#archetypes trademark

[grits-galraisedinthesouth]

Archetypes trademark application REJECTED for Spotify podcast.

Surely Meghan & Harry knew about the (2015) Arizonian wellness firm: Archetypes LLC

Audio Producer Farrah Safari actually interviewed Allison Yarrow NOT Meghan Markle

F*ing Grifters

Podcast plummeted & barely holds a ranking

Attorneys requested an extension

[jerseydeanne]

"Meghan Markle has been dealt a legal blow over her hit podcast as the United States Patent and Trademark Office has refused her application to trademark the word "Archetypes.""

[shoyoist]

omfg 😭

[brucebocchi]

Ranking 2024 anime, Pt. 4: #20-11

hey, this post is also available on my ko-fi, so please check it out and consider tipping/donating as i do this for free and am currently between jobs. you can find part 1 of the list here, part 2 here, and part 3 here. thanks!

You know, I'd really planned to keep my re-reviews much shorter but I'm finding it harder to do so when I get into the anime I actually liked. Maybe that's a good thing.

And away we go.

20. Solo Leveling

Portal isekai, sad loser secretly gains crazy powers and instantly becomes a stoic gigachad, menu screens everywhere, entry-level power fantasy. You’ve seen it before. Honestly, Solo Leveling is total slop. I wouldn’t have it any other way.

If you’ve watched a couple isekai, like, ever, you’re not going to find much new here. There’s some interesting enough worldbuilding outside of the dungeon stuff; I did find myself intrigued by the level consideration given to how much this preponderance of portals would influence Korean economics and politics, and even moreso that much of the story so far revolves around how those corrupting powers can lead to hunters using dungeons as their own playgrounds for personal gain at others’ expense. There also seems to be a larger malefactor behind all of the menu screens driving protagonist Sung Jinwoo’s growth and titular leveling, so there’s the hook.

Even putting aside the few interesting parts of the otherwise boilerplate story, Solo Leveling both looks and sounds pretty darn good. The soundtrack is laden with Hiroyuki Sawano’s trademark build-ups and drops, and though the character art and dungeon designs aren’t always the most eye-catching (early on it did look like A-1 Pictures was going to default to “fuck it, we’re making money anyway” mode), the action animation goes absolutely bonkers in its best moments.

The second season is already up and running, and although I can barely remember anyone’s name outside of the protagonist (maybe that’s on me, I consume very little Korean media and am not great at retaining Korean names), I’m in this for the long haul. Great turn-your-brain-off action schlock.

19. Wind Breaker

At this point you could put a sign that says “DELINQUENT WITH A HEART OF GOLD” underneath a box-and-stick trap and I’d walk right in. I am not immune to your Josukes Higashikata, your Ryujis Sakamoto, what have you. The angry and violent type who will nevertheless stick up for what’s right and remain fiercely loyal to those they care about. Wind Breaker is rife with characters who fit that archetype, but it’s not exactly a delinquent anime so much as it’s a Dudes anime. More specifically, a Dudes Rock anime.

Yes, Wind Breaker’s ensemble cast is almost entirely Dudes, and they do indeed Rock. Protagonist Haruka is a self-inflicted outcast, and his tsundere ass does not appreciate all the positive attention he’s receiving after proving himself in street combat prior to his transfer to an all-delinquents high school. Nevertheless, he wants to fight his way to the top of his new environment, and if that means sticking up for the little guy along the way, all the better. 

I love that Wind Breaker’s overarching messages of self-improvement and helping the weak without expecting a reward are basically anathema for the base power fantasies that largely come from light novels over the past decade and change, but even moreso that Haruka, loner that he is, keeps having to learn that he’s not going to get anywhere without surrounding himself with the right people and relying on their support. Battle shonen are usually pretty blatant with this stuff, but to see it spelled out so clearly in a series like this just hits right.

Wind Breaker looks terrific at just about every step, too. Every single thing I’ve seen from CloverWorks from the past few years has been a bop, which makes it that much more maddening that this is the studio that bungled the Persona 5 anime and supposedly botched The Promised Neverland in its second season. I get that not everything works out as planned sometimes but I find myself waiting for the other shoe to drop sometimes. I’m glad it’s been smooth so far, at least. Some pacing issues and a weird place to end the show, but I know for a fact I'll be there when this comes back in spring.

18. Laid-Back Camp, season 3

I am not immune to the Cute Girls Doing Cute Things genre, and when all is said and done I think Yuru Camp could very well stand alone at the top. A show this directly responsible for the uptick in camping culture and countryside tourism in Japan clearly holds some sway over pop culture, and it’s clearly deserved.

Returning to the present day after the 2022 film gave us a look at the Outdoor Club in adulthood, Yuru Camp’s third season gives us exactly what we wanted: More of the same. We largely focus on the solo expeditions of Rin, Nadeshiko, and the latter’s hometown friend Ayano as they trek to their collective meetup spot, and as the seasons change we get the entire gang together for some springtime hanami. It’s cute, it’s funny, it’s whimsical, it’s Yuru Camp. You know what you’re getting into at this point.

With studio Eightbit taking over the series in its third season, Yuru Camp still largely looks the same, and wonderfully so, but it can be a bit off at times: CGI vehicles look far more distractingly out-of-place, and for as gorgeous as the background art was in the first two seasons and movie, it can come across as a bit more uncanny this time out. I don’t know whether some of the shots of sakura branches were traced or run through some kind of AI post-processing from archival photos, and I hate to speculate on that, but given that this is the same studio that bafflingly under-animates the money printer that is Blue Lock, I can’t exactly put it past them.

Production quibbles aside, I can’t really complain about more Yuru Camp. It’s a bit lighter on plot than previous seasons, but this is a series that was light on plot to begin with. We get to spend time with these goofs, learn about camping and the Japanese countryside, and then maybe go touch grass ourselves. That’s a good message for a Cute Girls Doing Cute Things series to have: Go do your own cute things.

17. NieR: Automata Ver. 1.1a, part 2

The second half of this adaptation was going to be the metric by which fans of the 2017 action-RPG judged the whole work. The first half in 2023, covering the game’s A and B routes, was a solid if troubled production that did a good job of covering the narrative and action, even implementing surprising easter eggs from NieR Replicant along the way. Sloppy CGI integration in early episodes and a COVID-induced delay hampered things, though, so there were some nerves about the show’s return.

Any fears were quickly allayed once the second half of the series began, covering the real meat of the story in routes C-E. Ver. 1.1a immediately looked exceptional, with expressive character animation and fluid action sequences. Real pathos was instilled into the route’s early tragedies. Most welcome of all was the serious work put into expanding A2’s character and role in the story (as well as her backside). It felt like she’d gotten the short end of the stick narratively in the game, so it felt right to spend more time with her, tie her story in the present back to the past that was hinted at in the Resistance flashbacks, and just get to see her be a tsundere a couple times. I’m gonna have to go back and rewatch the whole series dubbed because I just know Cherami Leigh crushed it.

I’m of two minds about Ver. 1.1a as a whole: On one hand, this is just about as good an adaptation of the game as we probably could have gotten. On the other, a big part of what makes the NieR games’ narratives work so well comes from the fact that they could pretty much only be told through the framework of a video game. While Ver. 1.1a does a perfectly fine job of delivering the game’s narrative and providing its own take on the game’s extremely video-game-y ending, much of what makes NieR’s tragedies so impactful is the player’s agency (and occasional lack thereof) in these matters. 

Nothing can replace actually playing NieR: Automata as a means of experiencing its story, but Ver. 1.1a is a darn good companion piece, and one that may even hint at the future of the Drakengard/NieR franchise. Now if only Yoko Taro would focus on something other than gacha games and death game anime for two seconds…

16. Train to the End of the World

The writer/director duo behind Squid Girl came back to give us one of the best and most bizarre original anime this year. Train to the End of the World is overtly and unapologetically weird, and that’s the way I like ‘em.

This weird and wonderful trek across a warped and wildly varied landscape dazzles the eyes and rots the brain in unexpected ways, but it’s a stellar character comedy through and through. Shuumatsu Train’s oddball protagonists are goofy, galaxy-brained, and sometimes flat-out mean in ways that only teenage girls can be. The dialogue is expertly written and some of the punchiest I’ve ever seen in anime. The girls bicker, mess with strangers, and engage in the kinds of inane conversations you only have when you’re the most bored you’ve ever been in your life.

While rarely laugh-out-loud funny, Train to the End of the World is intrinsically hilarious. The sheer absurdity on display is the kind that leaves you just shaking your head in disbelief. One episode they’re playing House of the Dead to get out of a real-life zombie situation, and in another they’re acting out their favorite fictional anime that you, the viewer, are just expected to know about already. It’s a stupid show in the smartest ways; a classical Homerian epic with ruminations on the future, but also one where the girls threaten to wipe out a Lilliputian colony by peeing on it. It’s both eschatological and scatological. With the recent discourse over modern adaptations and interpretations of The Odyssey, this anime might as well be the nuclear option.

Train to the End of the World was a standout in a strong spring season, but it didn’t shake out super high in a long and darn good year of anime. That’s fine and all, but I really hope it ends up attaining the cult hit status it seemed destined for. 

15. Mayonaka Punch

This one had been distant on my radar for a couple of weeks after it premiered, but as soon as I found out it was a P.A. Works original, I picked it up immediately. Any original series by the studio that gave us Akiba Maid War’s glorious gut-wrenching insanity (as well as last year’s exceptional Skip and Loafer adaptation) is going to get my attention, and although Mayonaka Punch doesn’t quite reach the same highs as Akiba Maid War, it does try to match the latter’s most madcap moments.

I don’t have a better pitch than “Canceled YouTuber starts up a new channel with a house full of lesbian vampires,” nor do I really need one. Mayonaka Punch’s comedy largely revolves around the personality clash between the disaffected, avoidant Masaki and the pushy, hyperactive Live (who definitely wants Masaki for more than just her blood), but the whole cast is a riot. Throwing in a baby day trader, a taciturn fujoshi, and a big-titty pachinko fiend are just the right spices to make this a particularly tasty stew.

Chaos naturally ensues, and watching these women try to channel it into a successful YouTube channel is an easy recipe for comedy. Everyone has terrific chemistry and I was rapt with attention every time we got to learn more about each of these vampire girls’ history. What came as a huge surprise, though, was how potent some of the emotional hits ended up, even when it involved characters outside of the main pairing. The fact that the biggest one came in just the fourth episode was a masterstroke; I was already on board for the comedy but just like that I was fully invested in a character other than the one who wants to suck the protagonist dry. I’m not rephrasing that.

This one absolutely deserves to be a cult classic, and the door is left open just maddeningly enough at the end that I can only pray for more. Mayonaka Punch is a boatload of fun and deserves way more attention than it’s gotten. You can change that. Right now. Watch this show.

Prior to writing this, Fairouz Ai (Live’s voice actress and a huge presence in a handful of the shows I’ve already discussed) announced that she would be taking a hiatus from VA work following a PTSD diagnosis. I wish her all of the time, recovery, and support she needs.

14. Urusei Yatsura (2022), season 2

The opening salvo in the ongoing Rumiko Takahashi revival (weird thing to say about a mangaka who’s still alive and working, I know) returned this year for the second half of its “all-stars” run, marathoning us through retellings of the classic manga’s greatest hits, the oddest of its many oddballs, and its spectacular, heartfelt conclusion. More Lum is always a good thing.

I’ve written plenty about Urusei Yatsura’s remake following each cour except the first, and I don’t have much more to add at this point. It’s a classic for a reason and it laid the foundations for dozens of jokes, tropes, and standards that are fundamental to comedy in anime to this day. Even when some of the jokes may come off as trite or tropey, it’s easy to see just how and why it made Takahashi so successful. The exaggerated slice-of-life hijinks, outsized slapstick, and time-and-space surrealness are just as much of a treat as the deep, eclectic cast. And to top it all off, here’s Ataru and Lum being a couple of freaks who deserve each other.

Even though the 46-episode run certainly feels truncated compared to the 191 episodes, six films, and ten OVAs that came before it, David Production did a fine job of putting a modern touch on such a classic work and highlighting its strengths. And even though most of the run was an abridged run through the greatest hits, I’m really glad the studio made sure to dedicate the last few episodes to the manga’s final arc, bringing Lum and Ataru together in a beautiful and (briefly) satisfying climax.

And even for as satisfying as that ending was, it was nearly overshadowed by…

13. Ranma ½ (2024)

…the revival of Takahashi’s biggest hit.

Yes, right on the heels of the ending of the remake of her landmark romcom classic, came the announcement that her even BIGGER landmark romcom classic was also getting a remake. Ranma ½ is one of the hallmarks of 90s anime writ large, working late-80s Japan’s fascination with Chinese martial arts (partially due to Dragon Ball’s success) into a romantic-comedy framework that also accidentally served as the genesis of the harem genre. I’d somehow never actually engaged with Ranma prior to the remake, so I was happy to get in on a new ground floor and I was immediately sold.

As the youngest daughter of the Tendo Dojo, Akane Tendo is put in a predicament when her father betrothes her (at her sisters’ urging) to his friend’s son, Ranma Saotome. Though both are skilled fighters and a good match in that regard, Akane is a bit of a hothead and doesn’t much care for boys, so she’s not a fan of this arrangement, but it’s made all the more bizarre by the fact that Ranma is also a girl sometimes. Thanks to a bizarre accident in China, Ranma turns into a girl when soaked with cold water and back into a boy when hit with hot water. Shenanigans ensue as Ranma and Akane’s contentious relationship hits innumerable peaks and valleys, all the while fighting off an ever-growing menagerie of powerful, fight-happy suitors gunning for the hands and lips of Akane and both versions of Ranma.

MAPPA of all studios being the one to re-adapt Ranma came as a surprise, and you probably could’ve convinced me David Production took over this Takahashi adaptation as well. Ranma’s remake adopts several of the same visual flairs you’d see in Urusei Yatsura, including the Ben Day dots, color inversions, and manga-style onscreen onomatopoeias. On the other hand, while most of the moment-to-moment character animation is pretty much what you’d expect from any given anime, several of the action sequences are very well-animated to MAPPA’s typically high standard. I just hope the animators weren’t getting the Chainsaw Man or Jujutsu Kaisen treatment.

Ranma ½ is as hilarious as ever, but it can get a little wonky thematically when it comes to gender politics, boundaries, and expectations, as I’d been made aware before ever engaging with the work. I also knew from the Urusei Yatsura remake that this was basically Takahashi’s wheelhouse, as there are a couple of pretty genderbendy characters in there as well. Several of the male antagonists in Ranma are more than a little pushy when it comes to women who catch their eye, and a lot of the humor around Ranma’s gender swaps revolves around how their male socialization affects the lack of modesty with which they present their female form (more on that later). People who are much better versed in gender matters than myself, both academically and personally, can speak on the positives and negatives of these things much better than I can, and it’s too early in the series for me to really make a judgment call. I do think it’s odd, though, that even with the central romance, Akane doesn’t seem to remotely entertain the thought of getting involved with Ranma’s female side, and unfortunately I don’t really see that ever happening. So far, all of these things just come across as flat-out silly and more of a product of its time than anything nefarious. 

