashing itself onto the collective consciousness. I may be indulging in prosaic hyperbole here but the point still stands: it was, and still is, a big deal. You have probably heard it all before: the game is about the Folly of "Free-Market" Capitalism as it drives Society to ruin, the inadequacy of the wealthy to lead, a satirical takedown of Ayn Rand's Objectivism as it unceremoniously flops when confronted with the reality of basic human nature and needs. It's about America, in other words. It gleefully revels in its political stance with the subtlety of a clown-faced vending machine yelling: "Welcome to the Circus of Value!" It might as well be using a copy of Atlas Shrugged to wipe its anus, at this point. That is all to say, first impressions were quite positive and I was enjoying it a lot.

The underwater city of Rapture is a poignantly depressing location: everything from its very name to its opulent Art Deco architecture screams of egomaniacal pretention. It is a monument to its founder's hubris turned into a decadent, decaying tomb for his ambition. It perfectly conveys all you need to know about Andrew Ryan, the founder of Rapture and initial antagonist. He is a rich twat who hated having to pay taxes so he created his own version of a Libertarian Blockchain disguised as a country where there would be "No Gods or Kings. Only Man." He then proceeded to make himself the god-king of his utopia; it crashed and burned along with everyone in it. "Is a man not entitled to the sweat of his brow?" he said, indeed.

Rapture is a wonderfully designed world, in that sense. The only elements that clash with the contextual aesthetic would be the aforementioned "Circus of Value" marketplaces. Let me explain. Andrew Ryan, like all demagogues, takes himself super seriously. His entire platform was built on the premise that he's a charismatic genius and everything he says is Gospel. His whole civilization was constructed on the terrible ideas he convinced both himself and many others were actually good. Seriousness, self-importance and overcompensated grandiosity were the building blocks of Rapture, the roots of its aesthetic, the basis by which this society could function - until it wouldn't anymore. As such, the presence of those vending machines, openly mocking the very foundation of Uncle Andy's Ryanworld, feel out of place within the narrative and universe at hand. They have been clearly put there so that the developers could do a little meta-humour, a wink and a nudge at the player, to redundantly point out how absurd it all was. They must have been worried the game was too subtle and some players would not get it... Anyway, this was but a minor complaint. By all means, take it with a grain of salt. Now, I have some legitimate criticism to bring forth.

Whilst a lot of the conversation has been directed at Brow Sweat Man, his God complex, his insane ambition, his "Chain of Industries" ideology and "Laissez-Faire" economics, not nearly enough analysis was ever dedicated to the other major antagonist of the game, and I can definitely gather why. I will now openly address spoilers for the latter half of the story by discussing the character of Frank Fontaine (aka ATLAS), the de-facto main villain of the piece.

Fontaine is a grifter who played a long con at the expense of the "Kingdom of Reason." He started a smuggling ring that introduced gun violence and religious bigotry to the city, used the malcontent of the exploited working class to start a bloody rebellion, manipulated and killed people behind the scene through various aliases. His corporation is the one responsible for mass producing all the Big Daddies and Little Sisters, the iconic "monsters" of the series running around town. They are a product of Eugenics science based off Nazi Germany's human experiments. I should stress that Ryan approved all this as the city needed exploitable labour in order to run. The reason behind Frank's actions is simple: money, profit, cold hard cash. Andrew Ryan was a wealthy fool hooked on his delusional Capitalist drivel, his "daring vision" for the future of mankind, Fontaine was the reality check. The thematic exclamation point to the game's entire thesis, the depressing yet irrefutable truth behind all the cruelty and horrors caused in the name of IDEAS is good old fashioned Greed. Someone in a position of power will always be there to make a buck out of human suffering.

To be perfectly honest, I find this throughline rather pedestrian. It is the truth of Capitalism, yes, but it is such an obvious statement delivered with such un-earned gusto that it makes the entire game less interesting as a result. Here we have a compellingly detestable villain in Uncle Andy, the "good guy" of his story, a living byproduct of American Exceptionalism, Ayn Rand's poster boy, a poignant satire of the current socioeconomic establishment, being replaced by a basic money-grabbing baddie. What made Ryan so effective is how real he felt: he represented the warped worldview of the out-of-touch, obscenely rich class that rules the planet and that's going to eventually lead us to our demise - much like in Rapture itself. Fontaine, by contrast, is a mustache-twirling cartoon. He acts and talks like a typical videogame villain who doesn't have anything meaningful to say to you other than how smart he is, how he loves money and how he's totally going to get away with it (insert evil laugh here) while sporting the worst accent I have ever heard in my life. His point as a character is moot and the writing is messier as a result. Still, BioShock is a good game, perhaps not as masterfully crafted as many believed it to be, but rather innovative for the time. There is a clever (for 2007) twist right before Fontaine takes over as the final boss in which it is revealed the player's character was being mind controlled the whole time. It's a cute meta-commentary on the unique nature of our interaction with videogames.

