#because she believes herself to be the background character in everybody's life

[norgestan]

THE crisana song

[artist-issues]

I Saw Wish

And it was the worst animated Disney movie I’ve ever seen. I have to watch it again before I can get into the nitty gritty details. But I don’t need details to sum it up, because my dad actually said it perfectly as we left the theater:

“It was like someone who didn’t really understand Disney movies tried to make a Disney movie.”

Both the form (the technical arts of filmmaking) and the content (the morals, values, and themes of the movie) were totally horrible.

I don’t know who’s fault it was. Jeremy Spears was in the storyboard room and Mark Henn and Eric Goldberg did some 2D animation. But they must have gotten outvoted, or they must not care anymore.

Because holy cow. Here’s some stuff that’s just off the top of my head.

SPOILERS. Not that it matters, because nothing interesting happens in this movie.

The writing? Terrible. Ninety percent of it feels like the characters are filling time with quirky one-liners that are trying too hard to be appealing, then failing, then taking you out of the movie. The jokes aren’t funny. The characters just respond to each other in conversation to check a one-liner box. The other twenty percent is whole conversations repeating tell-don’t-show exposition that has already been covered, usually twice, in previous scenes. Like if in Tangled, every scene had included some variation of Rapunzel saying to friends and enemies alike, “I have to see the floating lights so I’m sneaking to the castle with this thief who wants a mysterious tiara I hid from him. Don’t tell my mother, she’s a bit overprotective!” Over. And over. And over.

The character motivations are way too broad. Asha? Her dream is just “that everybody around me gets to be happy.” That’s it, in a nutshell. No deeper exploration of that. Nobody asks, “why do you care so much?” Nobody tries to convince her she should look out for herself, and then she proves she was right all along. The King? We are told (not shown) that he doesn’t want anyone else’s dreams to be “destroyed.” But he in no believable way expresses that that motivation is still what’s driving him during the movie—what’s driving him is just a plain old lust for power, no nuance.

By the way, the whole premise of the movie? Undercooked. Half-baked concepts strung together with no definitive meaning. Therefore, it’s not believable. Example: The characters act like the wishes are beautiful—well, actually, no, this movie doesn’t know how to show, so there’s not a lot of meaningful acting—the characters just tell us that wishes are “the most beautiful part of someone,” and that’s why it’s worth going through this adventure to give their wishes back to them. But there’s no proof of that in the movie. In fact, it directly kicks it’s own legs out from under that idea, because it has every character who gives up their wish forget that part of themselves. Asha’s grandfather has forgotten his wish, but that doesn’t make him any less “beautiful.” She, and everyone, still treats him like he’s this wonderful old man who deserves the world, who everyone loves…but why is he so appealing? If he “gave up the most beautiful part of him?” The only character who is changed by their lack-of-wish is the Sleepy-analogue character…who is just sleepy, which is described as “boring.” But nobody else who’s given up their wish in the whole kingdom acts like that. It’s just him. Also, the King acts like it’s so important to protect the wishes from destruction. But what does destroying a wish look like? That actually happens to Asha’s mom. Her wish-bubble is broken, literally, and she just says she feels grief. But like. Why? She never remembered it in the first place; it had been missing from her life for years. Also, what the heck is a wish?! It seems to range from broad concepts like “inspire people” to “fly.” Just “fly,” like a bird. The desire to levitate off the ground is the most important, beautiful essence of one background character. Like, what?! But no character ever has the why behind their wish to make us care.

I could go on and on about that point. Like, think about Disney movies that wrote the book on how to make movies about characters with wishes. If Ariel were in Wish, her bubble would look like “dancing and learning and exploring on the Surface with someone who understands her.” But we believe that that is her real, genuine wish, and that it matters to her, because we are shown why being understood is so important to her. Because it’s missing from her life. There’s a scene where she explores a boat alone, and even her best friend doesn’t get excited about it with her. Her dad won’t listen to her point of view. Her siblings don’t ask her about her life even when they think she’s in love. She wants what she wants because of pieces of her life that we are shown.

We are never shown why Asha’s grandfather is obsessed with inspiring people, so we have no reason to believe it, or care whether he gets it or not. We can’t feel disappointed when his wish is said to “never come true,” like we did when Quasimodo was abused by the people he wished to join. We can’t feel elated when he finally “gets” his wish, like we did when Simba smiles on Pride Rock remembering the same way he used to as a cub and claims the crown with a roar. We don’t have anything to hang on to, nothing to relate to, nothing to grasp and feel with the characters. So we don’t feel, because they didn’t put the work in to help us feel. They just say, “the mom’s feeling grief. Feel grief.” And expect us to do the work ourselves. I have to stop harping on this point and move on.