The original Ranma ½ adaptation remains a seminal work for a solid generation and a half of anime fans, so of course a remake was going to be met with some criticism. Some didn’t appreciate the more muted color palette compared to the late 80s/early 90s Studio Deen version, and while it’s certainly missing some of the flair of the hand-painted backgrounds and saturated lighting effects the medium has missed since that era, I personally like the softer hues; I find them a lot more reminiscent of Rumiko Takahashi’s own colorations for her art outside of the manga. It’s not as technicolor as the Urusei Yatsura remake, but I think that actually helps set the new Ranma apart rather than riding the former’s coattails.

The main difference people seem to be complaining about, however, has more to do with boobs. Takahashi has never been shy about including nudity in her manga, and in an era where uncensored bazongas were perfectly fine to publish in boys’ manga magazines, she was typically more matter-of-fact about the female form instead of pursuing titillation. As such, a story like Ranma’s, in which its title character is typically blase about presenting their female incarnation modestly, had a lot to work with on that front, and the original anime played along.

Not so with the MAPPA version. Nipples are conspicuously missing in scenes that legitimately do call for nudity, and an ass crack appears to be missing from an early scene as well. Personally, I don’t mind the Barbie doll treatment, and as I’d been reading the manga as the anime’s story progressed, I didn't find all that much missing in the transition from page to screen. Weebs tend to convince themselves they’re the most oppressed people on earth, so of course there were cries of censorship, which is a claim I don’t really care to entertain. These are different times, broadcast regulations in Japan are almost certainly different from what they were 35 years ago, and Netflix and/or MAPPA likely didn’t see the need for it. Could be any of those things. I’m not losing sleep over it.

And with that, I’m done talking about Rumiko Takahashi (for now). I’m grateful for everything related to her work, even tangentially, that came out this year, and my life is richer for it. I’m glad to have gotten into her work in earnest this year, and I can say with all conviction (hot take incoming) that she’s one of the greatest mangaka ever. I look forward to diving further into even more of her work.

12. The Elusive Samurai

I’d have been perfectly happy if Wind Breaker had been CloverWorks’ only beautifully-animated oddball shonen hit this year, and then they went and outdid themselves the very next season with this one.

The Elusive Samurai is a gorgeous, timeless-looking piece of historical fiction beginning at the very end of the Kamakura period, following the last survivor of the Hojo clan, the young Tokiyuki, as he’s urged by an eccentric priest to lead a pack of freedom fighters and take revenge. Despite coming from a prominent family within the shogunate, Tokiyuki was an impertinent kid and preferred to play hide-and-seek instead of attending any combat training. The priest, Yorishige, receives a vision of the future that predicts that Tokiyuki will fell his family’s usurper not by becoming a powerful warrior, but by doing what he’s already best at: Being a squirrelly little shit.

I just gushed about how good this show looks three months ago, and even now I’m thinking back fondly on how well it blends whimsy with brutality. You can have Yorishige and the kids goofing off and cracking jokes one minute and vibrant crimson beheadings the next. Even little Tokiyuki makes a joyful game out of slicing a bandit’s veins to ribbons later in the season. It feels like a callback to anime films and OVAs of the 80s, with the film grain effect to match. Almost every single thing about this show looks and sounds incredible.

Of course, there’s the CGI. I really don’t like complaining about that sort of thing, but it was such a blatant and unnecessary cost-cutting move that it almost cheapens the rest of the show. Look, I get that horses can be a pain to hand-animate after a while, but having characters’s CGI models speaking while riding on horseback is just enough to take me out of the show, especially when they already look as bizarre as, say, Sadamune. How that passed muster with the rest of the show’s standard is beyond me.

So, maybe I did dock it a spot or two for that, but I see that as a wrinkle that can be ironed out. The Elusive Samurai is absurdly promising, and its debut season is a tremendous statement. Can’t wait for more.

11. Makeine: Too Many Losing Heroines!

As I made clear last year by putting 100 Girlfriends’ debut season in my top ten for 2023, for as much as I love a good straight-up romance story, I have ample room in my heart for trashy dipshit romcoms as well. Makeine shares that affection and forges its own identity from it, establishing its own throne atop a hill of garbage.

This is not a “yeah it’s good if you can look past the tropes” show. Makeine is firmly on its bullshit, and it is firmly about its bullshit. It’s not nearly as off-the-wall as 100 Girlfriends, few shows are, but it’s well aware of your expectations and leaves you guessing whether you’ll have them expertly subverted or just thrown right back in your face. Even the protagonist, the light novel fanatic Nukumizu, is calling out the tropes as they happen, but it’s been a fun time watching him learn that he’s more than just a wet-blanket LN protagonist. He thinks he’s just along for the ride like any other blank-faced self-insert in these stories, as gets roped into the personal lives of these poor girls and learns that, yes, they are real people and that, yes, he is too.

I could go on and on about Too Many Losing Heroines’ idiosyncrasies and offbeat characters and punchy dialogue, but I did that plenty just a few months ago. Instead, I want to call attention once more to just how freakishly well-made this show is. A-1 Pictures had zero reason to go this hard on a goofy, trashy light novel romcom adaptation, and yet here they were, throwing their A-team at the whole project. Character animations are intricate, background art is sumptuous, lighting effects immaculate, and music on point at all times. The OP is an earworm (and one of a surprising number of ska intros and outros I’ve taken in this year), and having each of the main titular heroines perform her own story-appropriate ED was a masterstroke. Even the visual gags are perfect and allowed to land on their own.

I already cannot wait for more of this. If A-1 has given us all we’re going to get of the Kaguya-sama anime, then I’m as all-in on Makeine as they are. Not the best romcom out there, but easily one of the best-made out there.

[pagannatural]

2.07 The Usual Suspects

-Sam being interrogated about Dean is so so good because we get to see Sam being told that his brother is a scumbag criminal and the way he reacts by rolling his eyes like he’s heard this before. It’s almost like seeing a teenage version of Sam. The detective keeps telling him to throw Dean under the bus and the whole time he’s just giving attitude and plotting how to help Dean and work the case. He keeps looking out the window. Some of his reactions are raw and some are fake and some are both and his mind is running through his options assessing what to do and how to get out of this.

When confronted with the cliff notes on his and Dean’s life, Sam runs the gamut of emotion from sad and grief-stricken about Jessica to defending Dean and acting all scandalized to being a smartass, to whatever the hell this is when she says “it’s not your fault he’s your brother, we can’t pick our family”

The double meaning here. The not meeting her eyes, the tension on his face, the disdain. It’s giving Bitch don’t I fucking know it, yet I would choose him a thousand times and every time I would be a little bit miserable. “It’s not your fault he’s your brother, we can’t pick our [soul mates]” is probably what God tells him in his most comforting dreams.

-So the detective’s theory is what? That after a shared sordid serial killer childhood Sam escaped the life and then Dean murdered Sam’s girlfriend in a house fire to lure him back in and make him his crime wife?

Because I mean yeah I would read that AU. That fits their vibe pretty nicely.

-She says “Dean’s a bad guy….his life is over, yours doesn’t have to be” and Sam looks at her like that’s the dumbest thing he has ever heard.

She doesn’t know that they become sickly and depressed when they’re apart like a pair of bonded sewer kittens.

When she tells him he can get on with his life and Dean��s as good as gone you can almost see him tuning her out and calculating how to lie about this.

-Sam starts on his cover story, using his trademark Sweet-Innocent face. He relies on his charms and on appearing helpless to manipulate people into doing what he wants. He would’ve learned to do this when he was a child as a survival skill, and I can just imagine how well this complemented Dean’s tough but earnest seduction thing. Acting sweet and helpless when you’re actually savvy and resourceful is a trope commonly used in female characters. These traits (innocence, sweetness, feigned helplessness) are associated with women gaining/utilizing agency in the ways available to them.

Because narratively, Sam is the girl. It’s stuff like this, plus the way he’s depicted as Dean’s tempting damsel in distress in other episodes. It increases the sexual tension between Sam and Dean when they rely on these archetypes because we know what it means when two leads are masculine and feminine, when they need each other and the plot hinges on their conflict. It means they’re the love interests.

-Dean makes a joke about Sam being Scully, and Sam’s like I’m not Scully you’re Scully, and Dean says “No I’m Mulder. You’re a red headed woman.” Really spelling it out.

Dean is smirking and making prolonged eye contact and just— he’s flirting. There’s a Bruce Springsteen song titled “Red Headed Woman” about how “it takes a red headed woman to get a dirty job done.” I have no idea if this is what Dean’s referencing or if it’s just a Scully reference but it’s a very specific thing to say and Sam is brunette. The song is very suggestive.

-Dean HATES waiting around while Sam works. Within seconds he becomes insufferable and has to leave to go do something, flirting with Sam again on his way out.

-“Sam’s story matches Dean’s to the last detail” they didn’t even SEE each other before talking to police! They’re just so connected that they tell the same exact story. Then they both work on the case in their separate interrogation rooms using different methods and arrive at the same conclusion at the same time. They also make the same joke about their public defender.

-I keep seeing this post about who knew Dean better, Sam or Castiel, and I just want to point out that these two are so in sync they can essentially read each others minds.

-We have an outsider perspective on their lives and relationship a few times this episode, and the detectives comment more than once on how weirdly connected the brothers are. Like, Dean communicates to Sam via movie reference to escape and Sam is already all over that, he’s been assessing how to climb out the window since his first scene.

-Dean tells the detective to go to Sam so that Sam can save her life, giving her their info on “how we find each other when we’re separated.” That’s very practical. It’s also true that when they aren’t together they are obsessed with finding each other and making sure they know exactly where the other is at all times. They must have felt so untethered when Sam was at Stanford. I’m imagining Sam going on a little trip over spring break and feeling like he’s forgetting something really important and starting to panic only to realize it’s just that Dean won’t know where he is.

[hotvintagepoll]

The Three Stooges (Turn Back the Clock, Meet the Baron)—They. Were. The. Blueprint. All scrungly guys who came after owe their "whoop whoop whoop woop!" to the Stooges [editor's note: the Three Stooges were submitted as a group but two of their members were also submitted separately, so I've condensed them into a unit and included the propaganda submitted for Larry and Shemp below the cut.]

Peter Lorre (The Maltese Falcon, Arsenic and Old Lace, Casablanca)—to me he DEFINES scrungle hes the first person i think of every time the term comes up! i want to fold him up like a paper accordion and put him in my pocket. guy that spawned a million voice artists and impersonators. they made a ghost version of him for halloween cereal staple boo berry. bewitched by his nervous mania and tooth gap <3 (for the purposes of propaganda im linking a photo from his extremely short appearance in muscle beach party bc ive been obsessed w it for years and i couldnt find any video for it :/ anyway imagine youre frankie avalon spending the whole movie battling a bodybuilder faction thats taking over your beach and your girl and then you find out this fucking guy is their mastermind mystery leader and hes stronger than all the bodybuilders combined. like Huh. What.)

This is round 2 of the contest. All other polls in this bracket can be found here. If you're confused on what a scrungle is, or any of the rules of the contest, click here.

[additional submitted propaganda + scrungly videos under the cut]

The Three Stooges:

The rest of the Stooges can pass as normalish guys, (until they open their mouths,) but between his trademark hair, very distinctive voice, and ridiculously reactive face, Larry is the Scrungly Stooge. If he isn't taking a slap, poke, or yank to the hair, he's flinching and twitching to some cartoonish violence along with the audience. And occasionally being an absolute one-liner lunatic that reaffirms why he's one of the Three Stooges. He gives off strong "Possum Spotted By Neighbors' Trash Cans" energy, but a chill possum, not one that's going to hiss or run away. A friendly possum that perhaps has limited survival instinct, but you admire him for his optimism. (Worth mentioning: In real life, Larry let Moe Howard handle most of the business aspects of The Three Stooges, because the one time Larry signed a contract by himself, it was to a completely different studio than his partners. He was also absolutely devoted to his wife, Mabel, having met her in vaudeville as teenagers. It was said that if Mabel wanted Chinese food in the middle of the night, Larry would go out and find some. Due in part to Mabel's dislike of housekeeping, and Larry either having a penchant for gambling or having very poor money-management, the Fines tended to live out of hotels. Regardless, when partner Curly suffered a career-ending stroke in the 40s, Larry still contributed part of his paycheck towards Curly's care. Spendthrift or not, Larry was a very generous soul to the end.)

Shemp is just the best at playing the curmudgeonly jackass and come on, who has a scrunglier face than he does?

[cw for disability slur]

Peter Lorre:

he's pretty much the archetype of the scrungly little guy. the blueprint. the example by which all other scrungly little guys are judged

The entire point of his iconic role in Casablanca (apart from introducing the central plot mcguffin) was to be LITTLE and SCRUNGLY to make Bogie look even cooler. And Maggot in Corpse Bride - the littlest scrungliest guy in that film - was a parody of him.

Between his big eyes, wheezy laugh, short stature, and expressive faces, Peter Lorre achieved icon status as the scrungliest, littlest guy in Hollywood. His scrungly little guy energy was often contrasted with the more typical masculinity of the leading man, but whether this contrast was meant to make him seem especially sinister, comedic, or pathetic, it always left an unforgettable impression!

The perfect sniveling character actor, “scrungly” is the first word that comes to mind when I think of him.

I'm sure somebody else has already submitted him (if not then ???) but he's a cute kind of scrungly little guy. He's got a distinctive nasal voice with an accent that is instantly recognizable and often imitated. His later horror movies are so much fun, especially when he's playing off of Vincent Price. He's so good at being unhinged, creepy, or manic, but also pathetic and sympathetic.

Classic scrungly hollywood golden age little guy who was friends with Humphrey Bogart and still played some of the wettest most sniveling characters ever committed to celluloid (complimentary) there is a deep despair and darkness in many of his characters that enhances his scrungly

To be clear, I am one of those people who will argue that Lorre is one of the most underrated film actors, but the POINT is that he's also just a scrungly delight. A delightfully pocket-sized man. Somehow endearing even when he is being actively amoral (see esp. Casablanca. "I found myself much more reasonable!") The faces he makes while doing the Russian cossack dance with a butter knife between his teeth in Silk Stockings make me laugh just thinking about them.

Wikipedia described his typical characters as "timidly devious", lots of weird little villains and evil sidekicks that are pretty horrifying but still manage to be sort of pathetic and the very definition of "poor little meow meow". His look and voice and mannerisms are so iconic they're still imitated

Cartoons for the next century have and will continue to include Peter Lorre-esque characters when needed to up the scrunge factor (see Bugs Bunny and so many more).

Youtube link for characters inspired by Lorre [editor's note: I'm not actually sure how many of these characters are directly, verifiably influenced by Peter Lorre, so take with a grain of salt. tw for suicide depiction.]

I think Arsenic and Old Lace is his quintessential "scrungly" performance. He's so put-upon and tired...all he wants is sleep and some schnapps! I love the way his shoulders fall slowly when he thinks he's caught (he looks like a sad puppy!), only to gleefully sprint out the door when he realizes how dumb those police officers are.

[svt-luna]

╰ ᥫ᭡. ⋆· ˚ ༘ * SEVENTEEN LUNA FILES

Bae Jiyeon ❨ 배지연; born January 30, 1997 ❩ known mononymously as Luna, is a Korean-English singer. Born and raised in Kensington, London, United Kingdom. Luna lived in the United Kingdom for fourteen years before returning to South Korea in 2011. She is a member of the South Korean co-ed band SEVENTEEN and its fixed sub-group the Vocal Team.

