#assuming she’s the nominee of course

[always-rolling-my-eyes]

Imagine the insults Trump is going to try and hurl at Kamala during their debate 😬

[justinspoliticalcorner]

Sam Wolfson at The Guardian:

A chill wind swept through Europe this summer. On the continent, far-right parties rose triumphantly in the EU elections, hoisted not just by the grumbles of older xenophobes but on the shoulders of young men. When news crews went out on the streets to train their cameras on these extremists in France, Germany, Finland and the Netherlands, they found no blackshirts, just barbershop trims and Zara chinos worn by young men, enthralled by dreams of ethnonationalism and a return to the values of the 1980s or the 1940s or some other period long before their birth. Then, in Britain this weekend, gangs of mostly young far-right men marauded through northern towns, attacking mosques and accommodation for asylum seekers. The nationalist right is rising once more on the tides of gelled-backed hair and Nike swooshes.

A similar transformation could befall America in November. Until now, twentysomething voters were a thorn in Donald Trump’s side, opposing him robustly in previous elections and making their resistance corporeal as leaders in the Women’s March, Black Lives Matter protests and climate movement. Yet recent election polls suggest that while young women remain committed to the cause, there has been a tremulous withdrawal from young men. In 2016, 51% of young men identified with or leaned toward the Democratic party. By last year, it was down to 39%. Young men now favor Republican control of Congress and their support for Trump has grown since 2020. The Democratic strategist James Carville (he who told Bill Clinton “it’s the economy, stupid”) has been warning Democrats that the party’s eroding numbers among young men and young people of color are “horrifying”: “We’re not shedding them; they’re leaving in droves.”

Of course, many of these fears were emerging when Joe Biden, an octogenarian white man, was still the presumptive Democratic nominee. But while early polling suggests that overall, gen Z is excited by Kamala Harris’s likely nomination, she hasn’t made much impact on gen Z men. Research by the Young Men Research Initiative (YMRI), a group set up in recent months to observe this unexpected drift, shows that men aged 18-29 are split 32% for Harris and 33% for Donald Trump, with Robert F Kennedy Jr taking 15%. This is an almost identical split to when Biden was the frontrunner. Young men used to vote more like young people: left. Now they might start voting like men: right. What changed?

Some pollsters believe we are witnessing a new politics of resentment – that young men feel #MeToo has gone too far, that feminism has left them behind, and that they can only see a home for themselves in a testosterone-fuelled Republican party.

Others – including Richard Reeves, head of the recently founded and influential American Institute for Boys and Men – say this isn’t a cultural issue. While a small, loud minority of men might have become more extreme in their views on feminism, most are responding to other economic and social factors that have meant they have lagged behind women for some time. Young men statistically are more depressed, financially worse off and less educated than young women, and looking for electoral answers. “This is less about young men being pulled towards the right than it is about them being pushed away from the left,” Reeves says. Blue-collar workers, Hispanic voters in Florida, white married women: Democrats have blundered before in assuming they had certain demographics locked up only to find they had taken them for granted. Unless the party can work out why it’s losing young men and how to win them back, Democrats may wake up to a cold new dawn in November, as Europe did in June.

‘A very scary time’: the politics of resentment

In 2018, a gaggle of the White House press corps asked Trump for his opinion on the allegations that Brett Kavanaugh, his nominee for the supreme court, had sexually assaulted Christine Blasey Ford when she was 15 years old. Trump, almost drowned out by the whirring blades of Marine One, could only offer superlatives in response. “High quality”, “top student”, “a great judge”. The reporters sounded desperate: what does it say to boys that someone facing such a serious accusation is still being considered for the supreme court? “Well, I say it’s a very scary time for young men in America,” Trump replied. “You could be somebody that was perfect your entire life and somebody could accuse you of something … and you’re automatically guilty.” Trump had dismissed his own boasts of sexual assault as “locker room talk” during his 2016 campaign, but now he was making his pitch directly to the locker room. Having harnessed the racial resentment of white voters who felt society had become too diverse, could he do the same with young men who felt society had become too feminized?

[...] Armed with this sort of feedback, it seems Trump has been heavily courting the young, resentful male vote. He has attended Ultimate Fighting Championship bouts until the early hours, walking out to Kid Rock’s American Badass. He has lately worked hard to position himself as the crypto candidate and is heavily promoting himself on TikTok. When Kid Rock, Hulk Hogan and Dana White, CEO of UFC, introduced him at the Republican convention, Kid Rock screamed at everyone to put their fists in the air and shout “fight!” as Trump had done after the attempt on his life. Trump even attended a sneaker conference to launch his own golden hi-tops. There are millions of progressive young men who won’t be interested in his proposition. LGBTQ+ men, for example, remain solidly progressive, as do young Asian American voters. But for others, Cox says Trump’s effort could work. “Logan Paul just had Trump on his show. He’s got over 7 million followers. Some young men who are not very political might say, ‘Oh, hey, you know, Trump showing up, he’s talking, he’s engaging. I kind of like this.’”

Why are young men moving rightwards in recent years? This Guardian article highlights the role of male resentment and entitlement over their perceived loss in social standing, especially in the #MeToo era.

The increase of testosterone-oriented culture in the UFC and MMA is also helping fuel these trends.

Read the full story at The Guardian.

[arpov-blog-blog]

The Ohio senator, who is Republican Donald Trump’s vice presidential running mate, attacked the media for actually investigating to disprove the claims and later complained that too few in the media investigate the truth.

Vance spewed the contradictory thoughts in the battleground state of North Carolina.

“I wish the American media was half as interested in the stress on the local schools, the stress on the hospitals and unaffordable housing as they are in debunking a story that comes from the residents of Springfield,” Vance told a rally.

He said constituents from Springfield who say “this thing’s going on” were afraid to give their names because the media will “descend” on them.

Then directly addressing reporters, he said: “Did you ever think about listening to people instead of harassing them? ... Did you ever think about listening to people speak their truth instead of listening to some bureaucrat and assuming that everything that they tell you is true?”

Vance, of course, conveniently failed to mention the townsperson who spoke her “truth” in a police report that apparently fueled many of the racist lies but admitted later that she found her cat in the basement.

“It’s about investigating the truth, and unfortunately far too few reporters do that today,” Vance said.

Again, reporters actually reached out to people in the know to squash the harmful conspiracy theories that Trump and Vance continue to resuscitate.

“There’s no reason for us other than to tell you the truth. We care about our community,” Springfield Mayor Rob Rue told CNN on Monday. “We don’t want lies spread around like has happened for the last 12 to 13 days.”

Vance also danced around a question about North Carolina’s embattled GOP gubernatorial candidate Mark Robinson, who allegedly called himself a “Black Nazi” who gets off on secretly watching women shower.

“Will you continue to support Mark Robinson in this campaign?” a reporter asked.

“I’ll continue to support the people of North Carolina,” Vance said. “That’s what my job is as their next vice president.”

The subject came up again, and Vance attempted to deflect the issue.

[checkmatehq]

wait till you hear about this next nominee: NAM BORA, born on the 18th of DECEMBER, 1996 and bears a striking resemblance to KANG MINAH. they’re a FIRST year BACHELOR OF COMMUNICATIONS student and THE YOUNGEST SNOWBOARDING WORLD CHAMPION — impressed yet? rumor has it they’re hoping to be the CHIEF COMMUNICATIONS OFFICER OF NAMHWA BANK, but personally, i think they should aim a little higher — something like the king’s club, for one. now, that suits them a little more, don’t you think? guess we’ll just have to see if they’ve got the talent for it in our upcoming recruitment round.

NAM BORA IS THE KING'S CLUB'S 2019 BLACK KNIGHT.

tw : brief mentions of smoking weed, drugs & drinking.

bora considers herself to be one of the luckiest — if not the luckiest — person on this planet. to be born into wealth is something that doesn't happen often, so she is glad to have been the one born into the nam empire.

if you ask bora, her childhood was fantastic. with parents too busy to cater to her needs, she was left in the presence of indifferent nannies who were more than happy to let bora experience everything under the sun. from arts, to sports, to activities that left scars on her body, there was not one thing that bora hadn't tried.

she was only six when her parents took her to the alps and it's within the swiss mountains that she discovered her passion for snowboarding. the love for the winter sport only deepened from there and everything culminated with her becoming a worldwide champion at the age of 16.

of course, her teenage years till that point weren't as great as one would've expected. bora could barely pass her classes and she was rarely home, always busy with practice and hanging out with the wrong crowd. worst of all, their bad influence became obvious when she got caught smoking weed with her so-called friends and ever since, her parents have kept a closer eye on her.

in the meantime, the gratification that came with being a snowboarding champion was starting to fizzle quickly, and so did her passion for the sport. feeling like she had accomplished everything, the prodigy decided to lay low and not aim for more accolades. with college right around the corner and with her parents aware of the liking she has taken to drugs, bora was forcefully guided to pick something easy, but usable, as a major — communications.

being accepted into snu was not a surprise to bora, but the mention of the king's club definitely was. the young woman couldn't care less ... until her family members started to press her about it. one thing about bora, she might be shallow, but she was never stupid. that's why her only choice was to 'respect' her parents' wishes and join ( if that meant that she would not be cut off, of course ).

the adrenaline junkie had a blast during the initiation process. she did not take anything seriously and she was careless with her approach ; bora just assumed that her parents could work their magic and get her in, even if she hadn't necessarily done well in the rituals. whether her gut was right or not, one thing was certain — bora secured her place within the club and survived to tell the tale (unlike a certain candidate).

the rest of the uni years are a blur to bora. she remembers nothing about the academics and everything about the days spent just enjoying college life : the people, the drinks ... and the people and the drinks of the king's club. while others are busy trying to climb a social (and corporate ladder), bora is planning her next trip to blue lagoon for a cliff diving session.

of course, after the graduation, bora has a place secured at the bank as part of their pr team. truth be told, she's not working much, preferring to socialize and dedicate time to her hobbies, so she barely stops by. however, when she does show up, she is able to handle any pr crisis that the bank faces. bora has proven that she can get her family's businesses and reputation to calm waters.