But The main point of the movie is very broad because of that lazy premise, and it’s barely reinforced by any kind of appealing storytelling. If I had to guess, the point would be “Keep wishing for more even when it’s hard.” But the story they told to communicate that meaning was so unimpactful. Asha doesn’t have a dream of her own that’s such hard work to accomplish! (Neither does her grandfather; his wish is “to inspire people.” And at the end, we’re supposed to see him strumming a guitar and believe it’s inspiring? We were never shown how he worked hard to learn how to play the instrument. Or that he carved it with his own hands, or anything like that. So there’s no meaningful demonstration of working hard for it or achieving your wish even if it’s far out of reach.) And nobody except the king is trying to take wishes away from anyone, and he just does it literally, after they voluntarily give them to him, so there’s not even any impactful demonstration of “don’t let anyone tell you your wishes are dumb or unachievable, or stop you from reaching them.” Even when he takes them away, it’s just because they…could, someday, be used to threaten his kingdom in a vague, really unlikely way. There are so many things you could do with “keep wishing for more even when it’s hard.” For instance; you could say the main character has always been afraid to dream (wish for more), because maybe when she was a kid something wonderful almost happened but ended in tragedy, so she keeps her head down and doesn’t want much because if you don’t dream you’ll never be disappointed. She takes no risks, and has to learn that sometimes trying and failing is worth more than slogging through life all self-protective. I mean, the pieces were right there. She has this line about her dad, and how she wished he would get better but then he died. She has lines about how nobody should have to live with grief?? Then that’s never addressed again! It’s just a throwaway emotion-moment with no buildup or follow-through to tie it to and support that main theme.

The compositions of too many shots were so terrible. Characters got cut off in weird places. One shot has Asha dead center, with her grandfather on the left side of the table and her mother on the right, having a family dinner with a super exposition-heavy conversation that is meant to be emotionally charged. But despite everything else being perfectly centered, half of her mother’s body is chopped off. The movie’s shot like someone’s mom who doesn’t understand technology tried to take a video with her phone.

The charm of the art “style” wears off basically immediately. I know what they were going for. I see the sketch lines and watercolor textures. This is maybe the first time Disney ever failed to accomplish a visual “look” that turned out good. Everything looks dull. Muted. De-saturated. Slightly out of focus, but not in a cool Spider-Verse way. The sets or backgrounds are lazy; at no point does the scenery look complete; big, empty, boring spaces that do not create any kind of “stage” for impactful moments. The rendering looks unfinished. When Asha’s hair moves during her belting of the “I Make This Wish” song, it’s bad. It’s unnatural. It flops in a way that doesn’t make sense for the weight of her hair. The most impactful visual moments come from the villain, and they’re moments when he looks way too unhinged for the kind of line he’s saying.

There is no interesting character development. Asha goes from believing everyone is basically good and their wishes deserve the chance to come true , to….that, again. That would be fine, she could be a static character, if she proved contrast-characters wrong, in a believable way. But she never does. Because no other characters argue with her except the King. And it goes no deeper than “everyone’s wishes are basically good and they deserve the chance to make them true” vs. “nuh-uh, because I get to decide what makes them deserving.” The King doesn’t have any kind of interesting development, either. They don’t expand on his tragic backstory—it consists of one drawing of him near a broken boat, and a few images of the corner burned off of his family taoestry. They never say “King Magnifico wished for _____ and it was taken away!” They literally never tell you what his wish or dreams were, or what motivated him to create the whole kingdom that the movie’s premise sits on. So there’s no convincing sense of progression, how he got this way, why he’ll keep going “so far.”

The pacing is weird. It undercuts every moment that could have any kind of emotion behind it. One minute Valentino is suavely bouncing around, then he’s given a two-second beat to blubber with badly-animated tears that he’ll miss Star—then he instantly gets to have another funny one-liner so we forget he might’ve been sad a second ago. We’re clearly supposed to believe that the King and his wife are devoted to each other, and his turning evil was such a big betrayal, but there’s no time and no impactful evidence for us to believe either of those things. And even if we did, the moment he’s defeated and trapped in a mirror, and begs to be let free, the Queen kind of shrugs it off, makes a forgettable one-liner, and tells them to throw him in the dungeon. And he doesn’t look remorseful. And we don’t even get to assume he’s embarrassed or emotionally devastated that he’s come to this—because the last thing he says is “nooo, the dungeon is so smellyyy!” Like this is a half-baked LEGO short that can’t get emotionally deeper than what an actual 3 year-old’s parents might be okay with.

And that’s the worst offense: The movie is not genuine. It works hard for nothing, and it has no vulnerability. It just uses old Disney standbys to pretend to be vulnerable. Have the music swell and the characters gasp and the songs drip emotion when characters are meant to be saying or doing something emotional.