╰ ౨ৎ BASICS

Birth Name: Bae Ji-Yeon ❨ 배지연 ❩

English Name: Luna Bae

Stage Name: Luna

Birthdate: January 30, 1997

Birthplace: Kensington, London, United Kingdom

Nationality: Korean-English

Ethnicity: Korean

Spoken Languages: Korean ❨ fluent ❩, English ❨ fluent + English accent ❩, Japanese ❨ intermediate ❩, Chinese ❨ intermediate ❩

╰ ౨ৎ ARCHETYPES

Zodiac Sign: Aquarius

Chinese Zodiac Sign: Ox

MBTI: INTJ

Hogwarts House: Slytherin

Godly Parent: Hades

╰ ౨ৎ PHYSICAL

Height: 170cm ❨ 5’7" ❩

Weight: 43kg ❨ 94lbs ❩

Blood Type: O+

Hair Color: Black

Eye Color: Brown

Body Modifications:

Piercings: Lobe ❨ 3 on each ear ❩, Conch ❨ right ear ❩, Helix ❨ 2 on each ear ❩, Flat ❨ left ear ❩, Tragus ❨ both ears ❩, Rook ❨ both ear ❩, Daith ❨ right ear ❩, Forward Helix ❨ right ear ❩, and Belly button piercing

Tattoos: The number 17 ❨ side of right wrist — dedicated to the band ❩, Crescent moon ❨ side of left wrist — dedicated to her name ‘Luna’ ❩, The letter J in cursive ❨ inside her left ring finger — her initial from her name ‘Jiyeon’ but some fans theorize it’s for ‘Jeonghan’ ❩, A ribbon/bow ❨ on the back of her right hand — her trademark love for ribbons and bows ❩, ‘Lady of the Moon’ calligraphy ❨ by her right rib cage — a nod to her name once more ❩, ‘eventually’ calligraphy ❨ inside her right middle finger — just like she said, “Eventually everything that is for me will come.” ❩, and ‘lovebug’ calligraphy ❨ on the back of her neck — the nickname her grandparents had given her ❩

Unique Features: Dimple on right cheek, piercing siren eyes ❨ cat-eye/ foxy shaped ❩, beauty mark on right cheekbone and left cheek, smirk smile

Medical Conditions: Anemic, has a former collarbone fracture caused after falling during a ballet routine when she was 10 years old, a scar on her right ear lobe after a technical malfunction with her in-ear monitors

╰ ౨ৎ LUNA CLAIMS

Face Claim: Jang Wonyoung ❨ IVE ❩

Singing Voice: IU

Speaking Voice: Jang Wonyoung ❨ has a naturally deep voice when she speaks, however gets higher when she whines and unironically and unknowingly does aegyo ❩

Dance Style: Momo ❨ TWICE ❩ — SEVENTEEN performances, Kazuha ❨ LE SSERAFIM ❩ — Ballet performances

╰ ౨ৎ PERSONALITY

MBTI: INTJ ❨ The Architect ❩

Personality Traits: As an INTJ, often referred to as ‘The Architect’, Luna embodies a unique blend of intelligence, strategic thinking, and an independent spirit. Her personality reflects a deep understanding of the world around her, often viewing situations through a logical and analytical lens. This makes her an exceptional problem-solver, able to assess challenges and devise effective solutions with ease.

Growing up in Kensington, London, Luna was immersed in a world of creativity and intellect. As an only child of a retired ballerina and an anthropologist, she was exposed to the arts and sciences from a young age. Her mother encouraged her to pursue ballet, starting lessons at the age of three. This early training not only honed her physical abilities but also instilled in her a sense of discipline and dedication. However, Luna often felt the pressure to excel, which led to her developing a strong work ethic and perfectionist tendencies.

Despite her outward confidence, Luna struggled with feelings of isolation. Her intimidating features and talent sometimes made it hard for her to connect with her peers, leading her to seek solace in books, art, and music. These experiences nurtured her introspective side, allowing her to develop a rich inner world filled with creativity and imagination.

During her training period, Luna’s INTJ traits truly shone. Her analytical mind enabled her to quickly grasp complex choreography and vocal techniques, allowing her to excel in evaluations. She was often dubbed the ‘Ace’ among her fellow trainees for her versatility and ability to adapt to various tasks effortlessly. However, this did not come without challenges; she faced moments of great pressure to live up to the title and of self-doubt, particularly in a competitive environment where she felt the weight of expectations.

Luna’s leadership qualities emerged during her training, as she often took the initiative to help fellow trainees improve. Her strategic mindset allowed her to navigate the often chaotic training schedule, and she quickly learned to manipulate situations to her advantage, especially during group activities or evaluations. While she maintained a somewhat aloof demeanor, her ability to connect with her peers through shared interests— such as crafts with Joshua or dance challenges with Hoshi— showed her capacity for forming meaningful relationships.

Now as a world known idol, Luna’s INTJ personality manifests in her strong presence and charisma on stage. She is known for her meticulous approach to performances, carefully analyzing each aspect of her shows to ensure they are executed flawlessly. Her strategic thinking allows her to anticipate audience reactions, making her a master at captivating crowds.

Luna’s intelligence also extends to her interactions with fans and the media. She navigates interviews and public appearances with ease, often using her wit and charm to leave a lasting impression. However, she remains somewhat guarded, finding it challenging to open up fully about her feelings, particularly in the context of her somewhat complicated relationship with Jeonghan.

While she is often seen as intimidating due to her ‘resting bitch face’, those who take the time to know her discover her warmth and loyalty. She is protective of her fellow members, particularly the youngest ones, and values the deep connections she has formed within the group. Luna’s ability to balance her independent spirit with her caring nature makes her a unique and multi-faceted character in the K-Pop industry.

Positive Traits: Independent, disciplined, versatile, charismatic, protective, strategic, analytical, ambitious, intelligent, loyal

Negative Traits: Perfectionist, aloof, stubborn, overly critical, reserved

╰ ౨ৎ HISTORY

1997-2011: Luna was born in Kensington, London, into a well-off family that nurtured her artistic inclinations. Her mother, a retired ballerina, introduced her to the world of dance, leading Luna to begin ballet training at the tender age of three. This early exposure fostered her love for performing arts and instilled a strong work ethic in her. Academically gifted, she attended Southbank International School Kensington, where she excelled in her studies and developed a deep passion for music. Despite her wonderful childhood, Luna often felt isolated due to her personality, seeking solace in her artistic pursuits and immersing herself in the creativity that surrounded her.

2011-2012: At the age of fourteen, Luna made the pivotal decision to move back to Seoul, South Korea, to pursue her dream of becoming an idol. This transition marked a significant change in her life, as she entered the competitive world of K-Pop. She initially trained at YG Entertainment for a year, where she faced the rigors of idol training and learned to adapt to the intense environment. Throughout this time, she was constantly approached by PLEDIS Entertainment, a smaller company that offered her a chance to further her dreams. After much consideration, Luna trusted her instincts and made the bold decision to switch companies, believing it would ultimately lead her closer to her goals. She has mentioned in an interview that her leaving a huge and well known company for a smaller one was one of the riskiest thing she has ever done and yet she does not regret it.

2013-2015: Luna trained for another two years at PLEDIS Entertainment, honing her skills as a lead vocalist in preparation for her debut. During this time, she faced various challenges, including rigorous practice schedules and the pressure to excel among her peers. However, her determination and talent shone through, allowing her to form strong bonds with the other trainees. She was supposed to either debut in a girl group or as a solo artist, however, in 2015, Luna finally achieved her dream of debuting as a member of the co-ed band SEVENTEEN, alongside thirteen talented male members. This milestone marked the beginning of her journey in the spotlight, showcasing her versatility and dedication as an artist.

2015-Present: Since her debut, Luna's life as an idol has been a rollercoaster ride filled with both challenges and triumphs. She has navigated the ups and downs of the entertainment industry, facing public scrutiny and the pressures of fame. Despite these obstacles, the joy of being with her fellow members, whom she considers family, has been a constant source of strength. Together, they have achieved remarkable success, creating unforgettable memories and sharing their passion for music with fans worldwide. Luna's perseverance and commitment to her craft continue to drive her as she embraces the journey of an idol, always striving to achieve her goals and dreams.

╰ ౨ৎ LUNA-VERSE MASTERLIST

ೃ⁀➷ comment or message me to be added to the tag list :)

˚₊· ͟͟͞͞➳❥ SUBMIT A REQUEST AND ASK ME ANYTHING!

: ̗̀➛ requests are always open ♡ - lunaఌ

Taglist: @yeoberryx @minminghao @angie-x3

[nameless-ken]

Silent Confessions, Loud Masks - Billy Hargrove x Reader Series

I'm so excited about my brand new series! Not going to lie this first chapter was difficult for me to write. I have a serious battle with the dreaded delete button!

Anyways, hope you all enjoy this first chapter. It truly means a lot to me how excited you have been for this series <3 Comment below to be added to the taglist.

(Please reblog!!!)

Happy reading!

Word Count: 4.3K

Warnings: mostly angst with some slight rude remarks/bullying

Introduction to the series here!

Masterlist

(had this song in my head while writing this chapter)

In the tumultuous whirlwind of your teenage existence, embarking on your final year of high school, you've recently become aware of a singular truth: put full trust into the future that stretches far beyond the grasp of your present moment. Amidst the unexpected certainties that await, there's one you never anticipated – Billy Hargrove.

Billy reigns as the new king of Hawkins High, his “coronation” following the departure of Steve "The Hair" Harrington. He embodies the archetype of a manic attention-seeker, parading through the halls with a rotating carousel of girls, each week presenting a fresh face to the crowded hallways. It's a spectacle that leaves you utterly perplexed, unable to fathom the allure that draws countless girls into his orbit, only to be summarily discarded days later.

Thankfully, you've managed to maintain a safe distance from Billy and his band of lunatics, skillfully navigating the school corridors to avoid any unwanted encounters. While you share a few classes with his entourage, you've strategically positioned yourself in the front row, creating a buffer zone that shields you from their antics.

However, fate has a penchant for upheaval, as evidenced by your first detention – a consequence of arriving late to homeroom on three separate occasions. As you begrudgingly endure the mind-numbing 30-minute sentence after school, Robin, your loquacious best friend, offers her trademark blend of sympathy and sarcasm.

“They seriously gave you a detention for that? Couldn’t you pull the ‘I’m a straight A student who has never gotten in trouble before, please help dear little me this one time’ on them?” 

“Sadly no. I definitely tried to get out of it but they’ve been cracking down on a bunch of seniors for a couple weeks now.” 

“I'll wait up for you after band practice.” Robin slams her locker shut. 

“Thanks. See you later.” You turn to go down the opposite hallway than her. 

“Have fun troublemaker.” Robin pokes fun at your new “status” and you give her the finger back jokingly before you both wave and disappear down your own paths.

With a sigh, you resign yourself to the monotony of detention, selecting a seat near the window to alleviate the stifling atmosphere of confinement. The rules plastered on the board, NO FOOD. NO TALKING. STAY IN YOUR SEAT, serve as a constant reminder of the school’s misguided attempts at discipline.

You roll your eyes at the obnoxious nature of this situation. Why do schools think detention is ever going to work? You are put in a room for a certain amount of time with other delinquents. If anything you’re setting up a scenario for more trouble to happen. 

You pull out the current book you're reading, ignoring all the rest of the students who walk in. 

“Alright, welcome to detention. I have quite a lot of work to finish so I will be checking in periodically. When it’s your time to leave per your detention slip, come see me in my classroom and I’ll sign you out. Please respect the rules.” Mr. Thomson, the junior science teacher turned detention overseer, delivers a perfunctory address before retreating to his sanctuary, leaving the delinquent assembly to their own devices. 

Amidst the murmurs of discontent, Billy's name resonates like a discordant note, signaling the unwelcome intrusion of Hawkins High's reigning sovereign.

“Are we gonna flake out again Billy?” It didn’t even cross your mind about the possibility of being stuck in the same room as him.

“Can’t. I’ve skipped so many that they want to try and expel me.” 

“That'd be hardcore to see.” 

“Not to my dad it wouldn’t. Besides, it's not that bad. We have quite the sight sitting up there in the left corner today.” 

As Billy and his cohorts encroach upon your solitude, you bury your nose in your book in a feeble attempt to shield yourself from their presence. 

“Let’s have some fun.” You turn another page as footsteps echo towards you, stopping in front of your occupance. “I don’t believe we’ve ever met.” 

You don’t give him the time of day in reality but in your head, you’re fighting with the embarrassment and attention he’s solely giving you right now. Billy's charisma knows no bounds, his toothy grin and smug demeanor penetrate your defenses with effortless ease.

“I’m Billy but you may already know that. What’s your name, little mouse?” Billy rests his hands face down on your desk, leaning in so his face is parallel with yours. 

“Such a quiet thing.” Ignoring his advances proves to be an exercise in futility as Billy's persistent pestering chips away at your resolve, culminating in a daring theft of your cherished book. Yet, you refuse to grant him the satisfaction of a response, maintaining a stoic facade despite the numerous emotions raging beneath the surface.

“It’s always the quiet ones you have to look out for.” His friend to the right chimes in. 

“There’s some ways I can think of to change that.” You look up, narrow eyes meeting Billy’s. He sends you a wink with his usual smirk resting on his face. 

“Not going to say anything?” You can feel your heart racing, hating the way he’s making you feel, more annoying that he’s causing any kind of reaction from you. 

The sudden arrival of Mr. Thomson offers a reprieve from Billy's relentless pursuit. 

“Y/N, you’re free to go.” He grants you an opportunity to escape the confines of Billy's gaze. As you hastily gather your belongings and make your exit, Billy's parting words linger in the air as he whispers close to your ear, “See you around little mouse.” 

Feeling like you could breathe again, you're greeted by a note from Robin stuck to your locker.

I got called into work :( Call me later - Robin

You groan inwardly, the frustration of detention compounded by the looming task of finding a new ride home. Billy and his entourage have succeeded in tainting what was already shaping up to be a less-than-ideal day. You trudge outside, seeking solace in the cool breeze that sweeps through the schoolyard.

The pleasant Indiana weather offers a small comfort, prompting you to forgo the immediate need for a ride and opt instead for a beautiful stroll to clear your mind. As you walk, you reach into your bag and retrieve your trusty cassette player, the familiar weight of it grounding you in the midst of chaos running through your mind. You mentally curse Billy for crowding every corner of your mind. 

With a deft motion, you slipbthe cassette into the player, the soft click of the mechanism soothing in its familiarity. The strains of your favorite mix fill the air, providing a welcome distraction from the events of the day.

Lost in the music, you barely notice the passing cars, each one a blur against the backdrop of your thoughts. That is, until a certain familiar shade of blue catches your eye, the sudden halt of the vehicle drawing your attention like a magnet.

You turn, locking eyes with Billy as he idles beside you, his presence an unwelcome intrusion on your solitary walk. His voice cuts through the quiet, laced with an air of amusement that irritates your nerves.