[crunchwire]

BENGALURU (Reuters) - U.S. Treasury Secretary Janet Yellen stated on Saturday that she believes the robust qualifications of the U.S. nominee to guide the World Financial institution, ex-Mastercard CEO Ajay Banga, will overcome any criticism of the choice course of.FILE PHOTO: Ajay Banga, President and CEO Mastercard attends the World Financial Discussion board (WEF) annual assembly in Davos, Switzerland January 19, 2017. REUTERS/Ruben Sprich/File PhotographIn an interview, Yellen affirmed her help for the longstanding custom of the USA selecting the World Financial institution’s chief and Europe selecting the pinnacle of the Worldwide Financial Fund.However she stated that privilege comes with a accountability to “nominate the strongest attainable candidate” for the job.“We’ve taken this very significantly and tried to establish a candidate that we predict brings the best ability set to this job,” Yellen stated. “And we hope that our candidate will probably be broadly accepted in each lending international locations and borrowing international locations.”Yellen stated she was happy thus far with optimistic critiques from G20 finance officers for Banga, 63, an Indian-born U.S. citizen who has gained accolades for his work remodeling Mastercard and dealing to elevate folks in creating international locations out of poverty.However the swiftness with which President Joe Biden nominated Banga, in a shock decide instantly after the World Financial institution’s board started accepting nominations on Thursday, drew criticism from some non-profit teams, local weather and growth professionals that the USA by no means needed an open contest for the job and sought rapidly to discourage challengers.Because the World Financial institution’s largest shareholder with 16.35% of its voting energy, the USA wields robust affect over the financial institution’s insurance policies, and the lender’s president works intently with the Treasury Division.“A lot for a merit-based clear course of with feminine candidates strongly inspired,” stated Claire Healy, Washington director for the E3G local weather assume tank, referring to the board’s choice course of announcement.“Time is brief and the stakes are excessive, so considerations concerning the course of will seemingly be put aside to get the reforms achieved,” Healy added.Yellen is urgent the World Financial institution to refine a package deal of sweeping reforms aimed toward vastly increasing its lending useful resource and mission to deal with local weather change and different international challenges.Banga will face a tricky slate of points across the establishment’s funds and capital construction from the beginning -- thorny issues he should tackle as he reshapes the financial institution right into a power for combating local weather change on prime of its conventional position as a poverty fighter.“There’s broad settlement that we have to mobilize non-public capital,” Yellen stated. “That is a person who has a greater likelihood of having the ability to accomplish that than anybody else I can actually consider.”She added that his background “actually is sort of completely different” from previous World Financial institution presidents, who have been usually picked from positions in authorities service.“That is someone who grew up in rising markets, spent most of his profession working in Africa, the Center East, Asia, actually deeply understands and has lived in international locations that face growth challenges,” she stated.Reporting by David Lawder; Enhancing by Daniel Wallis Source link

[safehavenscomic]

SNUB

All this time we assumed that when Ming released her documentary about the Mars mission to theaters that it would be nominated for an Oscar. I mean, come on. She went to freakin’ Mars.

What’s more, the film was a massive hit with audiences. She worked really hard on it, too, and not just with years of training on top of the three-year mission. Using the same footage she edited four completely different genres of film. (She ended up releasing the Action/Comedy.)

So when the announcements were made on Tuesday morning we were ready to celebrate and…nothing. Yes, the five actual nominees are all worthy but sheesh.

Of course, Ming is entirely unfazed by this, which is so Ming.

[togrowoldinv]

Yes, I Said My Wife

Elizabeth Olsen x Female Reader

A relationship journey with Elizabeth...

Note: College Lizzie is here! (sort of) I got a request for an idea along the lines of this fic, so I made it a variation including college Lizzie. Flashbacks are bold and italicized. Enjoy!

Elizabeth Olsen Masterlist, Main Masterlist

If you asked anyone that knows the two of you, they would probably say that you and Lizzie are together. Like together, together.

You first met Lizzie the day that you both started classes at NYU. She was the only student who was also in the class fifteen minutes early every day. After the first week, you were assigned a term project. You still remember how nervous you were to ask her to be your partner.

“Excuse me,” you get Elizabeth’s attention, and she turns to you with a kind smile. “Hey, would you-uh- would you want to be my partner?”

“Of course, yeah,” she replies, and you already feel yourself being drawn to her. “I’m Lizzie by the way.”

“Y/n,” you tell her and you two make plans to meet up later to work on the project.

One night after working on the project Lizzie asked you to go to a party a friend of hers was throwing. It then became a regular occurrence to spend time with her. By the time the semester was over, you and Lizzie were inseparable.

The rest of your college years went by quickly and you graduated earlier than her, but you still lived in New York so the two of you remained friends. Even as she entered the Marvel Universe you remained close with her. You were her guest at every premiere, and everyone just assumed you were dating. You wished you were.

The Endgame premiere was actually the first night you and Elizabeth ever kissed. It was a surprise really, but you thank goodness for it.

It was late at an afterparty at Chris Evans’ house, and you found yourself looking for Lizzie. She had run off a while ago to play pool with some of the cast while you were talking to some of the others.

“Y/n! Hi!” Lizzie said as you walked into the room. “Come watch me beat these guys!”

You smiled at her and joined her by the table as she waited for her turn. She wrapped her arm around your waist, and you easily leaned against her. Elizabeth kissed your cheek before she took her turn.

She sunk the 8 ball into the right pocket and there was a chorus of cheers and boos.

“Yes! Suck it!” Lizzie said excitedly as she did an adorable victory dance. She ran over to you and hugged you. You lifted her off her feet and spun her around. Once you put her back down, you realized she was making intense eye contact with you, and you couldn’t tell what she was thinking about.

Before you could ask her, she surged forward and pressed her lips against yours. You recovered from your shock quickly and kissed her back. Everyone around you hooped and hollered and Lizzie pulled away from you only to bury her face in your neck.

After that night, you and Lizzie started secretly dating. You told everyone that it was a drunken mistake, and you were only friends. You just wanted time to get used to being together romantically without the world’s influence.

It was an entire year before you even told your family and close friends that you were dating. It was easy to pretend that nothing had changed with the media because you always went to events with her before.

Last fall, after two years of being together, you and Lizzie quietly got married in the early fall.

You think about all of this as your wife’s name gets called on the list of nominees at the Emmy Awards. You are holding her hand under the table as they announce her category.

“And the award goes to Elizabeth Olsen, for WandaVision!”

Everyone stands up and cheers for Elizabeth. She’s beyond shocked as she stands and hugs you. You whisper an ‘I love you’ into her ear and you can tell she’s already happy crying.

“Wow, I am really at a loss of words. Thank you to Marvel and thank you to the fans for supporting this show beyond our wildest expectations. Thank you to my family for always believing in me,” Elizabeth accepts her award. As her eyes find yours in the crowd, she continues. “And thank you to my wife. Yes, I said my wife. Y/n, I love you baby and I couldn’t have done any of this without you. Thank you!”

Elizabeth leaves the stage, and you feel lots of eyes on you. You just shrug and wait for her to come back to her seat.

“There’s my Emmy Award Winning wife,” you greet her as she returns, and she preens at your words. “Yes, I said my wife.”

“I’m sorry. I just couldn’t keep my muse hidden any longer,” Lizzie says, reaching for your hand. Her thumb brushes over your knuckles.

“I love you, Elizabeth and I’m so proud of you,” you tell her.

“I love you too,” she says, and you kiss her quickly.

“And to think this all started with a college class,” you say, and she laughs her glorious laugh.

“We became partners a lot longer ago then we originally thought, huh?”

“Indeed,” you laugh in agreement and you two are pulled out of your own little world with another award winner taking the stage.

She holds your hand on top of the table now and you are so happy to be married to the greatest woman in the world.

Note: I just had to make Lizzie win the award because she really deserved it.

Tag List: @gracebutnotgraceful @i-wished-for-you-too @be-missed @likefirenrain @madamevirgo @xxxtwilightaxelxxx @yelenabelovaisthebettersister @mrswidowjohansson @alotofpockets @marvelwomen-simp @maia-lightwoood @mortallytremendoussandwich @xxromanoffxx @ggrangerdanger @peanutbutterprincess

Let me know if you want to be added to my Elizabeth tag list or have any requests for her 😁

[zoobus]

You might have heard Biden made a historic nomination to the Supreme Court. We're all subject to biases and headline bait so to be clear - this is why it's historic:

The list of obvious firsts, a Justice Ketanji Brown Jackson would add another: the first former public defender to sit on the United States Supreme Court. It’s an entry on her résumé that a few years ago might have been politically unthinkable for a nominee to the highest court but is now, thanks to years of work by the progressive legal movement and criminal-justice reformers, a boon.