But truthfully, think of all the Disney movies you’ve ever seen with the hardest emotional moments. The sheer joy of Genie when he realizes he’s free. The anguish when Elsa thinks Anna’s been frozen forever, or when Anna thinks she’s dead. The trauma when Simba loses Mufasa. The longing and dreaming of Ariel when she reaches up out of her grotto. The sense of foreboding when Mother Gothel says “fine, now I’m the bad guy” or the heartbreak in Rapunzel’s eyes when she thinks Flynn has abandoned her, or the shame on Aladdin’s face when Jafar reveals he’s a street-rat, or the horror of cruelty when the stepsisters rip up Cinderella’s dress, or Kala’s tears when Tarzan leaves her in the treehouse, or Sarabi’s tears when Simba comes back, or Mulan’s father tossing aside the sword and token of the Emperor to embrace Mulan, or heck, even just Lilo pushing Stitch in the woods and telling him “get out of here.” This movie has no moments like that. It has moments you can tell that the filmmakers wanted to hit like that—but they don’t.

Because no work is put into building them up. You know how much Simba loves Mufasa, because you’ve been watching their chemistry more than any other character all the way up till he dies. You know how much Mulan wants to please her family because she spends all of Act I desperately attempting to do that. You know Quasimodo believes the world below is beautiful and wants them to accept him because he has interesting things like—talking to gargoyles, convincing us that he’s lonely; building a scale model of the townspeople, convincing us that he sees them in a beautiful way and wishes he were beautiful in more ways than one like them, too.

Right down to the facial expressions, none of them are as anguished, happy, sad, excited, silly, in any convincing way like all of Disney’s other movies. Asha’s “low moment” when she’s afraid her “wish” hurt everyone else (still vague on what that wish ever was) lasts two seconds, she’s not crying, she’s barely sitting with slumped shoulders, and her family barely spend two seconds comforting her. They basically just say, “aw, no, it’s not y fault, it’s the king’s.” And she’s like, “yeah okay” and that’s that. It’s like the animators we’re afraid to animate really intimate emotions on the characters’ faces. The voice actors, too.

And the whole movie is peppered with Easter eggs to past Disney movies. But all that does, if you really know Disney beyond the visuals, is make you think of how hollow this movie is in comparison. How much you wish you were watching Cinderella or The Little Mermaid or something with depth and vulnerability instead of Wish.

[shadow-cat-with-red-roses]

Oc talk: Amelia Rosewood

Hello and hi! I wanted to make this post to talk about one of my manny Black butler oc’s Amelia now this character that I had created probably has gone through the most but also the lest development over the years and such. As I believe when I first created was when I made my first ever fanfic on Wattpad. Ofc it was bad as any middle schoolers fanfic would be lol. But that was when she was first created. In that story she played sort of like the stereotypical mean girl when my main Oc Luna but more so her actions in that old fic weren’t necessarily out of malice but because she was a child that didn’t understand social skills or boundaries. Her personality used to be drastically different as well very boastful and confident and a bit bratty and pouty. But now of days her personality is now completely different. I found some old art of Amelia as well.

With Amelia‘s recent characterization, she is just a sweetheart that tries to make everybody feel included. She’s also a real girls girl and probably would be best friends with Elizabeth if they ever did meet each other. She’s really bubbly and sweet with everyone and love’s romance novels and literature. She is the type to talk about books for hours and hours on end. She’s what I call sunshine baby in my drafts because she is just a character that is full of light. She is also someone who is on the ace spectrum as well! While she tends to get flustered on topics that tend to be more explicit then the normal novels that she would read she isn’t downright disgusted or repulsed by sex. She’s the type that could never see herself in a sexual way in her romantic relationships. Amelia is also a walking sapphic disaster like she is someone who just fines every woman beautiful and will have long daydreams on her crushes. She also will try and bring up any of her friends as well if there feeling insecure and will put her feeling aside in terms of romance if one of her friends have romantic feelings on one of her crushes.

In terms of her background and backstory she was a part of one of the many aristocratic families that were known for making herbal tea mainly useing different flowers and herbs that they have grown in there home. But due to Amelia being born out of wedlock her parents had given her away and abandoned her by the orphanage that took her in. She lived her life in normal helping the other children feel welcomed seeing every child as her family and her siblings and happy seeing them find their own families. But she dose have her own struggles such as her being the one that is never chosen or is wanted. And while she has these struggles she trying her best to overcome them.

[kamyru]

The importance of Kuranosuke Kiba's backstory

Trigger warning: Emotional abuse, suicidal behavior, abusive families

As some of you know, I live in the dorms. I have no idea what I did to get so lucky, yet I got along with all my dormmates. And we are not just good acquaintances. We are family. If these girls need meds at two in the morning, I'm walking on the other side of the city to get them meds and some food. In these conditions, it's nearly impossible not to know their backstories. 