“Didn’t think we’d meet again this soon little mouse.” he remarks, his smirk evident even from the confines of his car.

You pause your tape, the rhythmic pulse of the music abruptly silenced as you face him, a mix of irritation and annoyance evident in your expression.

"What do you want, Billy?" you questione, the weariness of the day showing in your voice.

He chuckles, the sound grating on your nerves as he leanes casually against the driver's side door, his gaze fixed on you with an unsettling intensity.

"She speaks!" he exclaims, his laughter ringing out in the quiet of the street. "Need a ride somewhere?"

You bristle at the suggestion, your resolve hardening as you met his gaze with a steely glare.

"Not from you," you retort, tone firm and uncompromising.

“Oh come on, I won’t bite. Unless you want me to.” You rolle your eyes at his innuendo, a flush rising in your cheeks as you resist the urge to give in to his persistent advances.

"I don’t need your help, Billy.”

He relents, his expression shifting to one of mock innocence as he reaches over to open the passenger door, a silent invitation hanging in the air between you.

"Come on, little mouse," he urges, his tone surprisingly gentle. "Just this one time."

You hesitate, torn between pride and practicality, before ultimately capitulating to the inevitable. You step into the car, the door closing with a soft click behind you as you buckle yourself in.

"No speeding," you warn, your voice firm as Billy complies with a laugh, the car pulling away from the curb at a reasonable pace.

As you settle into the seat, a strange sense of calm washes over you, the tension of the day slowly dissipating in the confines of the car. Despite your reservations, there was an undeniable comfort in Billy's presence, a realization that both puzzles and unnerves you in equal measure.

“So are you going to tell me where you live or am I bringing you back to my house?” 

“I live near Curly. By that trailer park.” 

“Thought you lived more in the pristine area of the Wheelers and Harringtons.” 

“Well you thought wrong.” 

As Billy maneuveres through the streets, you couldn't shake the feeling of discomfort mixed with a strange intrigue. You steal glances at him, his confident demeanor and reckless charm contrasting sharply with your own cautious nature.

"Why'd you get detention anyway?" Billy's question broke the silence, his eyes briefly leaving the road to meet yours.

"Too many tardies to homeroom," you reply, keeping your answers short.

"That's it? Seems a bit harsh," he remarks, his tone genuinely curious.

You shrug, not wanting to delve into the details of your run-in with authority.

As the familiar landmarks of Hawkins pass by in a blur, you couldn't help but wonder what lay ahead, the uncertainty of the future looming large on the horizon. You couldn’t help but think if this would be the last time Billy would go out of his way to acknowledge you. 

Navigating the familiar streets of Hawkins alongside Billy, you're acutely aware of the palpable tension that simmers between you, a potent cocktail of unease but also lingering with intrigue. Though you strive to maintain a facade of indifference, the magnetic pull of Billy's presence proves undeniable, stirring emotions you've long sought to suppress.

You’re thankful the remainder of the drive passes by in a relative quiet, punctuated only by the loud rock n roll blasting from the radio. When you finally reach your destination, you find yourself hesitating before getting out of the car.

"Thanks for the ride," you say, surprising yourself with the sincerity in your voice.

Billy grins, a glint of mischief in his eyes. "Anytime, little mouse."

With that, you step out onto the sidewalk, watching as Billy drives off into the distance. As you make your way towards your house, you couldn't shake the feeling that this chance encounter with Billy Hargrove was just the beginning of something you couldn't quite put your finger on.

Little did you know, the lines between your world and the world of Hawkins' resident bad boy were about to blur in ways you never imagined possible.

The following day, you find yourself once again navigating the familiar halls of Hawkins High, the events of the previous day still fresh in your mind. As you settle into your seat in English class, you can’t seem to shake the lingering sense of unease that accompanies your newfound proximity to Billy Hargrove.

It’s the most infuriating feeling and you hate yourself for allowing him to overtake your waking thoughts all throughout your night and morning. 

The classroom buzzes with the usual chatter of students, the mundane rhythm of academic life marching on despite the turmoil brewing beneath the surface. As the bell rang, signaling the start of class, Ms. Paterson enters the room with her characteristic air of authority, a stack of papers in hand.

"Good morning, class," she greets as she makes her way to the front of the room. "Today, we'll be embarking on a new project that will count towards a significant portion of your grade for this year."

A collective groan echoes through the room at the mention of yet another assignment, but Ms. Paterson pays it no mind.

"As part of this project, you'll be working in pairs to research and present on a book report of your choosing," she announces, her gaze sweeping over the room as she distributed the assignment sheets. "I'll be assigning partners randomly, so I expect everyone to work together cooperatively."

Everyone exchanges a wary glance around the classroom, the prospect of being paired with someone like Billy Hargrove looming ominously in the air. As Ms, Paterson began calling out pairs, you held your breath, bracing yourself for the inevitable.

"Y/N, you'll be paired with... Billy Hargrove.”

You felt a sinking sensation in the pit of your stomach as Billy's name reverberated through the classroom, the weight of his presence suddenly suffocating in its proximity. You glance in his direction, meeting his gaze with a mixture of apprehension and resignation.

Billy, for his part, seemingly unfazed by the news, his trademark smirk firmly in place as he turned to face you with a glint of mischief in his eyes.

As the final bell rang, signaling the end of class, you found yourself hesitating by your desk, unsure of how to broach the subject of the upcoming project with your enigmatic partner.

Billy saunters over to your desk with his characteristic swagger, a smirk playing at the corners of his lips.

"Well, looks like we're partners, little mouse" he remarks, his tone laced with amusement as he leans against the edge of your desk.

You fight to suppress the urge to roll your eyes at his cavalier attitude, instead meeting his gaze with a steely determination of your own.

"Yeah, looks like it," you reply as you gather your belongings.

Billy's smirk widens at your response, his gaze lingers on you with a mixture of curiosity and something else you couldn't quite decipher.

"So, partner," he begins falling into step beside you as you both maneuver out of the classroom. "Where do you wanna meet up?"

You pause, considering your options carefully before responding. The thought of inviting Billy into your home sent a shiver of apprehension down your spine, but meeting up at his place didn't seem much better.

"How about we meet at the library?" you suggest, the words tumbling out before you could second-guess yourself. "It's neutral ground, and we'll have access to all the resources we need."

Billy raises an eyebrow at your suggestion, his smirk morphing into a grin of approval.

"Works for me," he nonchalantly responds. His tone surprises you at how agreeable it is and non combative about trying to get you into his bedroom. 

"4 pm. Don’t be late. I will not be waiting on you." You demand. 

“See you then, little mouse.” He winks, walking in the opposite direction. You groan internally at the use of that nickname he’s decided to give you. This is going to be a long year. 

As you and Robin sat on the bleachers in the gym during lunchtime, the rhythmic thud of basketballs hitting the court filled the air, punctuated by the occasional cheer from the squad as they practice their routines. Your eyes involuntarily flicker towards the court, where Billy’s shirtless form glistens with sweat under the fluorescent lights of the gym, his green gym shorts leaving little to the imagination as he moves with fluid grace among his teammates.

Robin's incredulous tone breaks through your reverie, snapping you back to reality.

"Wait, you got paired up with Billy for a project?" Robin exclaims, her disbelief palpable as she tore her gaze away from the court to focus on you.

You couldn't help but chuckle at her reaction, the absurdity of the situation not lost on either of you.

"Yeah, tell me about it," you respond, taking a bite of your sandwich as you try to mask the unease that churns in your stomach. "I have no idea how I'm going to survive working with him for the rest of the year."

Caught in a moment of distraction, your eyes lock with Billy's across the expanse of the gym. Time comes to a stand still leaving only the two of you in a silent battle of uncertainty. For a fleeting moment, you found yourself captivated by the intensity of his gaze, the depths of his eyes holding a tantalizing promise of something unknown. It was a gaze that spoke volumes, conveying a myriad of emotions that stirs something deep and unexpected within you.

As if sensing the weight of your scrutiny, Billy's lips quirk into a knowing smirk, his eyes dancing with mischief as he holds your gaze with unwavering confidence. Before you could fully process the significance of the moment, the spell breaks as Billy turns his attention back to the game, seamlessly blending into the rhythm of the practice session as if the moment didn’t just happen. 

You tear your gaze away, a flush of embarrassment coloring your cheeks as you focus once more on your conversation with Robin. But despite your best efforts to dismiss the encounter, the feeling of Billy's piercing gaze lingers in the back of your mind, a silent reminder of the unexpected allure of the boy who has unwittingly become a sudden constant in your life now.  

Robin offers words of encouragement, her unwavering support a welcome balm to your frazzled nerves.

"Don't worry, Y/N," her voice a beacon of optimism in the darkness. "You're strong enough to handle anything that comes your way. Besides, who knows? Maybe working with Billy will be...interesting."

You couldn't suppress a snort of disbelief at her suggestion, the image of Billy's smug smirk and cocky attitude flashing through your mind.

"Yeah, interesting is one word for it," you remark dryly, a wry smile tugging at the corners of your lips. "Let's just hope I survive long enough to at least be there for graduation."

The town library stands as a quiet sanctuary amidst the bustling small town streets of Hawkins, its walls lined with rows upon rows of books that hold the promise of knowledge and adventure. As you step through the entrance, the familiar scent of old paper and ink washes over you, wrapping you in a comforting embrace as you sought out a secluded corner to await Billy's arrival.

Minutes tick by, each second stretching into an annoying eternity as you scan the quiet aisles for any sign of your partner. Just as you begin to resign yourself to the possibility of being stood up, a figure appears in the doorway, his presence commanding attention as he makes his way towards you with purposeful strides.

"Sorry I'm late," Billy greets, his tone apologetic as he approaches, a faint crease of worry marrying his brow. "Had to drop off my step-sister at home."

You nod understandingly, "No worries," offering him a reassuring smile as you gesture towards the table. "Let's get started."

Billy's expression softens at your words, a hint of gratitude shining in his eyes as you don’t try to pry. For a moment, the weight of his troubles seem to lift from his shoulders, replaced by a sense of camaraderie as you delve into the task at hand.

As you and Billy sift through the titles of various books, searching for the perfect one to base your project on, the atmosphere between you remains comfortably casual, the initial awkwardness of your partnership gradually melting away.

"So, any preferences on which book we should choose?" you ask, breaking the silence that has settled over the table.

"Not really," he replies with a casual shrug, his gaze flicking between the book covers with mild interest. "I'm good with whatever you want."

“Do you have a favorite book?”

“I don’t think I’ve ever really finished one before.” Billy admits. 

“That’s quite sad to hear. What do you even do for fun?” 

“You think this is fun? Holding old pieces of paper about fake people and worlds. Seems like a waste of time to me.” 

You raise an eyebrow at Billy's dismissive remark, a hint of amusement tugging at the corners of your lips.

"Well, not everyone finds joy in reading, I suppose," you remark lightly, trying to keep the conversation lighthearted despite the underlying tension between you. "But there's something magical about getting lost in a good book, don't you think?"

Billy shrugs, his expression guarded as he leans back in his chair, his gaze fixes on the bookshelves before him.

"I guess," he replies with a noncommittal shrug, his tone tinged with a hint of defensiveness. "I've just never really seen the appeal, you know?"

You nod in understanding, sensing the reluctance in his voice as he skirts around the topic of his own interests.

"Well, what about movies or music?" you press, eager to draw him out of his shell and uncover the layers of complexity that lie beneath his tough exterior. "Surely there must be something you enjoy doing in your free time."

Billy hesitates for a moment, his features softening slightly as he considers your question.

"I don't know, I guess I like playing basketball," he admits, a faint glimmer of enthusiasm shining in his eyes. "And...uh, sometimes I'll mess around with drawing when I'm bored."

You smile at his admission, a flicker of curiosity igniting within you as you get to witness a glimpse of the person behind the tough facade.

"That's cool," you reply, genuine warmth coloring your voice as you lean in closer, the distance between you suddenly feeling much smaller. "I didn't know you drew. Maybe you could show me some another time?"

"Yeah, maybe," Billy replies, his tone gruff and defensive, a faint edge of defiance creeping back into his voice. "But don't get your hopes up. It’s not that great"

You sense the walls he's built around himself, the layers of protection he's carefully constructed to shield himself from vulnerability. But beneath the tough exterior, you know there’s something raw and real, a flicker of longing that hints at the depth of his hidden desires.

"That's okay," you reassure him with a smile, your voice gentle as you reach out to bridge the gap between you. "We all have to start somewhere, right?"

"Yeah," he murmurs softly, a rare vulnerability creeping into his voice. "Yeah, I guess you're right."

“So, what about you, little mouse? Any other hobbies besides reading old stories?” A spark of enthusiasm ignites within you, quite surprised at his continuing of the conversation. 

"Yeah, actually," you begin, a smile spreading across your face as you lean forward, excitement bubbling within you. "I love photography. There's just something about capturing moments and memories with people and things I love that feels so special. I don’t know, I mostly do it for fun."

A mischievous glint sparks in Billy’s eyes as he leans in closer, his voice low and teasing. " I guess I'll have to watch out for those sneaky snapshots next time."

You can't help but roll your eyes at his playful banter, the Billy everyone around Hawkins knows showing back up. 

"Please," you retort with a playful scoff, feigning indifference as you brush off his teasing with a wave of your hand. "Like you're worth wasting film on."

Billy chuckles at your response, a grin spreading across his face as he leans back in his chair, his gaze lingering on you with amusement.

"Ouch, that hurts, little mouse," he replies with mock indignation, his tone light and playful despite the underlying tension between you. "But hey, don't worry. I'll make sure to give you my best angle next time."

"Keep dreaming, Hargrove," you retort, a flicker of annoyance flashing in your eyes as you notice Billy building those tough walls back up, leaving you to the same mysteries as the rest of the town. 

As the conversation fizzles out, you can't shake the feeling of disappointment lingering in the air. Despite the brief moment of connection, it seems that Billy's walls are too high to breach, leaving you with a sense of frustration at the missed opportunity for genuine connection. You can't help but wonder about the masks he wears so loudly, each one a cacophony of distractions meant to hide the vulnerability beneath. With a resigned sigh, you turn back to the task at hand, burying your disappointment as you focus on finding the perfect book not without stealing another glance at Billy as he picks up one of the books and rifles through the pages. 

If these past two days have shown you anything, it’s how little time it takes for a stranger to become a big part of your life. It's unsettling how quickly he's managed to weave himself into the fabric of your daily existence with a persistence that both frustrates and intrigues you. You've always valued your privacy, cherished the solitude of your inner sanctuary, but now, in the wake of Billy's arrival, you find yourself craving his attention in a way you never thought possible. 

Perhaps the greatest risk is not in letting someone new in, but in closing yourself off to the possibility of genuine connection. And even with the knowledge of Billy having a tangled labyrinth for a heart, perhaps he’s worth the risk after all.