Jackson served as a federal public defender for only two and a half years, but that’s more experience than any current or past member of the Supreme Court has had — ironic given that the Court in 1963’s Gideon v. Wainwright declared that “lawyers in criminal courts are necessities, not luxuries,” requiring states to provide attorneys to those who can’t afford them.

Paired with her longer stints at the U.S. Sentencing Commission and going all the way back to her Harvard undergraduate thesis (“‘The Hand of Oppression’: Plea Bargaining Processes and the Coercion of Criminal Defendants”) and her subsequent Harvard Law Review article (“Prevention Versus Punishment: Toward a Principled Distinction in the Restraint of Released Sex Offenders”), Jackson has shown a deep interest in trying to ensure fair processes for often unpopular clients. In a nice bit of continuity, Jackson clerked for Stephen Breyer, the justice whom she would replace. But her confirmation could be a jurisprudential break from a man who repeatedly voted with law enforcement over individual rights.

Indeed, she would join a Supreme Court that, on criminal cases, “consists largely of arguments by expert prosecutors, offered to former expert prosecutors, about cases potentially channeled to the Court by prosecutors,” as Harvard law professor Andrew Crespo put it in a 2016 Minnesota Law Review article. They may idealize the system and not understand how arbitrary or unfair it can be in practice. Thurgood Marshall, who retired over 30 years ago, was the last justice with “direct familiarity of modern-day policing and prosecution, as they are so often experienced by the stopped, the frisked, the arrested and the accused,” Crespo added.

...

There is little social-justice poetry in some of the clients whose appeals Jackson took on, such as the attorney “convicted of tax fraud in connection with his work for a drug dealer,” accused of transferring the titles for his Porsche and Mercedes to his sister, according to the Washington Post. Others did involve swimming against the political tide, notably filing petitions on behalf of Guantánamo detainees, which Senator Tom Cotton made sure to bring up at her confirmation hearing to be on the D.C. Circuit Court of Appeals: “Have you ever represented a terrorist at Guantánamo Bay?”

Risk aversion to questions framed like that explains why federal judges with experience like Jackson’s have, in recent history, been rare. “The default for presidents of both parties has been to nominate judges who are either corporate lawyers or prosecutors,” says Christopher Kang, who as deputy counsel in the Obama White House oversaw over 200 judicial nominations. “Prosecutors and corporate lawyers are less politically controversial. They also have networks of bipartisan support,” making them presumed to be easier to confirm. That belief has a self-perpetuating effect on many elite law students and young lawyers who assume any other course would block their ambitions.

Emphasis mine, definitely check out the full piece. This is good.

[theculturedmarxist]

Democrats have been fooled into thinking that only the courts can protect abortion rights. In fact, legislation could protect abortion permanently, but their party has refused to do that. Now that SCOTUS control is lost because of their corruption and betrayals, they continue to spin lies that bamboozle the party faithful.

“What about the Supreme Court?” Those words are used to thwart any discussion which questions support for the Democratic Party. The democrats maintain their hold on voters who would otherwise be rid of them by dredging up the fear of the federal judiciary falling under Republican Party control. The legal right to abortion is one of the issues used to keep millions of people from leaving the democrats once and for all. 

After decades of democrats’ corruption, inaction, and lies, the right to abortion is indeed at risk. The majority of Supreme Court justices are republican appointees.  They may uphold a Mississippi law which severely restricts abortion access or even overturn the 1973 Roe v. Wade decision which declared a constitutional right to abortion. The boogeyman of right wing judicial control is now real and the democrats have only themselves to blame. Unfortunately, most of their voters still go along with their faux outrage when they should be questioning the whole rotten apparatus.

The democratic party is called a “big tent” which includes corporate interests, wealthy funders, well funded think tanks, elite academia, and left leaning voters. Black people are the constituency they depend upon the most, although one would never know that by looking at the policies the democrats hold near and dear. 

Black voters in particular are caught in a trap, seeing themselves as powerless to do anything except keep republicans out of office. The openly white supremacist nature of the republicans is not met with any opposition by the party that fails to fight for them. Instead fear mongering and betrayal of their most loyal voters are their favorite means of getting support. The political duopoly are like fake heroes and fake villains in professional wrestling. The differences are all for show.

The bloom was off the rose in 2016 after the hope and change promised by Barack Obama was revealed to be nothing more than neo-liberal business as usual. Many democrats were disgusted when the primaries were rigged against Bernie Sanders. Hillary Clinton’s “pied piper strategy” amplified Donald Trump, and the combination of miscalculation and hubris gave him the electoral college votes needed to win and to make lifetime judicial appointments.

Hillary Clinton was so sure she would defeat Trump that she chose senator Tim Kaine as her running mate. Kaine is one who straddles the fence claiming he is personally opposed to abortion because he is a Catholic while claiming he would defend Roe v. Wade. Clinton herself foolishly sought to portray herself as being ambivalent about abortion, thinking she would get support from some conservative voters. Of course real conservatives were in love with Donald Trump. So-called moderate republicans voted for him too. Hillary’s efforts to be as slick as Bill Clinton were laughable and her sad attempt at Clintonian triangulation led to Trump’s victory.

Democrats don’t like to mention that Ruth Bader Ginsburg should have stepped down when Barack Obama asked her. He also didn’t fight for his nominee Merrick Garland because he assumed that a president Hillary Clinton would have her choices. The miscalculations are guarded like a shameful family secret lest left leaning democrats question the cult leadership and head for the exits.

Of course the constant demand that leftists stick with the democrats over the issue of abortion falls apart upon even cursory examination. House Speaker Nancy Pelosi was taken to task in 2017 for saying that abortion was “fading” as an issue of concern to her party’s members. In 2018 when democratic voters were urged to give control of the House to democrats and diminish Donald Trump’s power she said abortion was not a litmus test issue. While voters are harangued to stay with the democrats as if they are a political lifeboat, the leadership make clear that they don’t care what their constituents want and only raise issues at opportune moments to raise money and keep the rank and file in line. 

Democrats are only serious about neo-liberal austerity, protection of corporate interests, and carrying out imperialism abroad. Everything else is propaganda meant to convince the gullible to stay in their camp. Liberals think themselves superior and sneer at white republicans for voting against their interests. They are no better, allowing themselves to be fooled again and again by SCOTUS fear mongering when their party could protect abortion rights with legislation if they really wanted to do so.

The joke is on liberals who want to relitigate the 2016 debacle by blaming everyone but the people who should have won the election they said was so important. The barbarians are not just at the gate, they have breached the walls and the democrats are responsible. But even as they fail in the electoral arena, their propaganda knows no bounds. They never discuss legislating abortion rights and their constituents never take them to task.

MAGA hat wearing Trump supporters are no more indoctrinated than the average democrat voter. The discredited leadership exemplified by the likes of Nancy Pelosi have a strong hold on their members despite failing them time and again. The only sure prediction of the 2024 presidential campaign is that the need to control the federal judiciary will again be trotted out to end any questions or hesitation to support the party that fails its people so often.  

Democrats have been fooled into thinking that only the courts can protect abortion rights. In fact, legislation could protect abortion permanently, but their party has refused to do that. Now that SCOTUS control is lost because of their corruption and betrayals, they continue to spin lies that bamboozle the party faithful.

[uhlikzsuzsanna]

Richard E. Grant Reveals Whether Classic Loki Is Gone for Good: 'How Do You Top That?' (Exclusive)

[Warning: The below contains MAJOR spoilers for Loki Season 1, Episode 5, “Journey Into Mystery.”]

Richard E. Grant seems the ideal candidate to be conscripted into Marvel's cinematic universe: He's an Oscar nominee (Can You Ever Forgive Me?) who doesn't take himself too seriously (he's been in two Hitman's Bodyguard movies) and he's already on the Disney payroll (having joined the Star Wars franchise for The Rise of Skywalker). Yet, the actor says he and Marvel had never discussed his entrée into the MCU until Loki.

"I'd been in Logan, but that's completely separate," he told me over Zoom. "I'd joked on and off down the years with Tom Hiddleston, because of some vague similarity in the way that we look -- me, a much older version of course -- about working together as father and son in something. I assumed because I was asked to play Old Loki, I thought, 'Oh, this is the call finally,' because of the physical similarity. So, that's as much as I knew."

Grant made his Loki debut in the post-credits scene of episode 4 as "Classic" Loki, a Variant of our Hiddleston's God of Mischief who dons Loki's comics-accurate green and gold getup and ultimately goes out in a blaze of magical glory in the penultimate episode. Ahead of the Loki finale, Grant chatted with ET about answering Marvel's call, his one major complaint with his costume and whether Classic Loki is gone for good.

ET: Beyond you looking Hiddleston-y or him looking Richard E. Grant-y, what was it about this character in this story that you knew, "Yes, this is my part in the MCU"?