Dormmate #1: Comes from a small village where it is harder to find someone not related than a relative. Complete family, one younger sibling. Her parents went abroad a few times while she was a teenager so that they could provide enough money. Dad used to drink but has never touched any alcohol for years. Mom is emotionally abusive due to generational trauma: critiques her weight and can't accept she is an atheist. She is bi but won't ever come out to her family. 

Dormmate #2: Literal angel. Is still with her first boyfriend, whom she met at 19/20, and they have been together for three years. Divorced parents. Has an older sibling to whom she is not the closest. Doesn't keep in touch with her father and doesn't want to talk about him. 

Dormmate #3: Complete family, one younger sibling. Idealizes relationships because her family has strong bonds. Has never had a relationship, even if she wants one. Her dad once told her to cut out on eating vegetables and fruits because they were too expensive.

Dormmate #4: The friendliest out of the entire list, everybody loves her. Her dad left when she was ten after she asked her mom to divorce him. Her grandmother is also divorced. Has a younger brother that grew up with the three of them, all women. Wants a strong relationship and gives her all to the relationships but gives up on them the moment something goes wrong, then suffers for years. Says that the only reason she is living is her brother. 

Dormmate #5: A saint on earth. I have never met a kinder and more empathic person in my entire life. Complete family, middle child, religious family. I met her parents, very good people. Twice had a mental breakdown because she thought she wasn't meant to be happy and didn't find happiness in anything. Once asked me if I wanted to live. I didn't answer: we cried together at 1 in the morning. Can't take compliments or admit she is enough because her father has never praised her. 

Dormmate #6: Looks like a cinnamon roll, is a cinnamon roll that can kill you. Is the local officer for an international NGO. Had the highest grades in her entire town while in high school. Has the highest grades in her class at university. Her first memory is of her mother's goodbye letter on the table. Her mother wanted to run away from her abusive husband. Later, her mom tried to run away at least five more times. Once, she was the one to call the taxi for her, because she thought her mom had it harder than her. The youngest in a complete family, with two older siblings. Says that her biggest achievement is that she got into a university that is 700 km away from home. Can't feel strong feelings of attachment towards men or express her love. Doesn't want kids. 

Me: Looks like can kill you, is a cinnamon roll. Complete family, with an older sibling. Invites everyone at home due to how friendly is her family. At least three of her sibling's friends said they wanted her mom to adopt them. Had an OCD episode at 13 with suicidal ideas and tried to kill herself at that age. The gifted kid that burned out in 10th grade. Used to think that her parents were better divorced, then understood that her dad wouldn't have made it to live for so long if left alone. Believes in happy couples, but not with her. 

When writers think of a character's background, most put them in fantastic conditions. And I won't say that I'm not doing the same. It's enough to ask me about my OCs' backgrounds. That's why it's so hard for me to write about Sua: she doesn't have a flashy background. 

Do you see the pattern? None of us has dead parents, all our exes are alive, all our siblings are too, some even have nearly perfect families, and some are happy about their parents' divorce. Yet, it's not working in most cases. And here comes Kuranosuke.

Kuranosuke is from a complete family of artists, the middle child, is probably middle-class to upper-middle class. He doesn't have a flashy background: his parents are alive and in a good relationship, his siblings are alive and with good careers, and he is alive and with a good career. He is considered a good architect. Yet, Kuranosuke admitted he didn't have MC's drive to work. He is working because he has to. And he does a good job, doesn't he? 

Kuranosuke Kiba is not the super inspirational man who went through the hardest lessons a perverted writer can think about. His backstory blends compared to Public Safety officers'. But that's why he IS inspirational. 

It's easy to like a character whose backstory is sadder than death. Though, most of us don't have such backstories. We see in books, movies, and games that we can feel the way we feel only if we have encountered death, criminal abuse, our parents' divorce, and other things such as these. 

But I don't think it's quiet like this. You don't need an "easy to recognize" trauma to suffer and have life-long scars. You don't need a trauma to be successful. You don't need some revolutionary achievements to be happy. 

Kuranosuke Kiba has a family trauma while not encountering divorced parents, death, and abuse in the form usually shown in the media. He didn't go no-contact with his family. They care for him, and he tries to make them happy. And that's a good representation of how most families work, how most people work. Most people have some trauma that haunts them, but they try their best to cope with it and are more or less happy. 

It has always been hard for me to relate to Voltage Inc.'s love interests because I thought I would downgrade their trauma and success if I did it. It is some kind of an inferiority complex due to how much work they had to do while I had everything they craved. But then, Kuranosuke Kiba happened. His parents probably helped, or at least influenced his job choice. He has an acceptable relationship with them, and from afar, it looks like he comes from a perfect family. But he has had a hard time while being in that family. And he is going his way to his dreams and goals that morph with time, change, appear, and disappear. He is one of the closest-to-reality characters that Voltage Inc. has written. You can easily believe in him due to how close to most people he is. 