Had I played BioShock when it first came out, I would have probably placed it atop a golden pedestal, sung its praises as the best written story in the history of the medium and angrily rejected any criticism towards it in the most obnoxious way imaginable... I think I was trying to make a point but my brain gave up half way through the tangent. As such, I shall conclude this tirade by saying I enjoyed playing this classic title but I have no interest in going through it a second time. Is that fair? Yes, it is.

-

Part Two: Tetsuo The Drill Man

I moved on to Bioshock 2: The BioShockening, a game that didn't need to exist, in many ways. On one hand, it drags the theming of the first game to unnecessary levels of dilution as its message had already been abundantly delivered. On the other hand, you play as a Big Daddy with a Big Drill. There is a new ruler in Rapture, her name is Dr. Sofia Lamb. She took over after the fall of Andrew Ryan's "Individualist Utopia" by indoctrinating its inhabitants into a cult that's equal parts Early Christian commune and Eugenics with an extra dose of fanaticism. Much like with Frank Fontaine, we have a case study as to how an unregulated, isolationist, capitalist state lays the foundations for stochastic terrorism and sociopathic grift - just in case it wasn't already obvious that Rapture is supposed to represent America. I say that but, to be brutally honest, Dr. Lamb's politics or set of beliefs are as undercooked and generically laid out as they can get. I had to interpret and extrapolate what her deal was through context clues more than anything else. It wouldn't surprise me if the game's intent was to comment on Communism instead of everything else I pointed out, which would somewhat invalidate its previous stance on Capitalism and would further bring into question the overall political stance behind the BioShock series... but let us put a pin on that thought, for now.

As far as the gameplay is concerned, I believe this is a slightly better, more refined, more challenging loop than its previous iteration. These titles are both solid First-Person Shooters with light RPG elements but the second one improves upon its many shortcomings. The ability to hold both weapons and "magical gene powers" at the same time is such a simple yet elegant mechanic that it (bio)shocks me it wasn't implemented earlier. The hacking mini-games have been simplified to the point of fruitlessness - and I'm fine with that. The big change comes with the Big Daddy himself and his huge, oversized, dominating drill that penetrates all its victims at full force, making them scream. It singlehandedly redeems melee attack as a worthwhile feature. Did I mention it's a huge drill?

Beyond that, there isn't much to add to The Discourse. To reiterate, BioShock 2 is a thoroughly pointless sequel and it barely qualifies as one. It's a glorified expansion pack that adds nothing of substance to the narrative, lazily resting on the laurels planted by its predecessor. It's a more polished and fun title to play, undoubtedly, but it's otherwise easy to see why it is considered the forgettable middle child stuck between an era-defining first outing and whatever Infinite turned out to be. Speaking of which, it's time to get into that one.

-

Part Three: Infinite Mysery

WARNING: the following few paragraphs represent my initial impressions on the game, left mostly unaltered as I experienced it for the first time back in January 2023.

So, Infinite, BioShock numero tres but technically a prequel set in 1912, the flying city of Columbia, and all of that. All I knew about this game beforehand was that its engine was used to revolutionize 3D pornography for years to come... Do not ask how or why I know that.

Our "Andrew Ryan" for this episode is played by Father Comstock (oh, brother), an evangelical, white supremacist prophet who gathered his "flock" to live in a conferedate utopia closer to the "Kingdom of Heaven" and far above the "Sodom Below." I used to think the first game was unsubtle and heavy-handed with its commentary, impassioned in its righteous indignation if a bit simplistic by the end, but this game takes that sharp edge and slashes the US flag with it, literally!