Richard E. Grant: Well, the key is in Old Loki, because being 64, I was older than anybody on the entire crew or cast. So, that was the clue in, I thought, "Old Loki, that's it -- I'm in the old age roles now."

What else were you told about him in that initial pitch? And was the costume part of it? Because it seems so much part of the character.

Yeah. And when the costume designer showed me my face on this costume that she designed and I saw the Jack Kirby drawings from the '60s, I thought, "Oh, great! As I have no muscles" -- as you can see -- "I'm finally going to be in a muscle suit. I'm going to have muscles like Tom has got!" And of course, I got there and I said, "Well, where's the muscle suit?" They said, "You don't have a muscle suit. This is what you're wearing." I said, "But this is like Kermit the Frog. There's no muscles. There's nothing here! How can I fight in Asgard?" [Laughs] "No, no, it's your magic that counts!" And I said, "Help me. Just give me the muscle suit," but they refused. So, I'm still sore headed that I was never given a muscle suit to fight Asgard as in all the drawings. I still don't really why they didn't do that, but maybe they wanted withered Loki. Who knows?

So, what was your reaction the first time you got all the garb on and saw yourself in the mirror?

Horrified, because I had no muscles! I was standing there like sort of a geek with these Y-fronts. I remember when I was a kid in the back of all the comics, they used to have these little drawing adverts with a skinny kid having sand kicked in his face. And they used to have these chest expanders, they said, "Send off for one of these chest expanders and you too could look like Thor!" Well, I never did, and I thought, well, finally, when I'm cast as Old Loki, this is going to be my chance. And damn, they took it away from me in that too. So I'm pissed at them for that.

How did Hiddleston react when he first saw you in it?

He said, "You have no idea what kind of response this is going to elicit when it comes out." I said, "That doesn't sound too positive or hopeful to me without the muscles, Tom." And he said, "No, no, believe me, I've been playing this part and there's a universe of people who are so obsessed and so ready to see Classic Loki. Be prepared for it." I didn't really take him seriously. I thought, "Well it's a TV series. How many people will watch this on a new channel?" Yada, yada. And how right he was looking into the crystal ball and how wrong I was, because since it came out last Wednesday, I have been absolutely flabbergasted by the response. My Twitter feed and Instagram have increased in vast numbers, and the response has been pretty astonishing. I'm amazed and grateful that it hasn't been negative so far.

I loved your post, by the way, about how your father would have reacted to this costume.

Well, he was right! I'm still at 64 earning my crust by wearing makeup and green tights. [Laughs]

I have to assume this was also your first time with an alligator as your scene partner?

It was. And in reality it was three stuffed cushions sewn together. Sort of fun to hold!

Alligator Loki is such a breakout star and I loved seeing the blue plushy you used on set. What was it like filming those scenes? Did it feel absolutely ridiculous?

No, because I was grateful. Very often you'd have dots or crosses or just a tennis ball on a stick to react to, so the fact that we actually had the soft cushioned shape of something alligator-like was a help. But it's just the nature of being an actor. You know that the CGI and the graphics and production design department, they come up with something amazing. What I didn't take on board is that, of course, he'd have these beautiful gold horns on top of his alligator sideways eyes. I love that. I've only seen the stills of it, but it looks amazing.

Your final moment in the episode is so powerful. I'll tell you, it brought tears to my eyes. On set, I imagine you're probably in front of a blue screen having to use your imagination. Tell me about capturing that emotion and how you and Kate Herron found that moment together?

The camera was on a big sort of jig crane thing that was at the highest section of the studio and I would follow a mark on that and they had, I think, three or four aircraft-sized wind machines blowing the Bajesus out of everything. And I thought, having wondered whether the helmets and the horns had to be quite so tight, I was grateful for them on that day because they did not move despite the amount of wind that was blowing at me. It was scripted to say, "He's laughing and shortly and cackling in the face of his own imminent, catastrophic death in the mouth of [Alioth]," it was very empowering to be able to just give it the full welly at doing that. So, I enjoyed that hugely.

You said you've only seen stills of Alligator Loki. Have you seen the episode yet?

No.

So, you haven't seen how the scene looks with all the CGI yet?

I've seen stills that I'm holding up the city, so I've seen that. I have never got used to watching myself on screen. I love watching other people, but when I come on, I just-- I'm astonished that I get any work. So, I've learned decades ago just to never watch. So, when you see a still, you don't have the horror of your shortcomings to mull over.

Well, I will tell you, you looked pretty bad ass in that moment.

Good. Thank you, John!

This seems like the end for Classic Loki, but if this series has taught us one thing, it's that Lokis survive. Do you think we could see him again someday? And are you down to play him again?

As you just said, everything's possible. But I think that's because his sacrifice is so huge and it's going out with such a bang, how do you top that if he had to come back? I have no idea. You know, it's not within my arena to do that. But I wouldn't say no, if asked. Put it that way.

[twh-news]

Richard E. Grant Reveals Whether Classic Loki Is Gone for Good: "How Do You Top That?" (Exclusive) | CBS8

Richard E. Grant seems the ideal candidate to be conscripted into Marvel's cinematic universe: He's an Oscar nominee (Can You Ever Forgive Me?) who doesn't take himself too seriously (he's been in two Hitman's Bodyguard movies) and he's already on the Disney payroll (having joined the Star Wars franchise for The Rise of Skywalker). Yet, the actor says he and Marvel had never discussed his entrée into the MCU until Loki. "I'd been in Logan, but that's completely separate," he told me over Zoom. "I'd joked on and off down the years with Tom Hiddleston, because of some vague similarity in the way that we look -- me, a much older version of course -- about working together as father and son in something. I assumed because I was asked to play Old Loki, I thought, 'Oh, this is the call finally,' because of the physical similarity. So, that's as much as I knew." Grant made his Loki debut in the post-credits scene of episode 4 as "Classic" Loki, a Variant of our Hiddleston's God of Mischief who dons Loki's comics-accurate green and gold getup and ultimately goes out in a blaze of magical glory in the penultimate episode. Ahead of the Loki finale, Grant chatted with ET about answering Marvel's call, his one major complaint with his costume and whether Classic Loki is gone for good.

ET: Beyond you looking Hiddleston-y or him looking Richard E. Grant-y, what was it about this character in this story that you knew, "Yes, this is my part in the MCU"?

Richard E. Grant: Well, the key is in Old Loki, because being 64, I was older than anybody on the entire crew or cast. So, that was the clue in, I thought, "Old Loki, that's it -- I'm in the old age roles now."

What else were you told about him in that initial pitch? And was the costume part of it? Because it seems so much part of the character.

Yeah. And when the costume designer showed me my face on this costume that she designed and I saw the Jack Kirby drawings from the '60s, I thought, "Oh, great! As I have no muscles" -- as you can see -- "I'm finally going to be in a muscle suit. I'm going to have muscles like Tom has got!" And of course, I got there and I said, "Well, where's the muscle suit?" They said, "You don't have a muscle suit. This is what you're wearing." I said, "But this is like Kermit the Frog. There's no muscles. There's nothing here! How can I fight in Asgard?" [Laughs] "No, no, it's your magic that counts!" And I said, "Help me. Just give me the muscle suit," but they refused. So, I'm still sore headed that I was never given a muscle suit to fight Asgard as in all the drawings. I still don't really why they didn't do that, but maybe they wanted withered Loki. Who knows?

So, what was your reaction the first time you got all the garb on and saw yourself in the mirror?

Horrified, because I had no muscles! I was standing there like sort of a geek with these Y-fronts. I remember when I was a kid in the back of all the comics, they used to have these little drawing adverts with a skinny kid having sand kicked in his face. And they used to have these chest expanders, they said, "Send off for one of these chest expanders and you too could look like Thor!" Well, I never did, and I thought, well, finally, when I'm cast as Old Loki, this is going to be my chance. And damn, they took it away from me in that too. So I'm pissed at them for that.

How did Hiddleston react when he first saw you in it?

He said, "You have no idea what kind of response this is going to elicit when it comes out." I said, "That doesn't sound too positive or hopeful to me without the muscles, Tom." And he said, "No, no, believe me, I've been playing this part and there's a universe of people who are so obsessed and so ready to see Classic Loki. Be prepared for it." I didn't really take him seriously. I thought, "Well it's a TV series. How many people will watch this on a new channel?" Yada, yada. And how right he was looking into the crystal ball and how wrong I was, because since it came out last Wednesday, I have been absolutely flabbergasted by the response. My Twitter feed and Instagram have increased in vast numbers, and the response has been pretty astonishing. I'm amazed and grateful that it hasn't been negative so far.

I loved your post, by the way, about how your father would have reacted to this costume.

Well, he was right! I'm still at 64 earning my crust by wearing makeup and green tights. [Laughs]

I have to assume this was also your first time with an alligator as your scene partner?

It was. And in reality it was three stuffed cushions sewn together. Sort of fun to hold!

Alligator Loki is such a breakout star and I loved seeing the blue plushy you used on set. What was it like filming those scenes? Did it feel absolutely ridiculous?