So yeah, thank you for listening to my Ted Talk about Kuranosuke Kiba. See you soon. 

[astaroth1357]

Demigod MC Series: Hestia

This is another eternally virgin goddess, so we're doing another pseudo-demigod by adoption (like we did with Athena).

Demigod MC: Intro, Aphrodite, Hermes, Hades, Dionysus, Demeter, Athena, Hades Pt. 2, Poseidon, Ares, Hestia

Hestia is the goddess of the Hearth, Home, Architecture, Domesticity, Family, and the State. She's high up there (firstborn of Rhea and Cronus), but several factors have led to her falling into the background when compared to the other (flashier) Olympians. She swore to never marry, rejecting proposals from both Poseidon and Apollo, and is something of an antithesis to Aphrodite.

Lucifer

Honestly? He thought they were exactly what they were after. A weak human with no experience in the magical world what-so-ever.

Well… He was half-right.

On the surface, this is a pretty weak human. They don't have super flashy powers or a divine birth from the gods… but they do have a very protective adoptive mother.

The brothers had just settled in for their first dinner with the new human when the goddess herself strolled into their dining room, asked who was in charge, then dragged Lucifer away by the ear!

She's not even his mother, yet he felt the intense urge to apologize and put himself in his own room… Oh, the humiliation… at least she did the same to Diavolo…

The Prince was only able to calm her down by promising absolutely NO harm would come to her child… on their heads...

By the time the goddess finally let him go, Lucifer was about ready to shackle the MC to his wrist so nothing could touch them but he settled on keeping them with him like an assistant of sorts. They were in charge of helping him with the paperwork so he could keep an eye on them. 

What he didn’t expect was for them to be so… good at it? They could keep his offices clean, they managed his daily schedule, fixed up the House, and still have time to bring him tea and sweets every night!

They could even reign in his brothers somehow… They weren't strong or intimidating, but one or two mildly unhappy words out of them and everybody would be on their best behavior.

Was everyone positive they're only human...?

As much as he hated to admit, he may have a slight deep case of falling for the housekeeper… He would make a move, but well…

He has Beel to contend with first.

Mammon

Okay so, watching Lucifer get dragged out by the ear just like Raphael used to do to him was hilarious!!! The whole room got a good laugh! 🤣

Until Hestia glared at them and suddenly they all felt like they'd disappointed someone important….

And all that fuss over some dumb human??

So what if they made amazing food?

So what if they could clean the entire mansion in a day?

So what if they were the walking equivalent to a warm cup of cocoa on a winter's day??

So what if they were just the kindest, sweetest thing in this godforsaken hellscape and he would throw himself in front of a bus to keep them safe-

-Wait, when did that happen?!?

Seriously, Mammon's attachment to the MC came out of NOWHERE to him. One day, he was threatening to eat their soul and the next he's freaking out when they stub their toe!

He swears they have to have some kind of magic about them! A charm, or a spell, or… their lovable smile and warm, loving hugs...! 😊

Damnit!! They're too cute!! He needs them to go away but also never leave, thanks. 😒

In all seriousness, though their kind nature puts Mammon's tsundere self at a bit of a disadvantage, his protective instincts shoot through the roof whenever they're involved.

Naturally, that means his day is spent running them away from hungry lesser demons or shielding them from Beel and Lucifer's tug-of-war matches… He's a busy guy these days. 😖

Leviathan 

They're so… so… MOE!!!

That was his immediate thought when Mammon brought them home. He was expecting a defenseless human, but not one that could have stepped out of one of his slice-of-life manga!

To be honest, his instant thought was try and find a place to sit them on his shelves with the rest of the adorable characters he loves… 😅

And that was before they even opened their mouth! Five words into their introduction and he was ready to get their face on a t-shirt!!

Honestly, combine their natural cuteness with their household skills and they made for perfect waifu/husbando material… 

Not helped by the fact they found one of his maid/butler outfits while doing the laundry one day. Not only did they ask if they could wear it, they actually non-ironically liked it and started wearing it around the House!!

Oh he got cornered by Beel, Lucifer, and Mammon separately that day because they thought he was using them for fetish fuel… But it was their idea, he swears!!

I mean… He didn't discourage them or anything either but still…

If Beel hadn't claimed them on Day One, Levi might have eventually thrown his hat in the ring too... Oh well… he can pine from a distance… What else is new? 😔

Satan

He has a video of Hestia dragging Lucifer out of the dining room on his phone and it's one of his most treasured possessions now. 😌

He is perhaps the only person in the House who was not at all impressed with their little human.

So they could cook? So could he. So they can clean? That's not impressive. They could manage a household? Big deal, he's more or less been in charge of the same thing for centuries!