This game appears to have things to say about American myth-making, the religious zealotry fueling the glorification (and alteration) of history as a means for Power, The White Man's Burden and the dangerously real threat of Christian Nationalism. It seems to condemn it all with the fervor that bespeaks decapitating a cop with a portable blender - which Infinite is all too eager to provide. What makes the experience truly effective is the setting itself: a far cry from the claustrophobic doom of Rapture. The misery of that place served as a remainder that Capitalism is unsustainable and leads society to ruin. That's an obvious statement by this point and, as such, it left me lukewarm on the experience. All it did was reinforcing my beliefs. Columbia, however, is a different beast. It is not the sunken tombstone to the hubris of a rich fool, it is the realm of the "Chosen Race" thriving under the watchful gaze of the deified Founding Fathers. It's a thriving, gorgeous vision right out of Jules Verne's mind, and it runs on the back of slaves.

That's what makes it truly horrifying and infuriating. The fact that it works, that its ruler managed to build a community for "good white Christians" thanks to the power of religious indoctrination and the exploited labour of the "lower races" that keeps it afloat. It is unsettling, bone-rattling, how inviting the city looks at a first glance, its Victorian architecture bathing in the sun as a barber shop quartet entertains curious onlookers. It's a grotesque dream of Dixieland as filtered through Gone with the Wind lenses.

As such, getting to disrupt the perfect little order of this bigoted, racist 19th century style town through acts of wanton violence is INFINITEly more cathartic than killing random junkies in an already disrupted, dead society. Sticking it to an unjust hierarchy by murdering cops and destroying property elevates the enjoyment of playing this title tenfold. It's exactly what was missing from my ideal BioShock experience. It's simply more compelling to defeat that which is yet to be even challenged. Another major element in the game's favour is a main character with actual agency, as opposed to a silent protagonist whose whole deal was his tragic lack of agency. It's much easier to be invested in the narrative when my guy has a literal say in the matter.

I sure hope the game does not somehow ruin everything in the second half. That would be so disappointing...

WARNING: the following are my real, unfiltered opinions on BioShock Infinite.

Do you know what is the most egregious, baffling, aggravating turn a narrative like this could have made after all it's done, after putting out such an inflammatory takedown of the American conservative institutions? Why, Bothsidesing, of course! According to this game's oh so wise writing, when those rebelling against their literal slavers do it by employing Direct Action instead of "the right, non-violent way" then they're just as bad as them. That is how Infinite chooses to frame the Anarcho-Socialist revolution of one Daisy Fitzroy (the only named black character) as she's compared to Father Comstock (the racist theocrat) with the all too familiar adagio of "Both sides are in the wrong." I am seething with rage.

This game went out of its way to pontificate against America's history of bigotry and racism up to including actual horrendous ethnic caricatures to drive its point home. Then it cowardly decided to throw it all away by taking the "Enlightened Centrist" stance. Essentially, the people in charge of the project have demonstrated to me their unwillingness to commit to a difficult subject as soon as it came to addressing the Real American history, opting thusly to an implicit endorsement of the Neoliberal Status Quo. The message now reads: "Slavery was bad but the slaves should not rebel against it! They should debate the slavers in the Market Place of Ideas!" You could take such a blanket statement and apply it to every sociopolitical scenario where there is a clear Oppressor with a clear Oppressed and expect it to be uttered by those who benefit from the Oppression.

I understand this title is more than a decade old but I will unendingly rag on the plate of unfulfilled potential due to cop-out writing. In fact, this whole situation has forced me to reevaluate my thoughts on the first title, as well! All of a sudden, the dichotomy between Andrew Ryan and Frank Fountain (the latter pretending to be on the side of the working class with a "clever" pseudonym) starts to feel like a less immediately obvious form of political bothsidesing. It wouldn't surprise me to learn that the game was cherry-picking its themes as if they were somehow divorced from the larger critique on the Establishment. Implying, in other words, that concepts like the "The Invisible Hand", Objectivism and Manifest Destiny could be extricated from the very fabric of American Society when the inconvenient truth is that they are as much a part of it as Racism, Slavery and Genocide. I am not necessarily changing my opinion on that first iteration, mind you, but I do find myself dubious over my initial read given how the series ultimately panned out, with all the poise of a bald eagle covered in blood-soaked feces! It has just occurred to me, as I was writing this down, that Infinite is basically a remake of the first BioShock but dumber in every conceivable way. More over, BioShock 2's main antagonist, Sofia Lamb, was presented as the total opposite to Andrew Ryan (but just as bad) which reinforces the aforementioned Centrist stance the series now appears to champion while serving as a prelude to what would become the profoundly stupid thesis of the third one! It is astounding just how bad Infinite is turning out to be: horrible in a manner that makes me retroactively question my own ability to understand media literacy. This, dear readers, would be the time when I start screaming.