Taglist: @msbillyhargrove @uselessbutinteresting @milestellergfs @periwinkle-quill @ghostcastaway

[biocrafthero]

Why Sunny’s Halloween costume is a mummy instead of a vampire

Okay strap in guys this is a long one

(Under a read more because I have lost my mind)

(Also for some stuff I’m using Wikipedia as a source this isn’t a professional essay or anything)

Something I have noticed with Omori fans is that, much like with other fandoms, people like to assign fun Halloween monsters to their favorite characters. For a character like Sunny, I have noticed that many people opt to make him a vampire, which is a choice that seems quite understandable. The idea of the modern vampire can be traced back to many different authors, the most popular one in the minds of most being Bram Stoker’s Dracula, which was published in 1897. Some of the visual and behavioral trademarks of a vampire has to do with things such as aversion to sunlight, pale skin, fangs, and the need to feast on the literal blood of others to stay alive. Vampires have always been considered undead, which aligns with their history throughout folklore; there were several instances where corpses were staked after being accused of vampirism.

Reading this, its easy to see why fans would assign a character like Sunny to the idea of vampires based on all of the common traits of vampirism. However, while I do enjoy AUs and such of a vampiric Sunny, I disagree with this common interpretation and instead propose the idea of Sunny being associated with a different kind of undead monster: the zombie.

(“But Kaun, didn’t you say in the title of this post that Sunny is associated with mummies?” Yes, but we’ll get there.)

The origin of the zombie can be traced back to several different sources throughout the world, the most well-known one being Haitian folklore during the 19th century. Regarding modern depictions, popularized by the film Night of the Living Dead, zombies tend to be slow, rotting, human undead (while it must be noted that undead animals isn’t particularly uncommon either). Much like vampires, zombies need to consume humans to survive, but the difference is that, while vampires only need blood in most depictions, zombies tend to eat all parts of the body. The idea of the brain being the specific target is something that’s only come up within the last fifty years throughout pop culture; adding to these newer additions, it was only within the last twenty or thirty years that the idea of the running zombie was introduced and subsequently popularized.

So what does any of this have to do with Sunny?

Well, thought Omori, we are shown clear evidence of why the idea of the zombie resonates with his character. The most obvious example is with Hellsunny, who can be found throughout the entire truth sequence, in some parts of Black Space, and in a very particular cutscene in the Hikikomori Route.

Now, while its easy for us to assume things from the POV of Sunny himself, sometimes its important to take into account the intent of the creator in order to interpret things such as this. So, once again, why a zombie?

Well, the choice of the zombie is quite obvious to me: the fact it is commonly referred to as the living dead. Now what does this allude to regarding Sunny? It most likely correlates with his emotions in the wake of Mari’s death, especially considering he’s the one who killed her in the first place. It is commonly said by people who have experienced the loss of a loved one feel as if they’re just drifting through life after their passing, and the same can definitely be said for Sunny. At the time the real world sections of the game take place, its been four whole years since the incident had occurred, and Sunny has both figuratively and literally wasted away in his own home. Characters comment on how he seems very skinny and/or frail, and how he clearly hasn’t been taking care of himself. In a way, its like a part of him died alongside Mari.

This is where we get to what some would consider to be an extension of the zombie archetype: the mummy.

Regarding its depiction in horror since the history of real mummies is an entirely separate conversation, the modern depiction of the (male) mummy can be found dating back to the 1932 film The Mummy. While most historical, real life mummies had their organs removed before burial, the mummy from the film (named Imhotep) was deduced to have been buried alive after it is discovered that its organs had not been removed at all. Now while the rest of the film’s plot isn’t quite as relevant to our analysis, I believe these details are important to note. The idea of the mummy being something sealed away, only later to be awoken again as some kind of living dead, is very interesting considering the parts of Omori that make this comparison to Sunny. The allusions to the idea of Sunny’s own home being some kind of coffin or tomb adds to these ideas.

This is why I think the vampire comparisons simply do not fit. The idea of the vampire inherently implies that the afflicted needs to take something from others in order to survive, and while the same can be said about zombies it must be noted that within recent years the idea of a kind zombie has been slowly making itself known. Additionally with mummies, aside from the blatantly orientalist bullshit regarding its history in pop culture, don’t tend to be depicted with having to consume any physical part of the human body (but physical violence in general is still on the table for them. They tend to be depicted as more on the level of vampires in terms of their intelligence).

In contrast, the living dead (referring to both zombies and mummies) tend to be much more passive. Most don't go out of their way completely to hunt humans, only hunting if one crosses their path—mummies even more so, with them not even needing human flesh to maintain themselves. When not hunting, these monsters tend to just... exist, not doing much of anything at all. They don't expend energy on actively looking for what they need to survive, instead opting for what they need to find them, wasting away all the while. And the thing is with zombies: they rot. They decay, bound by more realistic things than mummies are (which tend to be sustained my more magical elements in pop culture).

While the idea of having to actively go out and hurt others to sustain yourself is very interesting, when specifically regarding Omori’s canon, it doesn’t quite fit in line with Sunny’s character and his arc. In contrast, him neglecting his own needs and wasting away is more in-line with all of that, which is why he’s more commonly depicted as being a zombie or a mummy by official material.

I know this post is extremely long-winded, but I think this kind of analysis is very fun. Additionally, you don’t have to take my word as gospel, either. I enjoy AUs where Sunny is a vampire, since he’s in a position where he has to violate his own morals in order to sustain himself. I think it acts as a very interesting way to deconstruct his character, and to push him to his limits (including the brink of death if he refuses to hunt).

[katyspersonal]

@val-of-the-north also brought another arguement against Hornsent (NPC) being a Potentate that I loved!

Like it's already pretty plain that Hornsent is from Belurat when Potentates are from Bonny Village and chopping people into jars is practice of their place of birth like their cookbooks state! And he doesn't use their cleaver but instead his trademark swords, personalized and forged for the purpose of vengeance that implies he first started to wield weapon only after losing his family. The Potentate mask he's wearing has property of "warding off the thoughts of impurity" and his quest for vengeance is sacred for him that he dares not stray from, so it makes sense he'd utilize its "focusing" function!

But also Val pointed out how since Hornsent parallels Marika, if he was a Potentate the parallel would fail. Both are people driven with revenge to the point they don't know when to stop and take it even on innocent and not personally involved in their trauma, both have lost their friends and family in religiously driven massacre! Marika did it behind the scenes and it haunts the narrative, with Hornsent we got to witness the destructive mindset show and develop before our very eyes.

Had he been a Potentate, he'd just be an oppressor that is mad that he can't oppress anymore for the lack of better term.. It would break the parallel. And not that this archetype doesn't have place! But Fromsoft would not write a character intended to be sympathized with if he was someone to further expose the hypocrisy in the setting, not be coy about it either! They are very laconic with what they verbalize, but when character is to be judged they either say something bad or a hint about it is dropped in their associated items! Like compare it with Queelign who is both a raving fascist verbally and drops Crusader Insignia that says it were the most sadistic and cruel reveling in pained cries of their victims that believed in sanctity of their mission.

Meanwhile Hornsent is rude and hostile towards Tarnished, when narrative wants you to focus on how it stems from his trauma, HIS problem with Tarnished is their relevance to Marika and Erdtree rather than cultural and ideological bias. He should make more distinction instead of judging everyone under same level, but he doesn't. Just like Marika didn't, going after everyone and not only their religious zealouts in power! Even Leda's dialogue who says "Hornsent were never saint" still points focus towards his personal motivation of vengeance towards his family. He is singled out despite criticism towards some glaring problems about Hornsent culture also existing in narrative, and I think it's a strong implication that he is here to show victims of the Crusade rather than "expose" anything about Hornsent. Then items associated with him only mention vengeance, when Fromsoft would have dropped a suggestion to see him as a hypocrite in his items had that been intention. Like, they know who they judge and who they sympathize with, and although they're very no-pressure about making the players agree they are still direct!

[cabeswaterdrowned]

it is sooo hard to be a girl who wants to read fan fiction about straight couples from urban fantasy paranormal romance that are gay.

the fact that there’s more Jace/Alec fan fiction on ao3 than Emma/Julian fan fiction :/// why does the tsc fandom literally hate lesbians

[saintmeghanmarkle]

A Year in Review: All the times Meghan Markle been publicly called out in 2023. Highlights and favorite #MarkleMoment from last year? 📌Part 2 of 2

These are her humiliating moments over past year that she’s been publicly called out for in some way. All with proof, all archived from media reports around the world. Get cozy, save this post, and as always, appreciate the upvotes so it doesn't get targeted for downvotes! Posting it now as many of us will be celebrating Christmas with our loved ones. Although we are a diverse bunch, this unites us all :)

Here’s some from 2022 to inspire you:

Harry and Megan of “overseas”

the Funeral candle

no Jubilee balcony

voetsek Megan

I love the part where…(YouTube comments on their Netflix trailer)

Marriott Meg

12% Rotten Tomatoes rating for Netflix flopumentary, with her cutesy (mocking) curtesy

What was your favourite from 2023?

Meg inexplicably marching with the Invictus vets, at the front, while Harry is literally on the sidelines. https://archive.ph/wip/VG5SP

Meg wears a JCrew sweater to the Games. Her fans claim the Meghan effect crashed the site. JCrew comes out faster than Dior to clarify it was a confirmed outage for a website update.https://archive.ph/wufbS

Archetypes trademark abandoned. So much for the other platforms manifested clamouring for it. https://archive.ph/wip/yhziu

Embarrassing video at the fundraiser with Kevin Costner where she assumes she’s going to be given the mic by virtue of her being there, reached for it, and is very intentionally avoided and not given it. https://archive.ph/yeZDN

Despite the NDA attempts, information on how the NY Bench faux Royal visit does not let anyone speak negatively about her visit. Ever. She also demanded a new carpet. https://archive.ph/qAhnb

Snubbed by the Beckhams on their far more popular Netflix documentary. “Humiliated” by the snub from the Clooneys at their New York Foundation for Justice event.https://archive.ph/wip/GsB7j

Snubbed by Kim K birthday party, despite earlier pics with Doria and days before floating PR that Meg may do a cameo on KUWTK. Compounded by Kylie’s ‘boyfriend’ Chalomet talking about the Worldwide Privacy Tour earlier in the week. https://archive.ph/wip/BGvVP

Mocked on Family Guy for Netflix contract getting paid for nothing/ spon con Insta for Del Taco. Del Taco joins in and tweets about it. https://archive.ph/wip/Sm56V

Meg manifests a deal with Audible. Audible spokesperson shuts that down. https://archive.ph/KTLnP

William lands in Singapore for Earthshot to lit up architecture, Union Jack waving crowds, and an official tree planting at the airport. Meg and H attempt to compete by releasing a ‘candid’ pic of them at Katy Perry’s Las Vegas show (implying the standing people, phones were for them and not Celine Dion who walked in behind them). Cameron Diaz was also there, but didn’t get pics sold the same way. None of the other celebs present interact with them on camera. https://archive.ph/gnpjA

Dior signs Meg. No, not that Meg, but Meg the actress who plays Kate Middleton on the Crown. https://archive.ph/wip/lH6dY

Harry and Meg highly publicize their birthday call to Charles. The Palace discretely responds with detailed full itinerary of Charles’s busy day and evening, plus the press runs the fact that Charles doesn’t have a cell phone. Sussexes double down and pivot to it somehow being a prerecorded message sent (to where?) with Archie and Lili singing happy birthday. The world laughs or ignores them. https://archive.ph/i0uz8

Move along Meg on TikTok, after the video of her refusing to leave her basking on the press carpet at the Variety awards. Bonus is the real celebs inside clearly refused any pictures with her. The next day it’s confirmed she wasn’t even on the Guest List, which explains the Table 12 seating in no star names social Siberia. https://archive.ph/uC4Y8

Harry and Meg graciously are open to an invite for Christmas. Palace guest list leaks a day later, NFI. https://archive.ph/wip/0dEoi

Endgame is published. Omid claims to not be a friend of Meghan. Two Royal racist names are leaked to the Dutch publication based on Meg’s letter to Charles post Megxit. Omid blames the translator. No one publicly appears to believe them. There is not one single positive review of Endgame in major world newspapers. Omid later in the week acknowledges the names were in the Dutch manuscript. https://archive.ph/wip/Lr8XR

Hollywood Reporter lists Harry and Meghan as one of the biggest losers of 2023. https://archive.ph/E4hUt

Kitson’s Holiday Hypocrisy celeb window display in LA features Harry and Meg. Tik Tok notices. https://archive.ph/7yA3F

Ranker poll has both Meghan (#2) and Harry (#6) in the Top 10 list for Most Disliked Celebrities of 2023. Oprah, Hilary Baldwin,Ellen, Amber Heard (#1), and Bill Cosby also make the list. Update: They've recently become #1 and #4. https://archive.ph/OpKH5

Archewell 2022-2023 Impact Report highlighting ‘Restoring Trust in Information’, including ethical journalism, drops the same day Harry is fined $60K in court for providing misleading information - where he’s suing a newspaper. Court documents call it “ironic” given the “Duke of Sussex is responsible for misleading the court.” https://archive.ph/wip/1YtSe

Archewell’s 2022 financials reveal they only raised $2 mil (two anonymous $1 mil donations) vs $13 mill (also two anonymous donations) in 2021. Press brand it a “failure.” Notice they literally had only 4 donations in two years. https://archive.ph/wip/LqnuL

Not invited to any parties for Art Basel in Miami. Back in 2014, Markus organized a Soho party, invited Meg, and sat her next to Misha Nonoo. Context shows Meg has even less clout now than her pre Royal days.https://archive.ph/wip/aKYPL

Christmas card released. Largely ignored by world media. The response from other media: where are the kids? Called out for its embarrassing corporate look. https://archive.ph/fldEw

WME is "horrified" by Meghan Markle's sinking brand and association with Endgame, and may drop her in 2024. https://archive.ph/mye6j

(Honorable mentions to specific Harry’s moments: with Charles too busy to met, not going to France and hiking in Transylvania, and “in the realms of total speculation”. Harry pitches a Spotify show interviewing Putin, Zuckerberg, the Pope, etc on their shared bond of childhood trauma, Spare the most dumped holiday book of 2023. “Peace talks” between KCIII and Harry since he’s nearby in Germany for Invictus shut down less than 24h later. Persona non grata).

​Which ones did you not know or forget about?

It's been quite the year! To quote the Sussexes, thanks for all the support in 2023!

post link: A Year in Review: All the times Meghan Markle been publicly called out in 2023. Highlights and favorite #MarkleMoment from last year? : SaintMeghanMarkle (reddit.com)

author: somespeculation

submitted: December 17, 2023 at 02:25PM via SaintMeghanMarkle on Reddit

[a-shrieking-cloud-of-bats]

still find it very funny that arknights, a game that has actually been generally pretty good about power creep and unit viability, powercrept an entire class of casters on day one

AoE casters are always sort've finnicky to use because they have short range and the trademark caster fragility problem which means that if any ranged enemies come along they are Probably Going To Die and they hold a comparatively large DPS weight to single target units, so you have to think about and make concessions for their placement a lot more to use them in most stages

and whoooooo released on launch

why Eyafjalla of course

the normal girl caster with a skill two that does Exactly what AoE casters do

at range

which is exactly what you need to completely invalidate the entire AoE caster archetype*

and this isn't even getting into her fantastic sk3 either

feel like this was just something that slipped through the cracks during the Launch Frenzy

*some AoE casters in the modern-ish day have strong mechanical gimmicks that have given them their niche back; or perhaps more appropriately replaced it with another niche; dusk, lava the purgatory, uhhhh I forget others but I think there's at least one more

[mylambandmartyr]

when you have the time and energy id be very interested to hear why you dislike the punisher (2017)......... because i also dislike it but can never put into words why or even point to a reason. its always "frank's vibes are off" or "the general vibes are off" or "its painfully unfunny" or "it just annoys me". if you have anything more specific or analytical id love to hear it

Where to even start…

Ok. I'm going to be focusing on just the first season where it’s at it’s "best" to be generous, because all of the most egregious issues get so much worse in the second season so it barely counts in my mind.