As far as he saw it, there was nothing the MC could do that he couldn't do as proficiently or even better. There was nothing remarkable about this human at all!

… except for one thing.

That maid/butler outfit of Levi's? The one they like to wear around?

It has cat accessories…

Either they don't notice or they don't mind it but they essentially walk around the House cleaning things with little kitty ears attached to their head and a bell on their collar…

Dammit… Why did Levi even buy that?!?

Satan ended up getting in trouble for enchanting their outfit to give them REAL ears and a tail "accidentally..." Lucifer strung him up by his toes, Beel gave him a black-eye, and Mammon still calls him a "perverted cat freak" but it was worth it, he says, worth it!!

Asmodeus 

Oh Beel…

Asmo saw Beel's feelings for the MC coming from a mile away. He didn't even need to confirm it with a sniff check, he had them scented by the end of their first night!

Lucifer, on the other hand, now that was a surprise... 😏

Ask him a century ago if Lucifer would ever consider a human lover, godly mother or no, and he'd have laughed! Yet here he is, giving gifts and sneaking whiffs of their adorable new housemate!

Of course, that's causing some commotion because they're pitted against each other, but Asmo finds it kind of cute honestly. 

Beel and Lucifer aren't fighting, not for real. The whole house knows Lucifer would win in a real brawl, but neither of them actually want to hurt the other… They're far too close for that.

So Beel tosses Lucifer around with kid gloves and Lucifer holds back considerably against Beel. It's pretty much just two brothers who love each other squabbling over the same toy… 🤭

Honestly, Lucifer might have bowed out by now and just let Beel have them but now his pride's on the line… thus an endless tussle between family and the sweet MC is in the middle, clueless to it all!

Tragic, is it not? But it certainly makes things more entertaining around here! (Good thing too since Beel beat him to the punch… If it's a fight against those two, he'll have to keep any of his own affairs with the MC under the radar... 😏)

Beelzebub 

He has claimed this one. Full stop.

For a bit of perspective: when Barbatos needs cooking tips, he calls Hestia. Hestia, the Divine Master of All Things Cooking. Hestia, the goddess who raised this MC… 

Needless to say if they have any magic at all, it's in the kitchen.

If food is the way to Beel's heart, this MC has claimed his heart, soul, and probably all of his vital organs. Their food is astounding!! Always perfect every time and so good it brings him to tears!

It started the night of that first dinner, prepared by MC. He was too busy scarfing down the table to even notice a goddess showed up and then he proposed to the MC with their own pig roast by meal's end!

They said no to marriage, but an instant pact agreement suited him just fine.

Beel didn't waste a single moment before he started treating them like a potential mate, territorial aggression and all, but there was a bit of a catch… He kept the MC totally oblivious to it.

Surprisingly, Beel's can turn the "They're MINE" part of his brain on and off pretty well. He's nothing but sweet and cuddly to the MC when they're around and even with his brothers!... as long as they don't try anything.

The moment he caught whiff that Lucifer might be pursuing them too, it was on. Suddenly the two brothers who almost never fight were in competition against each other! But of course, both have an unspoken rule to never do so in front of MC.

And now poor MC believes it's common for demons to "play wrestle" like puppies and hugs are traditionally supposed to be so hard they could snap spines… 

And it doesn’t look like they'll be backing down any time soon… Oh dear...

Belphegor 

You know what? For once, everything goes exactly to plan for Belphie!

No really, this MC has no hidden powers, no magic horses, not even Demon Nip. They are a helpless, trusting little human who just wants to help their big teddy bear get his twin back!

So, you know how it goes. The charm, the lies, the treachery and all of that. He even gets to kill them!! Oh, happy days!! 😁

Come to think of it, they did smell an awful lot like Beel… But who cares, as long as Lucifer suffers right?? And this whole "living together in harmony" crap fails, right?!

Wrong. 

Beel went ballistic. Lucifer did too, but Beel was what really hurt…

Belphie can safely say that in all of his life, Beel has never physically attacked him. Not once, or at least, not with intent to kill… 

But when the sixthborn's fist went crashing through the wall right by his ear that day, he knew his brother's first instinct was to aim for his head… and his second was to miss, as he still loved him, but only by just a little.

What the hell did he just do??

Thank their father for Barbatos and all the funky time stuff he can do because bringing the MC "back" snapped his angry brothers right out of it. 

Things should have been smoothed over at that point but as everyone was finally settling down for tea, Hestia made another appearance in the House… this time carrying a butcher's knife!

Time fix or no, Diavolo had promised her no harm would come to MC and at least one continuity of them DIED… so punishment was now on Lucifer and the Demon Prince himself!