That said, it's not even the worst part. No, the most offensive aspect about any of this is that None of it actually matters, by the end.

WARNING: That Ending.

It turns out Father Comstock and your main character are the same person but from a different timeline when an Important Choice was made because of Guilt which led to becoming a Reborn Christian and the foundation of Columbia. You had a daughter which was taken from you by your evil doppelganger from another dimension and you were left trapped in a pocket world of some kind and then the rest of the game happens. Something, something, Regret. Something, something, commentary on Player Agency. Something, something, you must stop existing in the past in order to erase all the bad timelines, Sonic '06 style. By the way, there are timey-wimey bollocks, in case it wasn't clear. This is garbage and I do not care for it.

To see what this game was actually about, all along, further undermines whatever "political position" was presented to me throughout the diegesis. Depictions of oppression, racism and human suffering very much rooted in actual history were used as a mere thematic red herring. Meaning that there never was any real commentary, it was a "distraction" from the true narrative. Let this thought consume you for a spell. The game will have you slaughter fascist cops as well as recently liberated black men in the same gruesome, sadistic fashion while framing both groups as "equally bad", only to then pull the rug from under you and tell you it was all window dressing for the Real Story, which was about our (white) protagonist being tormented by his bad life decisions. I am beyond done.

The best I can say about the third and final chapter of the thoroughly tainted BioShock saga is that its contentious presence can be applied to a broader discussion about the nature of Art, namely if or when certain lines should be crossed, for what purpose should they be crossed and, especially, by whom. Infinite was built on the foundation of bad ideas and irredeemable execution. It presented a vapid vision of political radicalism from the obvious perspective of White Privilege and managed, bewilderingly, to not have anything to say about said politics, at all! It's the kind of idiocy that should have been nipped at the bud before wreaking untold damage - much like the main character himself. Nevertheless, it is a real piece of media that exists, a piece of gaming history and, like all history, we can learn something from it... Never Again! That would be the lesson to learn here.

-

Part 4: Something, Something, A Conclusion

As I am about to put this series inside the proverbial Tomb of Amontillado, I suppose this would be the right time to enlist my many gameplay pet peeves, my general pedantries, starting with the hacking mini-games: annoying in the first game, pointless in the second. In general, dealing with turrets, cameras and security robots was an unpleasant experience throughout the trilogy.

In the first two entries, some wise guy had the "great idea" of mapping the jump input to the upper button of the controller. I positively loathed that. They finally fixed it in the third game, just in time for it to stain the bed with several more horrible decisions! Why can't I hold more than two weapons at once in my inventory? That is such a backward step compared to the rest of the series!

Infinite must have also been one of the first AAA games to implement the hideous, horrendous, hackneyed sprint feature that would have you press on the left analog stick while the character is moving. Why was this ever considered an acceptable design choice?

I guess there were a few DLC. They sure exist.

... And with that underwhelming post scriptum, I shall now set my sights elsewhere - away from "Great Chains" and "Kingdoms of Heaven." New games await but we will always have the memories.

The memories of the giant drill, specifically.

---

BioShock and BioShock: Infinite were developed by Irrational Games. BioShock 2 was developed by 2K Marin.

You can find Madhog on:

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Also, here's a helpful website: https://arab.org/

[funny---pics]

I've seen several people now saying there's a director's cut of Goncharov (1973) where Katya dies in the end instead of Goncharov?? Why have I never heard about that before? Not that I want Katya to die but I really wonder what else is different in that version

[artistaforever]

Sofia Andres via Instagram

[stuff-diary]

The Hunger Games: The Ballad of Songbirds & Snakes

Movies watched in 2024

The Hunger Games: The Ballad of Songbirds & Snakes (2023, USA)

Director: Francis Lawrence

Writers: Michael Lesslie & Michael Arndt (based on the novel by Suzanne Collins)

Mini-review:

I can't believe I waited so long to watch this one, considering The Hunger Games was such a big part of my life and I loved this prequel book. And after finally watching it, I'm so happy with the result. It does a great job as an adaptation, although some of Corilanus' complexity gets lost in translation without the book's internal narration. But most importantly, it's a pretty damn good movie in its own right. It sends a strong message that feels as important as ever in our current political and social landscape, and it does that without ever getting boring. It certainly helps that all the members of this incredible cast give striking performances. On top of that, the soundtrack is entirely unforgettable, with Rachel Zegler serving some serious vocals, as expected. The Ballad of Songbirds & Snakes proves this franchise has enough fuel to keep going for a long time, and I'm already excited to read/watch the next prequel.