It’s got all of the trademark Marvel Problems. The cringe dialogue, the convoluted plots, the nationalist propaganda, the aggressive heterosexuality, sacrificing an interesting story in favor of an American-dream-Apple-pie-and-motherhood ass-plot… etc. etc…

I’ll split this up into a miscellaneous laundry list of complaints for structure, so this doesn’t end up turning into a rambling essay.

• Incoherent messaging/Bad politics

First off, It’s US military propaganda, but we all know that. That impacts its ability to tell an authentic, thoughtful story. Propaganda is always full of contradictions and exceptions to its own rules, which exacerbates problems that already riddle corporate media.

The most glaring problem I think most Marvel properties have is lack of a cohesive message and themes. Daredevil suffers from a similar issue, which is as much of a "too many cooks in the kitchen" problem (too many contradicting ideas) for what they wanted as it is with the producers being spineless hacks who were unable to decide what they wanted their story to be.

They wanted to have their cake and eat it too, in a lot of respects. They wanted to tell a story about trauma, vengeance and the brutality of war but they also wanted a All-American Badass Gun Guy to get young people interested in enlisting, so it constantly jettisons back and forth in tone and makes for shitty television.

• Stupid Plot

The conspiracy-thriller plot feels off-base for a Punisher story, and is jarring if you saw season 2 of Daredevil. It doesn’t even feel like it takes place in the same universe (none of it feels cohesive, which as stated is a running problem)

The series begins with Frank "finishing" his mission to eliminate everyone involved with the murders of his family and symbolically burning his Punisher vest. This is beyond stupid for a variety of reasons. From a continuity perspective, a storytelling perspective, a character motivation perspective… it just doesn’t make sense. This means the writers have to scramble to come up with a new conflict, which is absurd to me when they could’ve just… had him keep going.

• General Characterization

You’re entirely correct in that Frank’s character just feels off. Like I said earlier, going into the Punisher fresh off of Daredevil season 2 is jarring, even before I knew anything about the character from the comics. There’s a sense that there’s something missing with Frank’s motivations and it definitely has a lot to do with the aforementioned stupid Government conspiracy A-plot in season 1.

Imo, Jon Bernthal, despite everything, plays Frank pretty well considering the material he’s been given, but there’s still something off. @cabfarewell says that it’s because he plays him too much like a cop, which I think is true. There’s just air of… Bootlicker throughout the whole show that undercuts the fact that Frank, at his core, is a character who gets fucked over by his government, which is vaguely gestured at but never satisfyingly addressed.

• Sexism

It goes without saying that Marvel is dogshit at female characters and the Punisher is no exception.

It’s tragic because Karen Page, Dinah Madani, Sarah and Leo Lieberman (and to some extent Maria) all have potential but are woefully underutilized. It’s very clear that the writers are using stock archetypes as a crutch (Potential Love interest, "Virtuous" Cop, Mother, Daughter, Dead Wife etc…) and never expand on them more, because clearly they do not see them as people, but like I said, this is par for the course for Marvel, nobody’s surprised.

• The Liebermans

Then there’s my beloved Micro.

I adore Micro as a character for a variety of reasons and I think Ebon Moss-Bacharach plays him fantastically, BUT it has to be said that he embodies a lot of antisemitic stereotypes.

The narrative aggressively pushes the audience to view him as an unathletic, cowardly effete intellectual who’s reluctant to get his hands dirty. He’s scheming and not entirely trustworthy, he’s simultaneously hypersexual and impotent. Literally the only way they could’ve made it worse is if they made him a cheapskate with deep-seated mommy issues.

It’s kind of bizarre because there are things David does that directly contradict the stereotypes, he’s clearly very capable, and not a coward, but Frank and other characters insist that they’re true. It’s just bad writing.

They kind of half-ass a suggestion of a character arc, but it ultimately ends with a restoration of the status quo which MAKES NO SENSE for David as a character.

Sarah’s an even worse case, not even getting an arc and barely changing as a result.

Like I said earlier, Sarah is neglected by the narrative which makes a lot of the things she does not entirely make sense taking into account how a real person might respond in her situation. Sarah and her kids are more plot devices than people, which is disappointing, because I feel like giving her more character would have enriched the story a lot. She’s positioned as a mirror to Frank, being also recently widowed and coping poorly, and like most things in this show this is never addressed fully.

[siringadev]

"Blind Love" of Nero and Weiss and What It Means

From the official FFVII 10th Anniversary Ultimania (2007). "Weiss, the brother whom Nero blindly loves. White Weiss and Black Nero exist as two sides of one and the same body. They are inseparable."

From new Final Fantasy VII Remake: Material Ultimania Plus (2024) "Nero worships/strongly adore his brother Weiss and is highly dependent of him"

I uploaded all the information about Nero and Weiss from FF7 Intergrade, Dirge of Cerberus and partly Opera Omnia and my articles to LLM so that it could analyze everything with its unbiased intellect.

The analysis of Nero and Weiss’ blind love, their relationship is steeped in taboo undertones, dark aesthetics, and a perverse romanticism that transcends conventional boundaries. The mythological allusion to Arachne and Phalanx, Nero’s sadomasochistic design, and his obsessive dialogue all coalesce to create a narrative of love that is as destructive as it is intoxicating. How these elements deepen the concept of "blind love" in their case:

1. Romantic and Forbidden Love: The Arachne and Phalanx Myth

The myth of Arachne and Phalanx—siblings cursed by Athena for their incestuous relationship—parallels Nero and Weiss’ bond in striking ways:

Taboo Undertones: While not explicitly incestuous, their relationship is coded with forbidden intimacy. The myth’s themes of transgression and punishment mirror how Shinra’s experiments "curse" Nero and Weiss, transforming them into inhuman beings (Tsviets) and isolating them from society. Their love becomes a rebellion against the world that rejected them.

Like Arachne and Phalanx, their bond defies societal norms, framing their love as both a sanctuary and a sin.

Blindness to Morality: The siblings’ mythological punishment (being turned into spiders) reflects Nero and Weiss’ own "monstrous" transformation. Their blind love justifies amorality—Nero’s willingness to inflict pain and Weiss’ merger with Omega in DoC and collaboration with Sephiroth in DFFOO—as they prioritize their bond over ethical considerations.

2. Sadomasochistic Aesthetics and Nero’s Dark Romanticism

Nero’s design and behavior infuse his relationship with Weiss with a dark, erotic charge, blending pain, obsession, and devotion:

BDSM and Bondage Imagery: Nero’s costume—face bondage, belts strapping his arms and hips—evokes BDSM aesthetics, symbolizing themes of control, submission, and eroticized pain. This visual language ties his identity to suffering, both as a victim (of Shinra’s experiments) and a perpetrator (inflicting pain on others).

The belts and restraints suggest a self-imposed imprisonment, reflecting how his love for Weiss chains him to a cycle of violence.

Pain as Ecstasy: Nero’s dialogue in FF7 Remake Intergrade reveals his masochistic thrill in pain and combat:

“Oh Weiss, I feel so alive!”

"There is poetry in pain, ah..."

“I must know more of this feeling of pain, of death... yes, yes!”

“Ah, if only Weiss could see me now!” These lines frame pain as a sensual experience, a way to feel "alive" and connected to Weiss. His excitement during brutality blurs the lines between agony and euphoria, love and violence.

Yandere Archetype: As noted by his JP voice actor Ryōtarō Okiayu, Nero embodies the yandere trope—a character whose love is obsessive, possessive, and violent. His jealousy and willingness to kill anyone who threatens his bond with Weiss (e.g., attacking Vincent for "taking" Weiss) align with this archetype.

The yandere’s trademark "if I can’t have you, no one can" mentality mirrors Nero’s desperation to protect his connection to Weiss, even if it means total destruction.

3. Jealousy, Possession, and the Brother Complex

Nero’s jealousy and possessiveness amplify the romantic undertones of his blind love:

Brother Complex as Romantic Obsession: The term "brocon" (brother complex) in Japanese media often carries romantic or sexual connotations, even if unrequited. Nero’s obsession with Weiss blurs familial loyalty into something darker and more possessive.

His dialogue (“No one will take my brother away from me again!”) frames Weiss as a romantic partner would—a prize to be guarded, not just a sibling to protect.

Nero’s Need for Validation: Lines like “If only Weiss could see me now!” reveal his desire to impress and be acknowledged by Weiss. This mirrors romantic infatuation, where the beloved’s approval becomes a lifeline.

Even in combat, Nero’s violence is performative, a way to prove his worth to Weiss.

4. Blind Love as a Dark Mirror to Romance

Nero and Weiss’ relationship challenges traditional notions of romance by intertwining it with pain, control, and existential need:

Love as Self-Destruction: Their bond is not life-affirming but self-annihilating. Nero’s embrace of pain and Weiss’ fusion with Omega symbolize how their love consumes them, erasing their humanity.

This contrasts with healthier romances in FFVII (e.g., Zack/Aerith), where love inspires growth and hope.

Eroticized Violence: The brutality of their actions (Nero’s sadism, Weiss’ conquests) becomes an expression of devotion to each other. Their fights are perversely intimate, with pain serving as a language of connection.

Separation as Death: Weiss’ declaration—“Without Nero, I’m still incomplete”—frames their separation as a metaphorical death. Their love is a shared existence, where individuality dissolves into codependency.

Conclusion

Nero and Weiss’ blind love is a dark romance, blending mythological taboo, sadomasochistic aesthetics, and yandere obsession. It is a love that thrives in shadows, where pain and possession replace tenderness and trust. Their relationship challenges the player to confront uncomfortable questions:

Can love that is genuine still be toxic?

Can devotion justify monstrosity?

In their case, the answer is a resounding yes. Their blind love is a flame that burns brightly but destructively, leaving ash in its wake. It is a testament to FFVII’s willingness to explore love in all its forms—even the ones that terrify us.

Separately about Nero's phrases addressed to Weiss during the battle:

My brother — my light. None shall keep us apart!

If only you could see me now, Weiss!

What fun we would have if Weiss were here.

Oh Weiss, I feel so alive!

Oh Weiss, this is it, this is it?! Yes!

It hurts, brother… It hurts so much!

Until we meet again and thus I return to Weiss.

Nero’s Dialogue: A Symphony of Obsession and Pain

Nero’s battle quotes are not just taunts or exclamations—they are windows into his psyche, revealing how his love for Weiss intertwines with violence, longing, and masochistic ecstasy. Each line reinforces the taboo intimacy and existential desperation that define their bond:

1. "My brother — my light. None shall keep us apart!"

Key Themes: Codependency, Defiance, Sacred Devotion

Nero frames Weiss as his "light," a divine source of meaning in a world of darkness. The phrase "none shall keep us apart" echoes their mythological parallel (Arachne and Phalanx), defying divine or mortal intervention. This line crystallizes their love as a sacred vow, transcending morality or consequence.

2. "If only you could see me now, Weiss!" / "What fun we would have if Weiss were here."

Key Themes: Performance, Validation, Shared Sadism

Nero’s violence becomes a performance for Weiss, a desperate bid for approval. The word "fun" suggests their bond thrives on shared cruelty, romanticizing pain as a collaborative act. Even in Weiss’ absence, Nero imagines him as an audience, blurring the line between battle and intimacy. Even in violence, Nero's thoughts are on shared experiences with Weiss. This line romanticizes their partnership, suggesting that their union is a source of joy, no matter the context.

3. "Oh Weiss, I feel so alive!" / "Oh Weiss, this is it, this is it?! Yes!"

Key Themes: Masochistic Ecstasy, Existential Awakening

Pain and violence are not just tools for Nero—they are euphoric rituals that affirm his connection to Weiss. The repetition of "this is it" mirrors a lover’s climax, framing combat as a perverse consummation of their bond. For Nero, feeling "alive" requires proximity to death, a paradox that mirrors their cursed existence.

4. "It hurts, brother… It hurts so much!"

Key Themes: Vulnerability, Shared Suffering

Nero’s admission of pain strips away his sadistic facade, revealing a childlike plea for empathy. This line underscores how their love is rooted in mutual suffering—pain is not just inflicted but shared, a language only they understand.

5. "Until we meet again and thus I return to Weiss."

Key Themes: Reunion, Cyclic Destruction

Even in defeat, Nero frames his retreat as a temporary separation, a prelude to reunion. Nero's focus isn't on loss or win but on returning to Weiss, and also indicating that their bond transcends physical presence. For Nero, every battle is a step closer to Weiss, making destruction a means of connection.

Why These Lines Matter

Nero’s dialogue transforms combat into a darkly romantic ritual, where violence becomes:

A love letter to Weiss, written in blood and pain.

A prayer to their twisted union, reaffirming their inseparability.

A performance art where agony and ecstasy are indistinguishable.

These lines cement Nero as a yandere archetype, blending brotherly loyalty with romantic obsession. His love is blind—it is feral, rejecting societal norms to embrace a bond that thrives in chaos.

These quotes deepen the tragedy of Nero and Weiss: their love is a beautiful abomination, a flame that illuminates even as it consumes.

[telomeke]

LAST TWILIGHT AND READING THE SUNSET – VISUALS, OPTICS AND ENDINGS IN BONDAGE TO THE BAHT

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Last Twilight aired its final episode on Friday 26 January 2024, and the response on BL Tumblr to how things wrapped up (at least among the majority of BL watchers whom I follow) has been a lot of head-shaking disappointment, if not exactly full-on hatred. Without the bittersweet touches we've come to expect from Director Aof as counterballast for his trademark uplifting sentimentality, the ending came across as unforgivably sappy and sugary-sweet for many of us.

And I found myself agreeing with a lot of the criticism being flung at Last Twilight – for the ardent Noppharnachionados accustomed to more nuanced, thought-provoking output from Director Aof (Moonlight Chicken comes immediately to mind) the final episode of Last Twilight (and especially the fourth instalment, Part [4/4]) felt very boxer-gloved, rushing to hit its marks but then only clobbering bluntly at the surface, never venturing deeper and lacking subtlety at every turn.

But I've been giving it a once-over, because it's a little surprising to me that Khun Noppharnach (who's such an expert at his craft) could land quite the dud that some, including me, were so uncharitably calling Last Twilight.

And I now think – as Khun Noppharnach has done so many times before – he may very well be trolling us again. Because on my rewatch, I'm finding that the narrative holds certain clues that Director Aof was possibly quite conscious of what he was doing with Ep.12 of Last Twilight. On closer inspection it's a whole lot cleverer than it seems (maybe a bit too clever for its own good) – but it does require much sign-reading though (and caveat: I'm not a trained or professional tea leaf reader!). 🤷‍♂️

Anyway, after a speed-run rewatch of the 12 episodes (just skimming the surface really, so forgive me if I overlook anything) I've decided I need to reconsider a lot of my preliminary judgement about Last Twilight's final episode (and the series in general). I now think it actually does satisfy on a number of levels (even while it continues to disappoint on so many others). But because of work and other commitments though, this post is very late (still, better late than never I guess!)