Belphie, in a rare case of guilt and an expression of brotherly love, offered to take their place since it WAS kind of all his fault. His gesture softened the Goddess of Family juuust enough to lighten his sentence from execution to hard labor.

And thus, the MC had their own housekeeping assistant for a whole year, complete with bitter reluctance and a matching maid outfit! Cat-theme and all!!

He's sending nightmares to anybody who laughs… guaranteed. 😒

[dat-town]

not gonna miss this chance

Characters: Han Seojun & soloist!female reader

Genre: fluff

Setting: true beauty au, set a year after the tv show’s ending timeline

Summary: Your career is on the verge of ending, hence your management puts you up to do a duet with the infamous Han Seojun. You have heard too many rumours about him to keep track of and yet, none of them could have prepared you for the feelings that came with meeting him.

Words: 4.1k

Self indulgent little snippet because he deserves happiness too.

You had heard of Han Seojun before meeting him, of course you had. Everybody who was in the industry had heard of the hot trend of a Newstagram star-turned idol and his band's shining debut from a year ago. They were told to have snatched teenage girls hearts all over Korea with their good looks and soulful music. You had heard their title track and you had to admit it was nice but nice wasn't enough in a cut-throat industry like entertainment.

Look at you, starting training at twelve, debuting at fifteen and now barely twenty-one you were on the verge of becoming a thrown away doll. Once you had been called cute and the it girl of your generation and now? People were saying you got boring just because your music had matured. Gosh, you couldn't keep singing about first love like your hit song had been for the rest of your life for god's sake. Your last album had been a flop, your company had been losing money and you were still afraid that even with a year left of your contract, they would cut you. But your manager had begged them for a chance and here it was: a collaboration with the newest love of Korea.

But the thing was, Han Seojun had quite a reputation and you didn't know who to believe. Some said he was well-mannered and hard-working. Others gossiped that he was always flirting with his makeup artists and Chen claimed he had been rude to her even when he had just been a ‘nobody’. Not that you were particularly fond of Chen either but as a fellow solo female singer you were a tad bit worried how the infamous singer would treat you.

Well, standing in front of Move Entertainment, you were just about to find out. Taking a shallow breath you followed your manager's lead, bowing to the receptionist and getting into the elevator after taking your visitor's badge. You had heard the company has gone through many changes after the executives were replaced due to the revealed Seyeon scandal but everything looked expensive, shiny and new, unlike in your small agency.

“Hey, I’m Lim Heekyung, nice to meet you. Seojun will be in a minute, too,” a woman in a pantsuit walked up to you on the right floor with a confident smile as she introduced herself. She led you to a meeting room which was apparently customized for a few people only and started preparing papers. She looked excited which was a relief and nice to see, at least someone from Move Entertainment was happy for this project apparently. You were a bit afraid they would see you like a leech, trying to cling onto their new star’s popularity.

“Shall we start? Seojun is a fan of dramatic entrances anyways,” Miss Lim laughed joyfully as if it wasn’t new to her that the idol didn’t make it on time. Ah yeah, you had heard rumours saying that he had something on the company and that was why they were so lenient with him.

You sat in silence, let your manager do the talk about the collaboration project. Seojun could play the guitar, you could play the piano, apparently it was perfect for a ballad duet, though if you used instruments yourself it added to the preparations time. But luckily, there was a songwriter named Leo at the company who had already sent in a few samples specifically for Seojun, so you didn’t have to start from zero.

“Ah, I see you started without me. What did I miss?” A tall boy opened the door wide and flipped down onto the chair across you casually. He had grown into his lanky limbs and with those wide shoulders hugged by the leather jacket, helix earrings in one ear and soft brown hair brushed to one side, it wasn’t a surprise how many female fans swooned over him. But there were a lot of handsome boys in the business, just his looks – no matter how confident he was in them based on the way he carried himself – wouldn’t make a difference.

Miss Lim patiently let Seojun know about the advances and only when she mentioned your name, did the boy glance at you. His dark brown eyes had a sharp form, just as piercing as his gaze, but the cunning smile spreading over his lips softened it a bit. He looked at you as if he wanted to see through you, to figure out how he should have approached you. You expected a snarky or arrogant comment, but in the end, he just flashed a blinding smile at you, one you could see on his posters, before turning back to Miss Lim.

“What’s the schedule?” he asked simply and you both were notified about the deadline of deciding and finalizing the song, the dates of planned recording sessions and the photoshoot. Since there would be no promotion period, it all would be done within a month and half from start to finish. You were a bit relieved hearing that and leave Move Entertainment without any confrontation.

You thought you were good at masking your wary feelings since the further meetings went well and the first recording session went okay-ish. Although both of you had been a bit scolded by the producer for not putting enough feelings into your singing. He claimed that the demo sent by Leo was much more emotional which made Seojun scoff and mumble under his nose. The PD called it for a day, making you promise to practice for next time and one by one they all left. Your manager told you that he would bring the car while you refresh yourself in the bathroom, so you really didn’t expect anyone to wait for you when you stepped out of the restroom, much less Han Seojun.