No, because I was grateful. Very often you'd have dots or crosses or just a tennis ball on a stick to react to, so the fact that we actually had the soft cushioned shape of something alligator-like was a help. But it's just the nature of being an actor. You know that the CGI and the graphics and production design department, they come up with something amazing. What I didn't take on board is that, of course, he'd have these beautiful gold horns on top of his alligator sideways eyes. I love that. I've only seen the stills of it, but it looks amazing.

Your final moment in the episode is so powerful. I'll tell you, it brought tears to my eyes. On set, I imagine you're probably in front of a blue screen having to use your imagination. Tell me about capturing that emotion and how you and Kate Herron found that moment together?

The camera was on a big sort of jig crane thing that was at the highest section of the studio and I would follow a mark on that and they had, I think, three or four aircraft-sized wind machines blowing the Bajesus out of everything. And I thought, having wondered whether the helmets and the horns had to be quite so tight, I was grateful for them on that day because they did not move despite the amount of wind that was blowing at me. It was scripted to say, "He's laughing and shortly and cackling in the face of his own imminent, catastrophic death in the mouth of [Alioth]," it was very empowering to be able to just give it the full welly at doing that. So, I enjoyed that hugely.

You said you've only seen stills of Alligator Loki. Have you seen the episode yet?

No.

So, you haven't seen how the scene looks with all the CGI yet?

I've seen stills that I'm holding up the city, so I've seen that. I have never got used to watching myself on screen. I love watching other people, but when I come on, I just-- I'm astonished that I get any work. So, I've learned decades ago just to never watch. So, when you see a still, you don't have the horror of your shortcomings to mull over.

Well, I will tell you, you looked pretty bad ass in that moment.

Good. Thank you, John!

This seems like the end for Classic Loki, but if this series has taught us one thing, it's that Lokis survive. Do you think we could see him again someday? And are you down to play him again?

As you just said, everything's possible. But I think that's because his sacrifice is so huge and it's going out with such a bang, how do you top that if he had to come back? I have no idea. You know, it's not within my arena to do that. But I wouldn't say no, if asked. Put it that way.

[oldguardhc]

Old Guard hc #101

Summary: Part 2 of the Decennial Awards (Part 1)

“Our next category is the Weirdest Sleeping Spot! As the title suggests, this category is based on the weirdest spot one has been caught sleeping.” Joe turns on the TV behind him and starts the slideshow of them all snoozing in various spots and positions. “We require plenty of rest to remain youthful. This, unfortunately, means we have to catch our Z’s in some unconventional places.”

“When did you take all these pictures?” Booker asks, leaning forward on the couch. Joe glances back and sees a picture of Booker asleep on top of a fridge. The man wasn’t even curled up on top like one would assume. No, he was half-draped over the top, head and arms hanging on the other side, looking as close to dead one can be while still alive. He looked like a poor Halloween decoration. “I don’t even remember that.” 

“That’s because you’re senile,” Joe retorts and immediately wishes he can take it back. Three unimpressed faces stare back at him from the couches and Joe knows that this is going to be counted against him. Dammit. He wants to win the best host at the end of the century. Joe plasters on a winning smile. “I apologize; that comment should have been saved for after the show. All of the pictures were taken some time in the last 10 years; anything before was disqualified. Now, our first nominee, Nicolò, fell asleep in-“

Booker stands up and turns around to look at Andy and Nicky. He gestures wildly at them, some of his drink sloshing onto the floor and all over his hand. Booker slurps up what he can on his hand before saying, “Are we not going to talk about how Joe’s been taking pictures of us sleeping? For more than a decade?” 

Andy lobs a peanut at him. “Sit down!” Booker catches the peanut and pops it into his mouth. For a second, Joe hopes he chokes on it. 

When it’s clear that he will not, Joe says, “No, we are not. Please take a seat, sir.” 

Booker whirls around, spilling more of his drink. “This is an invasion of privacy!”

“You were in a public area.”

“Technically-“

“If you have to start with technically, you’re wrong,” Joe sighs, motioning to the couch more insistently. He feels like he has just finished 8 hours of customer support and was told by his manager to cover for the coworker they’re currently sleeping with. Andy snags the back of Booker’s pants and whatever was left in Booker’s cup is now sitting on the carpet. Wonderful. “As I was saying, Nicolò, over here, fell asleep on a crane that was on top of a 500m building. He had a couple of hours to kill until his target arrived and rather than playing on his phone like any other sane person, he decided to take a nap.” Everyone turns to look at Nicky. 

“I still don’t see the issue here. I even set an alarm for an hour before the scheduled arrival,” Nicky says and Andy squints at him. 

“The construction workers were using the crane. It was literally spinning the entire day,” Booker says and Joe nods. Some carousels spin less than that crane. 

“You cost me 500 euros,” Andy adds with a scowl. “It was supposed to be an easy win. You puked after the teacups.” 

Nicky gapes at her. “That doesn’t count! Booker made me eat 5 bananas and drink 2 cans of sprite!” 

“It was a projectile. You could calculate the angle of it.” You could. It was absolutely disgusting. Joe had made sure to slip the janitor an extra hundred as he tended to his violently sick husband. 

Knowing that this will lead to a full-blown argument, Joe quickly interjects, “Now Sebastien, he fell asleep in the trunk of the wrong car and ended up giving a poor old lady quite the scare. Later, I would like to discuss Sebastien’s concerning taste for younger women.”

“Yeah, she was less than half your age. That’s gross, Book,” Andy teases.

“Preying on the young and vulnerable?” Nicky tuts. “Where're your morals?”

“Fuck you guys,” Booker groans.

“I like older men,” Nicky says. “Thank you, though.”

With a smirk, Joe continues. “Next is Andromache, who fell asleep on top of a moving train and managed to stay on it the entire duration of her nap. In fact, she did not even sway an inch; not even when the train was climbing the side of a mountain.”

“Less stuffy up there,” Andy says, taking a sip of her drink.

“I believe you.”

“Plenty of space.”

“No one’s going to join you, Andy,” Booker groans, leaning back on the couch. “It’s fucking cold up there.” 

Nicky tilts his head, eyebrows furrowing. “That’s-,” Joe shares a look of incredulity with his husband and slowly shakes his head. It’s probably best that they leave this one alone for a couple of centuries. 

“For our last nominee, Yusuf managed to find a yak and fall asleep on its back.”

“You conveniently left out the part where it woke up startled and kicked you 20 feet away.”

Joe gives him a tight-lipped smile. “Thank you, Sebastien. As always, your contribution is entirely unwanted.” Joe pulls the second envelope out. “Now for our winner,” he opens it and snorts as he reads the card. “Sebastien! Congratulations! You won this decade’s weirdest sleeping spot.”

Booker slowly gets off the couch, like he expects Joe to say ‘Psych!’ and call out somebody else’s name. Andy decides he’s moving too slow and slaps him on the ass.

“Here you go,” Joe hands him the prize when he’s a foot away and Booker frowns. 

“A sleeping mask from Delta Airlines?” It’s folded in half and barely thicker than a paper towel.

“To make your sleep more pleasurable.”

“There’s a better one in the bathroom upstairs.”

“Don’t be ungrateful, it’s rude.” Did no one teach their kids manners these days? “What do you have to say?”

Booker shrugs and rubs the back of his neck. “I’m sorry, Margaret. Both cars were extremely similar.” It’s not a bad apology. Joe has definitely heard worse. 

“One was a minivan, the other was a hummer, you dumbass!” Andy heckles. Sadly, she’s not lying. 

“Looks the same when you’re drunk and have your eyes 90% closed.” 

“Alright, thank you, Sebastien,” Joe nudges him back to his seat. “Continuing with the weirdest theme, our next category is Weirdest Death.” 

Andy and Nicky groan, Booker smirks. 

“Just give it to Booker already,” Andy says. “Fucker always dies in the weirdest manners.” 

“He’s won every single time since he joined us,” Nicky adds, waving a dismissive hand. “Give him his prize and let him do his speech.”

“So you guys can count me off later? No way!” Joe’s not a fool. This is their test. “Unlike our previous categories, this nominee will cover both Nicolò and Yusuf. Our dearest Nicolò and Yusuf were having a lovely picnic in the middle of the safari. They were enjoying a nice Pinot Noir with some young cantal cheese when they were rudely trampled by a stampede of elephants. ”

“Picnic,” Joe really wants to wipe that stupid smirk off of Booker’s face. Nicky, his dearest heart, reaches over to smack the bane of Joe’s existence over the back of his head. It’s a satisfying thunk too. “Ow! I only have one brain, Nicky, Jesus!”

“More like one brain cell,” Nicky responds. Joe almost bends down onto one knee right there. 

No. He has a plan. He’s not going to ruin it because he’s too impatient. 

Joe gestures to Andy, “Andromache, was taking a stroll in one of Colorado’s mountains when she accidentally walked into a cult’s trap. After being shot with an elephant tranquilizer, she woke up tied to a tree and was shot with a special marijuana filled bullet as a sacrifice to their Marijuana god.”

“Bullets filled with marijuana,” Booker says, impressed. “If I weren't here, that’d surely be the winner.”

“I know,” Andy grumbles, taking an angry swig of her drink. 