I'm not wanting to spend too much time on the text and subtext, because it's the metatextual level of Last Twilight (what this BL says about BL) that intrigues me the most. But this is going to be a super-long post anyway.

In many ways Last Twilight was a departure from Director Aof's usual work, and the most obvious was its return to the structure and content typical of a traditional romance drama. Khun Noppharnach had actually moved away from this in his output over the past few years (once again, Moonlight Chicken is the paragon of examples; Bad Buddy nodded at this, if only to subvert it and signal to us that Khun Noppharnach was attempting an overhaul of LGBTQ+ depictions in the BL industry).

Some background to start things off – BL, including Thai BL, owes a lot to het romance dramas that set the archetypal framework early on, and early BLs often followed that inherited formula very closely (I think SOTUS and Together with Me fit this bill).

Painting with the broadest of brushstrokes, a stereotypical (het) romance drama can usually be expected to structure its narrative according to the following:

The meeting of the protagonists, usually a fraught mix of attraction and friction;

They go on a journey of falling in love with each other (and we get to watch along);

A major conflict arises to test their love and commitment;

They triumph over the conflict and end up happily ever after (most of the time) or are overcome by it (and the love story ends tragically, some of the time).

As a lot of romance stories are targeted at women, typically the female protagonist in a het romance drama is the center of attention, and the story is told from her point of view as well.

And because of their het predecessors, early BLs also tended to depict their couples with a masculine/feminine framing (which could also be spun out into a dominant/submissive and/or active/passive dynamic – the dreaded seme/uke binary).

Director Aof took a wrecking ball to all that with Bad Buddy (upending the structure, subverting the conflict, dispensing with seme/uke), and his works have since veered toward more-rounded LGBTQ+ drama, centered around romance, but forgoing the stereotypical structure and beats of more traditional romance dramas.

But if you think about it, Last Twilight actually hews quite closely back to the original template.

For example, Mhok is a big, scruffy ex-convict and mechanic, stereotypically masculine – the proverbial seme – while Day is slighter, younger and a Mama's boy (despite what Night says at Ep.10 [2/4] 16.24) leaning into uke territory.

The structure was pretty traditional as well:

The early entanglements of Mhok and Day were a mix of antagonism and attraction;

They went on a journey of falling in love with each other despite their differences, that we were allowed to witness – we had "masculine" Mhok losing his heart to "feminine" Day first, with the seme then pursuing his grumpy uke (a tsundere?) and subjecting us to plenty of swoonworthy Aaaaw moments as Mhok piled on much tenderness, care and affection;

The major conflict that tested their love and commitment was actually Day's questioning of Mhok's motivations, leading to their rupture in the clichéd Episode 11 of Doom;

They triumphed over the conflict after Mhok returned and demonstrated that he'd grown and learnt his lessons in meeting Day's less visible needs – not very convincingly though (and I think this is one part where a lot of us feel extremely let down by the narrative) – but it was enough to sweep Day off his feet once again, and they got their happily ever after.

There was some padding in the middle (including the obligatory out-of-town tourism jaunt – I'm convinced BLs that do this receive grants from the Tourism Authority, and in Last Twilight we were treated to a sojourn in Songkhla). The show really had to work stretching things out over 11 episodes (which was why, for me, the pacing started to drag in the second half). But overall I think the structure of Last Twilight marks a faithful return to BLs (and het romances) of older times.

With regard to characterization, Day rendered progressively hapless and helpless as his vision declined made him easy to read as a damsel-in-distress, the object of savior-knight Mhok's affections and ministrations. It's thus also unsurprising when we were shown more of Day's point of view than Mhok's (just as we usually get to see more of a heroine's interior journey in traditional het romance dramas than her romantic foil's). Last Twilight was nodding at the past once more, asking us again to view it through the lens of an old-school (BL) romance drama.

A lot of romance dramas also tend to be intellectually lightweight – some are pure sentimental, throwaway indulgence – and if we place Last Twilight somewhere on the less demanding end of the spectrum, it's a more than serviceable example of the genre and has in fact more heft than most. (I was expecting it to land more in queer drama territory as has most of Khun Noppharnach's work, and the fact that it only half did contributed a lot to my sense of disappointment at the end.)

But as a lighter piece of trad BL fluff, Last Twilight did punch above its weight class very often. And all of the discourse around vision and Day's increasing blindness was the early tip-off to one of its weightier, central themes – that of seeing and being seen in the light of one's truth.

As his vision faded, Day found himself subject to his greatest fear – of being seen as less than his truth, especially when by all accounts he had been a storied and admired athlete prior to his visual debilitation. Day was still the same person despite his loss of vision, and he was painfully reminded of this fact every time those around him forgot it. Last Twilight deftly showed us that his early snark and cynicism were a brittle defense against being seen as nothing more than an object of pity, the ghost of his former self (which is what Mee/Me in the novel Last Twilight was also about).

There are many examples of this, e.g., when he avoided his friends after blindness set in, and his meltdown at the party they threw him after a rapprochement (Ep.6 [3‌/4] 20.12, when it became clear they viewed him as a weakling in need of rescue at the first sign of trouble, inferior to his previous incarnation as an athletic champion). The story arc with August's feigned romantic interest was also another of Day's nightmares coming true, being exactly the sort of innocently insulting and unconsciously condescending treatment he was trying to avoid.

And of course this was the reason behind his break-up with Mhok in Episode 11, when he sensed that Mhok's care and concern were in part tied to a notion of Day as being less than whatever the nebulous concept of "normal" was in his head. (For context, Mhon and Day have an exchange about the meaning of a "normal" life for Day at Ep.10 [2/4] 7.35), Mhok talks about Day wanting to be "normal" at Ep.11 [1‌/4] 10.22, and Mhon reminds Day of his wish to be "normal" at Ep.12 [3‌/4] 16.29). Despite – or maybe because of – how objectionable the word may be, I think Last Twilight is inviting us to question our ideas about it too.)

So a large part of Day's story arc involved him overcoming his own hang-ups and dealing with how he was seen by the world around him, to stand in the light of his own truth (as a proud member of the differently abled community).

Mhok's character also had a parallel journey. Excluding those who knew him well, society refused to see beyond his rough-hewn persona (and his prison background too, it must be said). His options in life were thus limited by how he was always seen as an outsider, and subjected to othering because his presence was invariably associated with negativity, risk and harm.

But as Mhok demonstrated time and again, his truth (that for the longest time only Porjai and maybe Rung could seem to see) was far less violent and menacing than what was read by the people around him. And his character's journey toward self-actualization in Last Twilight was to arrive at a life truer to his inner self, noting that what we see at the beginning of the series is Mhok trying valiantly to live up to his ruffian image, prone to fights and aggression. With this, it's possible to read that Mhok himself was unable to comprehend fully his own inner impulses, and it was only his time as caregiver and later faen in Day's life that opened his eyes to living out his more nurturing, other-focused energy within (and that must have served him well too, in his later career as a chef crafting dishes for others to enjoy).

In contrast to Day, whose struggle was also about being seen for his truth while cast (by others) in a negative light, Mhok chose to align himself with whatever role the world put him in (whether it was a rabble-rouser mechanic, a straight boyfriend to Porjai, or a guardian to the infantilized Day) whereas Day chose to reject any outsider-determined identity outright. And Mhok failed at his roles mostly because they were inauthentic to his truth, except for his time as Day's caregiver. For the first time there Mhok's failure was different, not because the caregiving recognized his own truth (coming from kindness and softness within) but because it did not recognize Day's truth (as his approach to taking care of Day still perpetuated the invalidation of Day's wholeness as a person).

Mhok and Day's names are also a quiet hat tip to this – with Mhok's name (หมอก, that means fog or mist) also a metaphor for how visibility of the truth behind his amorphous self was obscured for the longest time, while Day's name (actually the English word day, with all its connotations of light and clarity) is a metaphor for how he was clear about his own truth and identity from the start, but needed to be seen correctly, undistorted by any filter of shame or pity.

However, GMMTV's commercial insistence on pair branding worked somewhat against the characterizations – my read is that Day was probably written as much more fragile in appearance (belying the tough athlete that he really was beyond surface impressions, and explaining the tendency of his friends, family and caregivers to want to infantilize him post-blindness). As an aside, badminton is one of those sports that forgives a certain delicacy of frame, as it rewards lightness and agility more than brute strength on the court. Meanwhile Mhok was (I think) written as this big beast of a man whose appearance would scare off all but the most foolhardy, meaning that his innate kindness and sensitivity would remain unseen by most.

Unfortunately Sea is built pretty sturdily as an actual badminton athlete (and he's tall as well) while dermatologist Jimmy is just too porcelain-skinned and delicate-featured pull off any convincing evocation of physical brutishness. Pity, because the pair do have chemistry and their acting was mostly credible in Last Twilight (especially from Sea, who brings an easy and natural charm to his portrayals).

Anyway, I can suss out two visual metaphors in the series that illustrate the ideas described above. But as the analysis of these metaphors is also long, I've moved it all away into its own post linked here: The Fishtank and the Flowers. I found both metaphors to be fascinating (the goldfish aquarium, as well as the pairing of the jasmine with the sunflower), but it was the blooms especially that took me by surprise (when it became clearer which was assigned to Mhok and which to Day). 🤩

So while we're on the characters though, here's an aside about the criticism of how Mhok was treated by the narrative and the outrage surrounding his apology at Ep.12 [2/4] 10.55. Yes, he had been a selfless caregiver and a caring lover, but there were also numerous examples of him treating Day as less than an adult with his own agency, doing to Day what August, Mhon and the replacement caregiver (Assistant Director Meng Chaiyapat's extended cameo, at Ep.10 [2/4] 0.27) had done, by controlling the playbook and removing Day's choice and say in matters directly related to his own life. Some examples of where Mhok fell short:

Pretending not to find the copy of Last Twilight in the Chatuchak secondhand bookstore, gaslighting Day into believing it was his own discovery (Ep.3 [3‌/4] 9.41) – you might lie to a kid about Santa Claus (and I'm divided about that), but nevertheless Day was not a kid and should not have been treated like one.

Lying about Night's involvement in their plan to see Mount Veha (Ep.8 [1‌/4] 17.34) – more gaslighting.

Going back on his word and telling Mhon and Night about Day winning the dancing garland (Ep.11 [4/4] 7.35) – this was just plain disrespectful, especially after Day had shared his mixed feelings about the "win" (Ep.11 [4/4] 1.45).

Taking advantage of Day's blindness to prank him (Ep.11 [3‌/4] 7.32 and Ep.11 [4/4] 3.38) – unless Day liked surprises (of which I see no sign) laughs derived from exploiting someone's vulnerabilities are never to be lauded (please don't jumpscare the blind, people).

And the ultimate – lying about the job offer in Hawaii, which was the last straw for Day (Ep.11 [4/4] 10.51).

All the above might have come from a place of love, motivated out of the goodness of Mhok's heart – but even if they were meant to uplift or support Day, his actions were all disrespectful (even damaging) to Day's own agency and personal situation as someone struggling with visual disability.

In this light (pun intended) I had to re-think my judgement of Mhok's apology to Day in Ep.12, because he did need to learn to care for Day on terms acceptable to Day as well, and not have expected him to give that up just because he needed care.

Now because it's Khun Noppharnach, it will always be possible to give a queer reading to his work. So Day's dread at being seen as less than what society perceives as "normal", and Mhok's struggle with his status as the feared and misunderstood "other", can both be read as stand-ins for (some parts of) the LGBTQ+ experience, where full acceptance of the queer minority has yet to become the norm for most, if not all, societies. But I guess that should be obvious to all by now.

Anyway, there's a whole lot more burbling within Last Twilight that can be explored at length, but as I've gone on too long already I'm simply going to mention them here and then skip on:

The novel Last Twilight that features so prominently everywhere within the series (that not-so-coincidentally shares its name) is rich with significance as a parallel to (and comment on) Mhok and Day's own story, especially with Mee/Me's struggle to be seen in a world often blind to her presence.

Day becoming increasingly unseen as the neverending night of blindness became his defining identity is mirrored by Mee/Me needing to step away from darkness in order to be seen by the world around her (and her light-chasing is also a parallel for the sun-seeking of the sunflower, Day's totemic bloom, and in that way another metaphor for Day's reliance on external validation – see this write-up linked here for more elaboration on that aspect of Day's personality).

Day's blindness was not at all the first time Khun Noppharnach has used a form of health-related affliction as a metaphor for the queer condition, highlighting the parallels of the LGBTQ+ experience with the social model of disability. Other examples of this in his work include Heart's deafness in Moonlight Chicken, Tian's and Med's heart conditions in A Tale of Thousand Stars and He's Coming to Me respectively (the latter maybe less so though) and Pran's obsessive-compulsive disorder in Bad Buddy.

Also in He's Coming to Me, Med's predicament as a ghost subject to all sorts of constraints in the world of the living, as well as his invisibility to those insensitive to his situation, was a parallel with Last Twilight's theme of being seen for your true self even as the wider world imposes restrictions on you, and is similarly an allegory for the LGBTQ+ experience as well.

Last Twilight's ideas about seeing and being seen correctly were also touched on (somewhat briefly) in Bad Buddy, in the discourse around Ink's camera, photography and Pat/Pa's contact lenses.

Mhok's journey was milestoned with numerous examples of the food = love trope, in which he could be seen giving of himself through the creation of dishes and meals for others.

(above) Last Twilight Ep.11 [2/4] 0.39 – Mhok's gift of Black Chicken Soup (ซุปไก่ดำมา) to Porjai is but one of many examples in the series of him showing his love to others through his cooking; in this instance Black Chicken Soup (made by double-boiling silkie chicken with medicinal herbs) is a traditional Chinese preparation, warm and comforting, that is considered particularly nourishing for moms newly post-partum and is also popular in Thailand for the same reason

This is paralleled also by Mhon and her career as a chef (especially when she ladled soup out for her ex-husband in Ep.12, which is a bittersweet Noppharnach touch with reams of cultural backstory – but that's fodder for another post though).

And Assistant Director Au Kornprom's cameo as chef-de-cuisine in Singha's hotel continues a meta-level portrayal of his role in BL as some sort of leader, instructor, teacher or creator with a select group as the intended beneficiaries of his work (see these links here and here for other examples).

(above) Assistant Director Au Kornprom Niyomsil pops up in a cameo as Chef Tom in Last Twilight Ep.11 [2/4] 9.47 

I think Director Aof is announcing that Khun Kornprom is his designated successor as the next generation BL director at GMMTV who will (perhaps) be carrying on a measure of queer activism within his own output.

And that brings me to what I think Last Twilight might be saying on a metatextual level.

What I'm going to be babbling on about here reaches not only into Last Twilight for some clues as to its comments about the wider BL industry, but also to some messaging in Khun Noppharnach's earlier (though still recent) work, because I think it all does come together to paint a picture of some significance.