[wearebackbagels]

More highschool au pics for le fandom!!!

David has a way with dogs.

Eve won’t tell anyone what she does on the weekends.

Sketchy lighting for doing sketchy businesses.

“The fuck did he say to you?!”

Them eyes can make anyone do anything.

“Listen, if you tell ANYONE you saw me, Jordan and Walter in the locker room together.... well let’s just say I know some VERY influential people. Do I make myself clear?” “Y-yes Andre” “It’s Zirnheld to you”

It’s a different A. Allen.

As much Riley as it gets.

And Reggie knows it.

Different style, still the hottest guy in school

It was either this Bruckner picture....

or this one.

*whispers* he’s got a chisel.

Actors and media.

Connor Swindells - Sex Education( 2019-)

Sofia Boutella - Actomic Blonde( 2017)

Stuart Campbell - London Kills( 2019)

Bobby Schofield - Black Sea( 2014)

Jack O’Connell - Unbroken( 2014 )

Dónal Finn - Angel(?)

César Domboy - No Limit( 2022)

Paul Boche - ()

Tom Hygreck - Blockbuster( 2018)

Alfie Allen - ()

Jacob Ifan - ()

Theo Barklem-Biggs - Sliced( 2019-2021)

Jacob McCarthy - ()

Tom Glynn-Carney - The Ferryman( play 2020)

Moritz Jahn - Dark( 2017-2020)

[lilolilyr]

Goncharov Band AU

(I'm imagining Måneskin vibes for this)

Goncharov is the mysterious and sexy lead singer, only his last name is known and it's also the name of the band.

Katya is singing and playing bass and she's always wearing the most eccentric clothes... It's rumoured that she and Goncharov are an item, some tabloids even report that they are engaged or even married because 'is that a ring???' (she always wears so much jewelry so like, who cares, except tabloids of course), until she's seen snogging Sofia against the outside wall of a venue they just played in...

Sofia is the guitar player, and she also manages a lot behind the scenes. Some people think she's too aloof (or, if they're less friendly, calling her a bitch for not talking with her fans as much as her band members do), but really she's just shy. She's been with Katya since before the rest of the band got together, she'd be fine just playing small gigs with just her guitar and Katya singing the way they used to before Katya met Goncharov, but she doesn't want to stand in the way of Katya's dreams, and she also doesn't want to play without Katya, so she joined the band as well.

Andre is playing drums and there's not a lot known about him but instead of looking mysterious he tries to just look boring (mostly successful, but he does have quite some fans who think otherwise), he's a quite private person and also he happens to have a crush on Goncharov and he doesn't want the media to figure it out so Goncharov might read it in an article, because so far he's managed to hide his feelings quite well (he hasn't, Goncharov is just crushing on him too and they are both completely oblivious. Katya is planning to intervene if they haven't figured it out by the time the current tour is over).

Mario is their manager, Ice Pick Joe is security.

Somebody write this for me pretty please!!!

Band AU hc post 1/? (web archive)

[igetthedisneybox]

The Future of the Family Madrigal

Inspired by @hannahhook7744's AU, here's what my new Madrigal family tree looks like, roughly twenty-six years after the events of the movie.

I used the scrapped characters from the Encanto Artbook, as well as some early versions of existing characters to round things out.

EDIT: Added two additional kids, to bring Dolores and Mariano's kid count up to five.

First Row: Pedro Madrigal and Alma Cadenza

Second Row: Félix Castillo, Pepa Madrigal, Alejandra Delgado, Bruno Madrigal, Julieta Madrigal, and Augustín Rojas

Third Row: Antonio Madrigal, Camilo Madrigal, Dolores Madrigal, Miranda Madrigal, Amelia Madrigal, Sofía Madrigal, Isabela Madrigal, Luisa Madrigal, and Mirabel Madrigal

Fourth Row: Marcos Vasquez, Mariano Guzmán, Juana Aguado, Bubo Marquez

Fifth Row (and the one slightly above it): Hugo Madrigal, José Madrigal, Héctor Madrigal, Princesa Madrigal, Fuega Madrigal, Mariana Madrigal, Óscar Madrigal, Beatriz Madrigal, Lidia Madrigal

Sixth Row: Leta Madrigal, Andrés Madrigal, Carlos Madrigal, Avila Madrigal, Amada Madrigal, Tomás Madrigal, Rómulo Madrigal, and Zoe Madrigal

Putting a character and familial guide under the cut, because the tree is m e s s y

Alejandra is Bruno's wife, and Miranda, Amelia, and Sofía are their daughters.