“For our reigning titleholder, Sebastien continued to drink an excessive amount of soda, despite everyone telling him that there were not going to be any bathrooms for another hour. Our stubborn Sebastien, of course, ignored us and after drinking 64oz of Pepsi, he had to pee. So in the pouring rain, Andy pulled over. Sebastien sprinted to the treeline and as he began to relieve himself, Zeus struck our poor nominee. He died in his puddle of pee.”

Nicky shakes his head, looking at Booker with a little bit of awe. “How do these things keep on happening to you?” 

“The comedic gods really like me.” Something out there really likes him, that’s for sure. 

Joe pulls out the correct envelope and is completely unsurprised with what he reads. “Our winner is, of course, Sebastien! Congratulations!” Joe picks up the prize and holds it out; Booker takes it with a grin.

“A voodoo doll of myself?” The doll has a denim jacket and the same haircut Booker has been sporting for the last six years. Booker pokes the doll’s eyes and squishes its plump body. “I’m keeping this.”

“And not the other prizes?”

“This one is custom made; it gets custom treatment.” He has a point. “As for my speech, I would like to thank myself, the greatest and worst person to exist.”

Joe shares another look with his husband. Andy, on the other hand, says, “The prize should’ve been therapy.”

“Okay,” Joe says after an awkward moment of silence. “Thank you for your speech; please return to your seat so we can continue.” 

[justinspoliticalcorner]

Ron Dicker at HuffPost:

JD Vance put out wildly mixed messages Monday in his continued attempt to defend unfounded rumors of Haitian immigrants stealing pets and eating them in Springfield, Ohio. The Ohio senator, who is Republican Donald Trump’s vice presidential running mate, attacked the media for actually investigating to disprove the claims and later complained that too few in the media investigate the truth. Vance spewed the contradictory thoughts in the battleground state of North Carolina. “I wish the American media was half as interested in the stress on the local schools, the stress on the hospitals and unaffordable housing as they are in debunking a story that comes from the residents of Springfield,” Vance told a rally. He said constituents from Springfield who say “this thing’s going on” were afraid to give their names because the media will “descend” on them.

Then directly addressing reporters, he said: “Did you ever think about listening to people instead of harassing them? ... Did you ever think about listening to people speak their truth instead of listening to some bureaucrat and assuming that everything that they tell you is true?” Vance, of course, conveniently failed to mention the townsperson who spoke her “truth” in a police report that apparently fueled many of the racist lies but admitted later that she found her cat in the basement.

“It’s about investigating the truth, and unfortunately far too few reporters do that today,” Vance said.

Racist hatemongering Ohio Senator and Trump VP choice JD Vance attacked the media for rightly debunking the racist claims he made about Haitian migrants.

[jessbakescakes]

@twwobsessed​ asked for either 89. I noticed or 90. you can tell me anything from this post..

I accidentally deleted the ask, sorry! 

This one spans across the series... it also got way longer than I anticipated. Oops?

“Want some chips?”

Donna looks to her left to find Josh holding out a bag of barbecue potato chips he insisted on getting from the store across the street before they loaded up the bus to South Carolina. “Thanks,” she says, taking a couple from the bag. 

“Take as many as you want. It’ll probably be a little bit before we can stop to get something to eat, and we didn’t get a chance to eat lunch.” He places the bag between them, but doesn’t so much as reach for the chips again.

~*~

“Pizza’s here!” CJ announces, dropping several pizza boxes on the table in the center of the room. 

Josh tosses his pen on his notepad. “What did you get? I’ll grab it for you.”

Donna looks up from her note cards. “Oh, no, I didn’t get anything.”

“What? Why?”

She thinks back to the intern who came around asking for everyone’s orders about an hour ago, and the excuse she gave him. The Massachusetts Democratic Party catered a lunch with a sandwich spread; she told the intern that she was still full from lunch, but Josh would see right through that. He sat right next to her while she ate half a turkey sub and a just-this-side-of-stale oatmeal raisin cookie before they were ready to head to their next meeting. 

The truth, of course, is that she’s made a pretty big dent in her already modest savings account since rejoining the campaign. Her parents, in an attempt to impart some financial wisdom upon her during her teen years, had declared that half of each paycheck from whatever after school or summer job she held at the time was to be deposited into a savings account. She managed to make it all this time without having to dip into it; selling her car and sleeping on the floor had made it easier to stretch her limited budget. But it won’t last forever.

Before she can answer, CJ interrupts, calling out everyone’s orders. “Looks like we have some breadsticks on top, here, and some wings… here’s a cheese pizza for Kevin McCallister over there,” CJ says, motioning toward Josh as she opens the box, places it beside the stack, then closes the lid. 

“Hey now, Donna and I are splitting this pizza, I wanted to make her feel at home,” Josh retorts, grabbing a plate and handing it to Donna before pulling two slices of pizza out of the box CJ just abandoned. 

Donna turns to Josh. “I’m fine, Josh, really.”

“Donna,” he says, grabbing her hand and pulling her up from her seat.

“I don’t want to eat your food.” Josh gives her a pointed look, and she lets out a sigh. “How much do I owe you?”

Josh laughs. “What’s mine is yours, Donnatella.” He places his hand at the small of her back and ushers her toward the pizza box. “Eat.”

~*~

They manage to find a 24 hour diner in Little Rock two weeks before the convention. When their server approaches, everyone’s either staring blankly at their menus or engaged in subdued conversation. They were already tired, but they were pulling hours even longer than normal due to what should have been a minor PR snafu turned media beast that just wouldn’t die. 

Josh had gotten Leo to agree to bring Donna on as a salaried member of the campaign once the Governor was no longer the presumptive nominee, but the official nominee; all Donna needed to do was make her last few dollars stretch as far as possible for just a little longer. Her stomach growls loudly as the server moves next to Josh.

“I’ll have the chicken and waffles,” Josh starts, handing the server his menu and sliding Donna’s toward him. “She’ll have an omelette with spinach and feta.”

By the time she opens her mouth to protest, the server’s gone and Josh is listening intently to whatever it is Sam is saying to his left.

~*~

“I’m just saying,” Josh starts, putting his half-eaten box of Chinese food on the table in the Mural Room, “if Thompson thinks Braun and Miller will pull out, we need to plan for that now.”

“You really think they’ll do that?” Toby asks. 

Josh nudges the container toward Donna. “I do. At least, that’s what Braun was hinting at earlier. I don’t know what the hell that guy’s up to; he’s harder to read than any woman I’ve ever dated.”

Donna reaches for the food and peeks inside, noticing that it’s honey garlic chicken - her favorite.

~*~

“I think you’re not giving theoretical physics enough of a chance,” Josh insists. “I think you have some weird, unfair bias against it.”

Donna holds out her hand and takes the wrapper to Josh’s chicken sandwich. “Well, considering physics was the only class I ever came close to failing, I think my biases are perfectly fair.”

Josh laughs. “Donna Moss almost failed a class?”

“I stayed every day after school for a month and pulled it up to an A minus. But for a little while there I was in the mid-C range.”

“Painfully average,” Josh teases. 

“Shut up and eat your salad,” Donna sighs.

“I’m full, you can have it.”

Donna rolls her eyes. “Josh, you ordered this salad. You said you wanted this salad, and I didn’t question you…”

“You’re about to go back to work, and I know you won’t have time to stop and grab something for another… seven, eight hours? Eat the damn salad.”

~*~

The Hawk and Dove is nearly empty; it’s just CJ, Sam, Donna, Charlie, and Josh in the late hours of the snowy evening. 

“Toby was mentioning that earlier,” CJ says. “I don’t buy it.”

Donna pulls Josh’s untouched tray of cheese fries toward her and begins to eat, expecting a grumble or a whine from him. It never comes.

~*~

She’s not invited to this particular State Dinner. She could have gone home an hour ago, but she decided to take advantage of the rare opportunity to catch up on some filing while Josh wasn’t around. 

Donna works through the last stack of files and returns to her desk to find two plates full of hors d'oeuvres.

~*~

Donna opens her eyes and stretches as much as the hospital bed will allow. Josh hears her stir and stands up from his chair. “Hey,” he says. “How are you feeling?”

“Been better,” she says, her voice a little hoarse. 

“They brought you some breakfast. Looks like you’ve got some fruit and eggs. They’re probably a little cold by now, though. You hungry?”

“A little, yeah.” 

Josh extends his hand and offers her a small package of mini muffins. “Don’t ask me how this works, but apparently there’s a vending machine down the hall that has some American snacks in it. I thought these would be chocolate chip, but… they’re blueberry.” 

She takes the package and notices that the word blueberry is written in bold, blue font across the front, directly underneath the logo. He hasn’t eaten any of them.

~*~

“If anyone asks, the Congressman won’t be commenting on the situation with Senator Stephens,” Lou says. “Donna, do your best to make sure they don’t ask.”

Donna nods. She walks back to her seat to find a small bag of chocolate covered pretzels sitting in the chair. She looks across the room at Josh, staring at an electoral map, eating a bag of the same pretzels. He turns to grab a marker and makes eye contact with her from across the room.

Donna’s stomach nearly ties itself in knots when he gives her a small smile before returning to the board.

~*~

Josh takes his seat next to Donna, leaning in for a kiss. “Hi.”