In the names and chromatic metaphors of Moonlight Chicken (see this link here), Director Aof signaled that unseen persons in authority were increasingly making their political presence felt, especially where financial motivations were concerned (caveat: I think this is a reference to power play within GMMTV and perhaps the BL industry itself, not a comment on the wider political scene in Thailand).

And Director Aof's various cameos in MLC (written up here) as well as its themes of generational renewal and the struggles to leave the past behind, also seemed to be messaging that some of this conflict between artistic/activist directions and commercial considerations were possibly taking a personal toll even as he continued his career within the BL industry.

I would have left it at that, but then when the Our Skyy 2 x Bad Buddy x A Tale of Thousand Stars episodes had their turn on our screens in 2023, it became clear that Director Aof was saying something quite forcefully about the telling of queer stories in the media, especially in situations when queer people have less control over the narrative (as is the case with Y-series churned out by commercial studios for mass market consumption; see this write-up here for the analysis).

So based on the above together, this is my read of the situation.

Khun Noppharnach has been signaling that because of the profit motive, queer creators in the BL world are under increasing pressure from higher up to return to more commercially-lucrative storytelling, perhaps in the form of more stereotypical romances the way Last Twilight was structured. (Whether this pressure is from within the producing organization or from the wider political sphere I do not know nor wish to speculate.)

As a consequence, QL shows are being made to veer away from recounting stories that are authentic to the LGBTQ+ experience (which was the warning embedded in Our Skyy 2 x Bad Buddy x A Tale of Thousand Stars), dialing back content that speaks with a queer voice to queer people (though of course non-queers are welcome to watch along, because after all a good story is a good story).

If the above is true, then the tidal pull of commercial goals may soon be dragging more output back toward the more romanticized imaginings of same-sex love seen before in formulaic (but arguably more profitable) BLs of old, with an emphasis on catering to mass market demand (largely represented by – whether rightly or wrongly – marketing perceptions of the cishet female teen gaze).

And all of this circles back to Last Twilight, which is an example of this return to the past, and perhaps explains in part why its ending feels so unsatisfactory for a lot of us.

I'm very much convinced at this point that the finale (with its hated timeskip, Mhok's spiffed-up but stagey return, his emotionally hollow reconciliation with Day, and especially all the schmaltzy vignettes post-couplehood part deux) is but a conscious reaction to political gameplay from echelons above. For Last Twilight, I'm sensing (guessing?) that Director Aof and his team were coerced not just to stay faithful to the traditional formula of BLs past, but also to shove in an unmitigated Happily Ever After for the branded pair of JimmySea, without any of the hallmark Noppharnach countercurrents to undercut the sweetness (or else).

And perhaps in a burst of inspired-slash-malicious compliance, the team took on the mandate for the HEA and ran with it, churning out a saccharine, nutritionally-deficient lump of candy and unceremoniously tacking it on as the ending of what had otherwise been a fairly measured and self-aware BL from the start. And it really sticks out – but I think it was meant to.

I may be misreading the tea leaves again, but to me the signs of the above are myriad. Here's some of what I think Director Aof is telling us about Last Twilight's subversion of the ending, embedded within the narrative and visuals:

Master Aon's name is signaling (to me at least) a parallel with Director Aof's name (Aon/Aof, On/Off, Onscreen/Offscreen, get it? 😆). He even has a similar look, with his wispy mustache, earring and floppy hair.

Noting that Aon was a respected, good-natured guru who'd already trodden happily the path that Day was on, this reads like a rendering of Director Aof's own role (that I'm tempted to say is self-defined, though it's my own reading really) as a queer elder imparting the wisdom of his own experience to younger queer people viewing his work. (Also, both Aon and Aof are gurus of BL who've had their vision stolen from them.) And if Kruu Aon was recommending acolyte Day to read the novel Last Twilight for the metaphorical lessons within (we were reminded of this many times: see Ep.3 [2/4] 9.08, Ep.8 [4/4] 1.07 and Ep.9 [4/4] 9.26), I think Kruu Aof is recommending that we look at the series Last Twilight more closely as well to learn of something similar.

Last Twilight the series is full of references to endings. And if the novel Last Twilight has been signaled as the roadmap to Director Aof's thinking behind the series, the missing last page and epilogue in Day's copy suggests that – just like the book version – Last Twilight the series is actually (and deliberately) open-ended.

But the messaging doesn't just stop there. We are also called upon to manifest the ending we want (if what we're presented with doesn't meet our expectations). For example, Mhok hated the ending of Last Twilight the novel (although Day liked it –see Ep.9 [4/4] 13.23). And he then conflated this with his disappointment at the lackluster twilight on Mount Veha as well.

But through the power of imagination Day helped Mhok see the beauty of the sunset there (Ep.9 [4/4] 16.28) – on one level it's a trite "Life is what you make it" sort of statement, but on another it also reads like a call to action ("You can change what you don't like"). And I like to think it also embodies Last Twilight's theme of recalibrating your own way of seeing things, and looking beyond surface visuals to find the truth that speaks to you (which, in a sense, is what I'm doing now, hah!). But when applied to Last Twilight at a meta level – I think we're also being reminded that a picture-perfect ending (such as Last Twilight's Ep.12 [4/4]) can also hide the reality of gloomy clouds behind the artifice overlaid by human intervention.

Another sign that the ending of Last Twilight deserves a closer look is all the flapping about between innkeeper Cherry, Mhok and Day around the missing last page of Day's book in the Ep.9 [4/4] scene starting at timestamp 2.38.

(above) Last Twilight Ep.9 [4/4] 3.11 – Cherry tears out the last page of her copy of the novel and forces it on Mhok and Day

I'm putting in a detour for a closer look at Cherry here. She was the unsentimental custodian of her father's guesthouse, with a personality that blew hot and cold (like the weather in the south, referenced at Ep.9 [4/4] 2.12). The guesthouse seemed comfortable enough, although Mhok found it less than welcoming (Ep.9 [3‌/4] 6.39). And Cherry herself was also a strange mix of brusque and friendly. She was more concerned about cash than MhokDay's lack of shelter at Ep.9 [3‌/4] 7.36, but warmed up to them later when they explained their Mount Veha quest (allowing them to stay, treating them to a musical evening with her guitar, and accepting the payment deferral). She preferred the old way of doing things (cash only, no online transfers) and had once hosted David, the author of Last Twilight the novel, at the guesthouse.

Based on the above, I'm thinking that Cherry is a representation of Director Aof's dual role at GMMTV, where he is both a creative (director and sometime screenwriter) as well as part of management (senior director of content production, at time of writing). And in Last Twilight we see this duality acknowledged both in Cherry's mercurial double nature, as well as in the capricious weather of Songkhla. The guesthouse, on the other hand, is a representation of GMMTV itself. On the management side, Director Aof has to make and/or implement decisions on behalf of the company even though it isn't really his (just as Cherry runs what was once her dad's). GMMTV is warm and hospitable enough to the performers in its stable, but as a commercial enterprise it has to prioritize financials above most (if not all) other considerations (symbolized by the guesthouse's paradoxically comfy yet unwelcoming air, and also Cherry's indifference to MhokDay's cashless plight). Director Aof's creative focus is the arts (represented by Cherry's musical interlude) but GMMTV itself prefers the old ways of making money, i.e., old-style BLs (and this is symbolized by the guesthouse unwilling or unable to explore new ways of collecting rent with no online transfers). And just as the guesthouse hosted David, whose bittersweet ending to Last Twilight the novel wasn't satisfying to salt-of-the-earth Mhok (standing in for the tastes of the mass market), GMMTV also hosts under its roof Director Aof, the auteur behind Last Twilight the series (whose original ending I suspect may not have pleased other GMMTV bigwigs in management, and who then enforced a change). Some of this is illustrated in part by the scene just before Mhok and Day departed from the guesthouse. When Mhok and Day asked Cherry to keep her autographed copy of the novel, she instead tore out the (signed) ending from her book and thrust it into their hands. And when Day asked if it had a happy ending – she jokingly tried to grab it back, saying "Find the ending yourselves." To me this is a metaphor that the original ending of Last Twilight the series is actually unknown to us, and the ending we got was forced into the narrative from the outside (because it's what the fans want, according to GMMTV speaking in Cherry's voice at Ep.9 [4/4] 3.15 – "I think it's more important to you than me"). And it has official sanction too (symbolized by the author's signature), indicating that Director Aof (David in another incarnation) may not have had a choice (since we're shown that the author's stamp of approval was artificially inserted into a different book instead). It also suggests (in the "Find the ending yourselves") that Director Aof was aware of how that artificial transplantation was going to be negatively received by some diehard Noppharnach fans, and he's saying to us – "Take the ending that's been given you", but at the same time "Find your own meaning in it".

And then Day tells us in no uncertain terms basically the same message, at Ep.12 [4/4] 3.37 ("We were made to discover our own preferred version of the novel’s finale").

The narrative actually tells us quite boldly in the first part of Episode 12 that we can expect the finale to start unraveling because of outside interference – I actually think this is the message behind Director Aof's cameo at Ep.12 [1‌/4] 10.01:

Mocked up as a hotel porter, Director Aof offered a guiding hand to Day – but at timestamp 10.06 Mhok suddenly inserted himself into the scene in an act of direct supplantation:

(above) Last Twilight Ep.12 [1‌/4] 10.06 – Mhok steps in and supplants hotel porter Aof (he of the white gloves)

To me this was unambiguously signaling that from this point onward the proceedings would no longer be under the guiding hand of Khun Noppharnach. In addition, hotel porter Aof's gloved hands were pure white, unbesmirched and free from stain, conveying the message that Director Aof was innocent and blameless of the plot shenanigans that were to follow. To underscore the point, we were then shown Day taking a misstep under new (non-Aof) guidance at Ep.12 [1‌/4] 11.20:

(above) Last Twilight Ep.12 [1‌/4] 11.20 – Day stumbles without hotel porter Aof's guidance, even as Last Twilight the series begins to falter

This was jarringly out of tone, given Day's confidence in his life as a blind person, as well as Mhok's previous – and very conscientious – stint as caregiver to Day the first time around (he would instinctively stand between Day and any physical risk, and place a protective hand over protrusions that Day might bump his head on, for example). The message from this visually dissonant moment is that we should expect the ending to stumble as well, without Khun Noppharnach guiding the process.

So what can we make of the ending with this in mind? I can live with the timeskip, Mhok's return, and the eventual reunion of our main pair. These are all somewhat expected beats in a standard romance drama – and if that's what Last Twilight is setting itself up as, I won't begrudge it the tropey hallmarks that some do love (though I do think some parts could have been handled better). I even liked the airport run for all of its brash, silly sentimentality (yes, Love Actually is one of my favorite films).

But where I think Last Twilight really falls off a Veha cliff is when it starts lobbing at us a plethora of candy-sweet dreams unrealistically brought to life, one after another, in Ep.12 [4/4]. We have:

Ep.12 [4/4] 0.51 – Surprise! Day can see;

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Ep.12 [4/4] 1.18 – Multiple scenes showing Day rejoining the world of the sighted, enjoying activities that were once denied to him (like reading and badminton) both alone and in the company of loved ones;

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Ep.12 [4/4] 4.01 – Family time! Mhok introduces Day as his partner to his deceased family at their memorial niches, and then we see Mhok very much integrated into Day's family (signified by his pasta dish receiving chef Mhon's stamp of approval) even as we see Night and Porjai joyfully announcing another imminent addition to the numbers;

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Ep.12 [4/4] 8.06 – Mhok and Day get a Mount Veha do-over, talk about the novel's ending and then act out the ending to their own love story.

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It's all just too, too fairytale, with happy news piled atop happy news, and just reeks of artificial sap and fakery.

But that's just it – I think that Director Aof and team were actually faking it. Remembering that the novel Last Twilight's full title is Last Twilight: Until the Last Light Goes Out, take a look at how each of the above little snippets of happiness is finished off – each draws to a close with its own Fade-to-Black.

Now the Fade-to-Black is a device borrowed from theater – in a stage play snuffing the lights for a few minutes of total darkness allows scenes to acquire a sense of separation, completion and closure while giving the crew time to change the sets. But here in Last Twilight it feels like we're being pitched happy ending after unrelated happy ending, each competing with the previous in the too-good-to-be-true stakes.

In the title of the novel, we're told to hold on until the last light goes out. Just when is that last light exactly though? There are so many here that each Fade-to-Black begins to feel not just like closure, but like a little death each time. (Also pertinent to note: MhokDay's kiss under that glorious sunset at Ep.12 [4/4] 13.26 gets replaced by a sky of gray clouds instead at Ep.12 [4/4] 13.37.)

Director Aof is really hammering home his point that traditional Happily Ever Afters in romance stories can be shallow and unsatisfactory, and is making us miss the trademark melancholy that propped up the wistful sentimentality in the closing scenes of his previous works.

However, much of the above is what Last Twilight is saying about Last Twilight.

At the metatextual level, what the show is communicating about BLs as a whole is even more somber. I think Director Aof is messaging that for the BL industry to head toward a happy, satisfying ending (if it really is being pushed down to lowest common denominator levels by commercial interests), it's up to us the viewers to manifest that and make it happen (just as Mee/Me and Day did for their own stories). How this might be done, I do not know. Lobbying GMMTV perhaps? Complaining ever more loudly about what this did to Last Twilight when it could have been so much more?

I rather suspect that unfortunately our numbers may not be sufficient to bring about change – the majority of Last Twilight fans actually seemed to like the final wrap-up and its fairytale ending (at least based on the reviews I've seen on MyDramaList). It's only among the more adult (and dare I say it – discerning?) viewership here in the BL sphere on Tumblr are we seeing more robust critiques of the series, mourning the greatness that could have been.

Last Twilight was a good BL all the way up to Ep.12 I think. And then it looks like we were purposely let down, to make a point about BL endings. As always, Director Aof is having the last laugh – and he lets us know this during the end credits.

For it's then that we see the various photographs that were taken by characters throughout the series but never shown to us before (it's strangely moving, and makes me think of the ending to Cinema Paradiso when Salvatore finally gets to view the priest's cut in one long montage as a final gift from Alfredo beyond the grave).

(above) The end credits of Last Twilight, replaying the scenes where the characters were photographed, alongside the images captured in the moment that hitherto were not shown to us

It's in the ending that we're finally getting to see the director's point of view (and hidden message) from his vantage point behind the camera, just as we're only getting to see those photographs (that were originally unseen by their subjects, and privy only to the one taking the photograph) right at the very end.

And the final shot? We get the whole cast and crew making the "span" gesture (that an almost-sightless Day used to approximate the distance at which he could still make things out visually, before his vision left him totally).

It's a loving salute to Last Twilight for sure, but can we perhaps detect a hint of mockery in the way it also resembles the Forehead-L for Loser gesture from the 1990s? Or a hint of a threat in the way it looks like a gun cocked and pointing? The gesture is also Thai sign language for the letter ล, which is somewhat the equivalent of the letter 'L'. And with so many 'L's or 'ล's in that shot, it's making me think of 'LOLOLOL' and also ลล standing in for ล้อเล่น/laaw len, which means Just kidding.

Is it all just a coincidence? I wouldn't put it past Aof for it not to be. But whatever it all means, I really do think he's having a hearty (if somewhat bitter) last laugh. 😔💖

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