Alejandra is a scrapped character who I think was supposed to be the original founder, and the Julieta Character's mother. She appears to be dead in the version of the story she's in, as we see her statue, but not her. I decided to make her Bruno's wife, as I think he deserves a scary sword wife who loves him and their daughters very much.

Miranda was an early version of Julieta, and Alejandra's daughter. Since the two look near identical, they kinda ended up being a package deal. Miranda is technically Bruno's step-daughter, but that doesn't really matter.

Amelia and Sofía are characters from a very early concept. I threw them in as Bruno's daughters, as I liked the idea of one of Bruno's kids having a 'bad' power.

Marcos is Camilo's husband, and Hugo, José, and Héctor are their sons.

There are so many early concepts of Bruno, that there are no less than three in this tree, and they all look different. Marcos is one of those early concepts, back when Bruno was a skinny twink with bright blue eyes. The name Marco was chosen from a list of potential names for Bruno.

Hugo is an early version of Antonio (there are also a lot of those here), one where he's older and selectively mute.

José seems to be from the same era as the twins, although he doesn't get any notes. He seems like he'd be Camilo's kid in any timeline lol.

Héctor is yet another concept of Antonio, but I thought he looked different enough from Hugo that it worked out. I picked the name as a reference to the movie Coco.

Leta, Andrés, Carlos, Avila, and Amada are Dolores and Mariano's children.

Leta was Pepa's twin sister originally, so I thought it made sense to make her her granddaughter instead.

Andrés is another Bruno, and I thought he looked the most like Dolores out of any of the concept characters. Andre was another potential Bruno name, so I named this version of him that.

Carlos is the infamous beta Camilo. Since Cami doesn't have any bio kids, I gave Carlos to Dolores to explain the simillarites. Plus, he does kind of resemble Mariano.

Avila and Amada are two of the four concept girl cousins in the artbook. Picked them because they have Dolores' ears and Pepa's teeth. @hannahhook7744 showed me a concept character from an early script called Amada, and we discovered that Alma's name was originally going to be Avila (in the 2017 version) so I picked those names. (Thanks Hannah!)

Juana is Luisa's wife, and Tomás, Rómulo, and Zoe are their children.

Juana is an early Pepa, back when her gift was indestructability. I paired them together just because Luisa needs a laid back gf to counteract The Anxiety. Her name is actually a beta Julieta name.

Tomás and Rómulo are a pair of twins that appeared only once in a family portrait. There are very limited boy concepts, so I snagged these guys too. Tomás means "twin" and Rómulo is the Spanish form of Romulus, a very famous twin.

Zoe is from the same era as José, Amelia, and Sofía. She's basically the poster child for Scrapped Encanto Characters.

Bubo is Mirabel's husband and Óscar, Beatriz, and Lidia are their children.

Bubo is Isa's scrapped love interest, but I'd already planned on having Isa stay single when I learned about him, so I ditched the OC I gave to Mirabel, and gave Bubo to her. They both have glasses, so I think they'd be cute together.

Óscar is the third Bruno, and the one who gets the Óscar name. I was originally using a different Óscar, but figured that this one looks the most like Bubo. The name is the most widely used name for beta Bruno.

Beatriz is a beta Mirabel, so obviously I made her her daughter.

Lidia is a Luisa, and looks decently enough like canon Mirabel and Bubo. Lidia was supposedly Luisa's name before it was Luisa.

Isabela has no partner, but Princesa, Fuega, and Mariana are her daughters.

Princesa is a bit of an enigma to me. I think she was supposed to be an aunt of some kind, maybe Augustín's sister? It's never made very clear. She's shown to be dating/married to a beta Mariano, and potentially the mother of the four girl cousins? Anyway, I aged her down so I could use her as Isabela's daughter.

Fuega was supposed to be Isabela's other sister/cousin, one who was jealous of her gift and 'perfect' status.

Mariana seems to be a veeeeery early version of Mirabel. The name also stems from an early version of Mirabel.

I have bios for all the kids, I just need to post them.

[ratleyland]

Apart from a bit of corny acting in a few places; the movie about Brotherhood and Justice is action-packed and emotionally charged.

Much better than I expected it to be!