“Hey,” she says, putting a hand on his shoulder. “Everything okay?”

He nods. “Yeah. I was just getting the ‘don’t you dare hurt her’ talk from the President.”

“Which one?” Donna asks, taking a sip of champagne.

“Either. Both. They both like you better than me, anyway, does it really matter?” 

Donna laughs. “No, I guess it doesn’t.”

Josh looks down at his empty plate, then at Donna. “You ate my slice of cake?” He’s saying it in a tone of incredulity, but he’s grinning.

She shrugs. “You left it; I assumed you didn’t want it.”

“Donna,” Josh whines. “I was going to eat that.”

“There’s still plenty left,” Donna reassures him. “Don’t worry. You can get another slice.”

“Why, so you can eat that one, too?” Josh sighs. “At what point did you start stealing my food, anyway?”

Donna moves her arm to rest on Josh’s chair. “Probably around the time I noticed that even though I was on salary, you still continued to feed me. I don’t think I ever thanked you for that, by the way.”

Josh turns to face her. “Wait, you knew?”

“Of course I knew, Josh,” Donna says. “It was your way of taking care of me. It’s really thoughtful, actually. One of the many reasons I fell in love with you.” 

She looks at him for a moment, studying the smirk on his face. She’s still in awe that she gets to call this man her husband - this incredibly caring, ridiculously sweet, wonderful man married her. 

“I’m going to start putting my name on my leftovers,” Josh declares

“I’ll just eat them anyway,” Donna says, leaning her head on his shoulder.

“Yeah. You will.”

[grigori77]

2020 in Movies - My Top 30 Fave Movies (Part 3)

10.  WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination.  Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work.  It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020.  I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look.  It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves.  Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area.  One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create.  Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself.  This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9.  WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be.  A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam!  Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future.  In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings.  Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us.  She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon.  Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure.  Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do.  It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power.  Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie.  After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8.  LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas).  Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises.  Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons.  The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up.  Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him.  He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero.  Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface.  The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed.  Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in.  One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7.  PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all.  It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers.  Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity.  Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically.  But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon.  This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect.  The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon.  This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away.  Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade.  Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6.  THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered.  Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan.  The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here.  Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’.  They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story.  Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large.  After this, a sequel is not only inevitable, it’s ESSENTIAL …

5.  MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year.  The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs.  I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA.  How? Why?  It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be.  Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then?  Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again.  The only catch?  The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances.  As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history.  Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times.  The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story.  Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”.  Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane?  Boy, that’s a tough one …

4.  ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now).  Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way.  Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer.  Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings.  Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady.  Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years.  Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade.  Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers.  Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon.  Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3.  1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed.  Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed.  The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from.  Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league.  It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack).  They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos.  That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING.  I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same.  Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2.  BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen.  It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies).  It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist.  Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to.  Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about.  Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain.  Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy.  My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT.  Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz.  This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms.  It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!).  It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists.  Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020.  Give it all the love you can, it sure as hell deserves it.

1.  TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with.  I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March.  Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT.  Still with us?  Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine.  The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic.  As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals.  Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven.  As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

[snowydaffodils]

Flustered

3501 words | 2nd Person POV

A Yoon Jeonghan fluff, prompt, how you met, how you (hinted) eventually dated, where you're an actress and he's the other lead actor. Enjoy your new years! 🎉

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Yoon Jeonghan is very rarely flustered. If anything, he's usually the cause of all the flustering - twelve boys can back you up on that. He'd make fun of your height, poke your cheeks, comment cutesy compliments as you work together, flirt playfully, and make fun of how stupid your character sounds.

Indeed, you accepted this role fully aware of the awfully pure and slow-witted character the scriptwriter had written down. Throughout your years in acting, even if this was your very first lead role, you had never gone easy on the rest of the roles you had received. You live and understand them, think like them, and every single character you've performed have now become a part of you. But of course, the closest character to you now is this easily distracted girl who just blushes all the time.

So for the course of eight months, you've acted with all your might, and this is the you that Jeonghan knew. You weren't exactly innocent and slow-witted just like the character, but a bit of the character influenced your own personal traits. The fun to tease, cute, and adorably likable girl. Just like you, it was his first lead role in a drama, and the first one in Seventeen to land on one, too, even if he wasn't the first one to be in one. He had curiously accepted a side role before, right after his military release, and just as the group were exploring their own careers whilst waiting to reunite again as a whole. That side role, with the help of his previous acting lessons, drowned him into the world of acting once more, and he fell in love with the art of the screen more than he ever did before.

Your first impression on him during the first cast meeting was that he looked heavenly. It was like his cheekbones were sculpted to perfection and no one could tell you otherwise. You were incredibly starstruck and in awe that you stuttered in making your first introductions. It didn't help that he was smooth with his words, too, making you sound incredibly nervous as opposed to him.

"Hi, I'm Jeonghan from Seventeen, and I'll be taking the lead role in this drama. Please take care of me."

"Hi, I'm play, uh, playing the lead gull, I mean g-girl."

Had he smiled politely and continued the conversation like nothing had happened, maybe you wouldn't have been too embarrassed, but also maybe you wouldn't have let your guards down to know and befriend him personally. Instead, he had laughed at you with all the stomach power he had. He never lets you forget that you stuttered so badly as you introduced yourself for the first time the entire day. He even made his own reasons (you wouldn't admit them, but they couldn't have been more true) as to why you stuttered.

"Nervous? I'm super charming, aren't I?" his ego is surely out of bounds as he said that, a smirk donning his lips. "I know, I'm surprised at myself, too sometimes."

You hit him on the arm, your cheeks growing in color. "I'm a big fan of Seventeen, but I didn't realize that you're this cheeky."

He laughed, so genuinely and purely, and you smiled, already warmed up to him. He made friends with you quickly, and from all the behind the scenes footage, he was quick to melt his awkward-i-just-met-you exterior and interacted with you as he would with his members. Jeonghan was this tall, built, and handsome man, and he owned unreal facial features that made everyone wonder if he was indeed human just like everyone else. He was perfect for his role: the cold, sly, and dominating lead in the series. It was the complete opposite of your character, and with his friendliness, it was easy for you to quickly build up chemistry and work well with him, but as you two get closer, the more playful he became.

"You're the love of my life," he recited his lines, cheesy as it is, to which you became shy to and shrank as he got closer and closed his lips to yours.

He was quick to tease your blushes after the director's "Cut!" in each kissing scene, and would tease you easily at other romantic or heart fluttering scenes you had to do.

"Aww, that's cute, you're blushing again! I can hear your heart fluttering," he would say. "Then again, I am charming."

And in each time, you were always caught in his trap, stuck in the moment, and your heart follows his lead, ignoring all the other self-restraining signals your head was screaming about. He'd laugh right after he got a reaction out of you, and the grin he'd give you would linger in your head for the rest of the day.

There was another day when one of his members - Joshua - came to support as a cameo, and it felt like Jeonghan was on booster or something. He introduced you to Joshua, who was sweet, polite, and a perfect gentleman, but then Jeonghan continued to tease you the entire day Joshua was there. He made sure to remind Joshua how cute you were so many times throughout the day. At that point you were actually getting used to Jeonghan's antics, but him teasing you in front of a new person puts you on another level of flustered.

"Hey Josh, meet the love of my life," Jeonghan said, using his scripted lines.

Joshua, while he was nicer than Jeonghan, still played along sometimes. "Then I'll call you member-in-law!" He said.

Your birthday was on a filming day, and he managed to fool you to think that you had hurt his feelings by giving him comments on his acting as per usual (you were sure you weren't saying anything bad, but he kept directing it to be a negative one). He started showing acts of distaste and, at one point, even yelled at you and left the room.

It was heart-wrenching to watch him leave - you never wanted to hurt his feelings, you just wanted to help and support him and the drama entirely. Guilt washed over you quickly, and tears piled in your eyes. The crew was looking at you so judgmentally, and all you wanted to do was go home, lock the doors, and hide under your covers. You didn't know what to do, and some of the crew even went to you to convince you that he just needed to blow off steam and he'll be back and you can apologize when he gets back.

You wanted to scream and rip his hair off when he came back with a cake, singing Happy Birthday like nothing happened. Your tears flowed like a river though, because you genuinely thought that Yoon Jeonghan, this man, was actually angry at you to the point that he put it to display to everyone who was present and even yelled at you.

"Don't cry!" he laughed at you, taking the cream from the cake and swiping your cheeks with his finger. "You'll look ugly. We have to take a picture with this cake!"

You cursed at him for the first time since you've known him, but he only chuckled and patted your back to calm down your sniffles (you glared at his finger until he wiped the cream away first, though). He gave you a friendly hug and you hit him to prove the point that you were upset, and it was a loud slap in the back that everyone was surprised but laughed at. Apparently, a behind-the-scenes camera was on and recording the entire surprise; Jeonghan remembered this and went to the camera to tell on you. He complained really loudly, "Carats, she hit me!" he pointed at you playfully.

You were still sniffling, snots everywhere and you eyes still bawling with tears. "Y-you deserve it!" you screamed.

On the last day of filming, you had laughed everything off, remembering everything that happened during the course of filming and engraving every memory to your heart. It was surely an indescribable experience. The crew had been super nice, and they felt like a second family to you. The cast members became your best friends, including the one and only Yoon Jeonghan. You thanked Jeonghan, the rest of the cast, and the entire crew for all their hard work, hugged your co-stars tightly, and told Jeonghan to stay in contact with you even after it all ended because you'd miss him.

"Hey, but don't be a stranger," you told him. "I think I'm too used to having you around, its gonna be hard to live peacefully, now."

He smiled, pinched your cheeks and said, "Did you think I'm gonna stop just because the drama ended? You should've seen me annoy my members even from the military base."

You rolled your eyes at him, "I wouldn't dare to assume you'd do anything less."

And he kept to his word. Though there hadn't been any opportunities for both of you to meet each other again (variety shows and interview promotions were done during the course of filming), he still contacts you day-to-day, even if only to send a meme he found of you and laugh at you through text.

"You really DO look like you've got a frog in your mouth! Hahahaha!"

This went on through the rest of the year until the Award Shows started to busy every single celebrity available, finally announcing the invites, MCs, performances, and nominees to each award they have. Your drama with Jeonghan had hit it big as fans were so happy to watch both of you interact (also, maybe because Woozi sang the main OST, and Scoups' rap on the OST was fire), and you were invited to almost every single one of them as a nominee for multiple awards.

It was first assumed, then implied, but it was also because he was actually sweet enough to ask you personally, that you were officially his date to every one of the award shows your drama was nominated in. You agreed, not because he was your co-star, but because he was a genuinely nice and fun person to spend time with. You were also very excited, not just because you were nominated, but also because this time you were going to finally present your original and true self to Yoon Jeonghan and the world. The other characters within you screamed in delight as you excitement rose, and you had planned everything out, determined to show that you are not just a simple easily teased girl that Yoon Jeonghan bullies on.

On the very first show you wore a white gown - the top part was gold glitter with a heart neckline, and it corseted your figure, highlighting all the important curves in your body. Down your dress, the fabric flowed in an A-line skirt, transparency growing in a gradient as it reached the bottom, your strapped golden heels visible within your skirt. You put your half your hair into a braid and curled the rest. With curtain-like gold earrings and white diamonds shining out of the strands, Jeonghan was stunned when he saw you for the first time. Your make up was different from what he was used to, and a mature-like pureness aura radiates from you. He didn't know what to say, muted to say the least. He had never seen you like that, and once both of you reached the red carpet, his hand on your back as a gentlemanly support to guide you through the reporters, he noticed how straight you walked, and how you carried yourself so gracefully. The reporters were asking questions, but he left the answering to you as he continued to stay stunned through the red carpet. It was only when you both had finally taken your seats when he finally relaxed and converse normally again.

The minimum movements you emitted, just enough to be polite and to please your audience were not missed by the man, and he observed the details of your interactions to the utmost adoration. Your gracefulness had struck a chord in his heart and he was awed to say the least.

He ended the night with a shy smile and an "Oh, and by the way, you were absolutely beautiful tonight." The sincerity of his tone didn't go unnoticed and you didn't forget to thank him before going separate ways. It was oddly out of character of him to do, but you liked the new side of him you have yet to explore.

The next show, you opted for a bright red designer's gown. This one, fitting to its price tag, created this absolutely stunning silhouette, and while it did not sparkle or glitter, its muted red still create a distinction of you and made you shine. The designed folds in your dress accented your figure even more, and with a looser fabric, the skirt of your dress was made longer so it could trail behind you as you walk. Your hair was gathered up into one straight ponytail, a pretty simple hairdo to gather attention to your striking gown for the night.

Jeonghan didn't recognize you when he first was led to your changing room. You didn't just look like a different person, you feel like one, too. He didn't even realize that he held his breath as he looked at you. The stylist were so proud of their efforts and Jeonghan's reaction had them giggling and teasing him. "She's incredibly beautiful, isn't she?"

He barely managed a "yes" before you could chuckle and said to him, "Well look who's being shy, now."

At this, he returned a laughter of his own. He didn't bother hiding his surprised expression. "You got me. You look incredible."

Your outfit and style of the day, added with your elegance and poise as you conducted yourself in front of the reporters and other celebrities had Jeonghan staring at you for a while, and quite numerous whiles. He absolutely adored you. There was a surging feeling of wholesome pride as he stood beside you, his hand on your back as he escorted you through the venue. Even as he teased you as he answered the reporters' questions, you had retained your poise as you held it within yourself not to be flustered easily by this man. You had a year worth of practice for that.

"Isn't she beautiful? I'm such a fan of hers," Jeonghan whispered to the reporters, his playful grins and chuckles evident as he interacted happily. "She doesn't look like her character now, does she?"

You chuckled along with him, but dragged him to stop him from acting like a fan on the red carpet. He laughed and after a few tries of refusing your urges to move on, eventually let it go and allowed you to pull him forwards. As you moved on, he placed his hand on your back just like how he usually does, as a sign that he was right there walking with you.

The third time though, Jeonghan was speechless. He barely spoke through the course of the night, and his eyes never left you.

You wore a black designer's gown this time, with sequinned patterned Qs coming from your neck down to your knees before the skirt spreads out to hide your silver heels. It was a mermaid gown and it hugged your figure nicely. The skirt was actually more flowy that you thought, but it added a nice touch. You wore silver earrings and diamond hair pieces as you put your hair up in the most elegant updo Jeonghan had ever seen. He was already stunned when he saw you for the first time, but he almost choked when you turned around only for him to realize that your gown was completely backless.

Now, where is he supposed to place his hand again?

His face was flushed and when you turned to finally go out the door, you see his face filled with more red than you've ever seen. While his face was kind of salvaged by the foundation he used, the makeup couldn't help his neck from turning red as well.

"Yoon Jeonghan, are you sick?" you asked aloud, gaining the attention of all staff members present, all their eyes pointed at the man in question. "Or are you actually blushing?"

Your second question snapped him out of his haze (and had many of the stylists and make up artists giggling) as he looked at you for a few seconds, and you were starting to actually worry, before he eventually puts his hand on his forehead, covering his face.

"God, you'll be the death of me. Let's go before I embarrass myself any further."

He was indeed blushing, and his statement confirmed that for you. You laughed, but you can't help but feel you cheeks tinting a little pink from his confession. He linked your arm with his and went out together.

The first few minutes into the red carpet, Jeonghan did his best not to have direct contact with your back. He was blushing the entire time, had to ask the interviewers to repeat themselves a couple of times, and his hand was going to unsure places like your shoulder or your waist, which he was also not confident about, and eventually just lingers a few inches away from your back, like in mid-air. The so-called manner hands.

It wasn't as reassuring as having his hand on your back like the previous times you both had gone through this. His focus was also off as he tried to avoid the contact, and just moved his hand when you moved as well. You sighed and just pulled his hand to slightly slap your back, and you pointed a look at Jeonghan's direction, telling him to stop fidgeting through your eyes.

He blushed.

"Jeonghan, are you not feeling well?" one of the reporters asked.

He seemed to click then and there. His honest self couldn't help himself as he answered, "Oh yeah, she just looks gorgeous tonight, I can't take my eyes off of her."

When he finally comprehended his own words, he fumbled and stuttered. "I-I mean," he tried to reason, but the stars in the reporters' eyes were showing that they heard everything he said, and some of them squealed in delight.

"Why, thank you," you turned to face him, your smile directed for him.

He was stunned - again.

"Oh, let's just go," he said shyly, one of his hands reaching to his neck to feel just how warm he had gotten.

That night, both of you had received a daesang award, but Jeonghan kind of added a few more elements to his acceptance speech.

"Hi, this is Seventeen's Jeonghan. This acting experience was truly incredible and there's so many people who should know that they are the reason for this award. I want to thank Carats, who have always been there for me through thick and thin, and my members who have been watching and supporting me, especially to Joshua who became a cameo, my parents and my family members who had been with me from the very start, the staff members, Pledis, directors, pd-nim, and all the crew members. This is not possible without any of you. And special thanks to," Jeonghan moved his eyes on you, and he didn't know why then and there, your name disappeared from his head and instead replaced with that one line that had caught all the viewers' heart as they watched the drama.

"The love of my life - " he stopped when he realized what he just said, and realized he had kind of just confessed on national TV. "I mean, M-my co-star."

You stood there surprised at how flustered Yoon Jeonghan could be, and stunned that you were the main reason that he was fumbling on the stage and his ears redder than ever. He caught himself before he did anything else and finished his speech nicely.

"Anyways, uh, thank you for this award, I'll work even harder to be a better actor and come back with more for you all. Thankyou!"

It was your turn after him to deliver your speech, and suddenly the trophy on your hands became heavier than it actually was. Jeonghan turned his back to walk back to the spot beside you as you move forward, and you can see a small smile tugging the corners of his lips. When you were brushing against each other before you took the mic, he whispered, just loud for you to hear, and short enough to go unnoticed.

"Yes, that was my confession to you. Will you go out with me?"

All eyes were on you and all lights were on you when you felt like you bit your tongue and couldn't speak.

The MCs were waiting for your speech, and nudged you to start when you seem lost.

"Ah, yes, I mean, no, I mean yes!"

Yoon Jeonghan really knows how to fluster you, even in his most flustering moments.

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