"Spit it out," he bit out barely glancing your way as he leaned against the corridor’s wall.

"What?" you spluttered as you were really taken aback by his out of blue appearance and question. The guy let out a tired sigh at your obliviousness and pushed himself away from the wall just to walk up to you, towering over your height with his.

"You look at me as if I killed your hamster or something. Which rumour about me bothers you? I fucking can't keep walking on eggshells around you, especially when it's just the two of us," he tsked and you gulped at the sudden called out. You didn’t think it bothered him, or that he was considerate enough to ‘walk on eggshells around you’, you merely thought he was so distant from everybody. It was still better than what Chen had told you.

"Oh, I… nothing. It's stupid. Sorry," you mumbled, feeling embarrassed for your your actions but Seojun apparently wasn’t satisfied without a real answer as he carried on:

"I didn't bully kids in high school but I threatened ones that deserved it, I didn't only get a pity chance from the entertainment, one of our makeup artists is actually one of my best friends, I'm not…"

"Chen told me you are rude and arrogant and have no respect for girls," you blurted out to stop him from speaking because you felt like you didn’t deserve to hear all that. He didn’t owe you any explanation for the way he was. You were just co-workers for a project after all, you had no place in his life, nor he had in yours, so he shouldn’t have been that bothered by your opinion but you understood that he felt uncomfortable due to your silent accusations.

Hearing your hasty interruption, the singer scoffed, a laugh-like sound leaving his mouth.

"Well, I have no respect for girls like Chen who harass my friends and turn their lives into hell just to go on a date with me," he said and it made you blink slowly.

"Oh."

"Yeah, oh. Check your facts before you go around believing such crap," Seojun stepped back with a roll of his eyes.

The whole situation made you feel made about how you acted, so you wished to apologise but it fell from your lips all too carelessly: "Sorry, I was just worried. This is my last chance, so–"

"Last chance?" the guy quirked a brow at you, curious but you quickly waved his question away.

"Nevermind, I just need this song to do well."

"Of course, it will. I'm Han Seojun, it will turn to gold under my hands," he grinned and made eccentric gestures as if he was about to do magic. You couldn't help a smile. “Or well, vocal chords.”

And turn it to gold, he did.

The rest of your recording sessions went smoother, even the previously grumpy PD complimented your for the development in your chemistry. Funny, you wouldn’t have thought that the wall pulled up between the two of you mattered that much, but at least you didn’t have a knot in your stomach, nor did you worry about every small thing you did around Han Seojun. He also acted more casual, more playful, joking around when both of you had a bit of time to take a breather. He snapped silly pictures, showed off with his height, smirked when he got too close but despite all his bravado and lowkey flirting, you believed even he wouldn’t have jeopardised his career over something like this.

Maybe that's why wrapping up the recording felt a tad bit weird: you got used to his presence, his jokes, his beautiful, deep voice that you could have fallen asleep to. Sure, sometimes he was cocky, a bit rough around the edges but he was a great singer and a fun guy. The project seemed to work out well and you loved it a lot, so you hoped the listeners would appreciate it as well.

But before all that you had one photo shoot together for the promotional pictures and the single's cover. You were grateful for the simple pastel colour background and elegant setting. The warm light latte colour and the clock in the background really fit the song's vibe. Luckily, your dress was decent and pretty as well, you didn't have to feel uncomfortable in it at least.  However, you didn’t expect that happy yelp coming from one of the makeup artists stepping into the dressing room. You turned to face the girl, wondering whether she was your fan judged by her excitement.

"Oh my! I'm so happy to finally meet you! Seojun told us about you so much!" she beamed at you which obviously took you back. Well, that you didn’t expect at all. He spoke of you to others? Ah. Apparently to the makeup artist who was most probably that certain one of his best friends he had told you about?

"Don't exaggerate, Imju, I mentioned her like what… once?" Seojun walked in on cue. He rolled his eyes and cleared his throat, trying to avert the topic. "How's Suho?"

You had know idea who that said guy was but after a moment or two you could breathe properly once again while listening to their chatting.

“Just the usual. He’s excited about your duet.”

“Of course, he is,” Seojun grinned, a bit snarky but you could hear the proud undertones of it. When he looked at you, you were surprised by him leaning close though as he quieted down until only you could hear it. “Don’t worry, Jugyeong is really good and just stop her if she gets too gossip-y.”

“Are you talking about me behind my back, hah, Han Seojun?” The pretty girl called Jugyeong raised her fist as if she was about to hit the idol but he just laughed it off and left you two alone when he was hurried onto the set to start with his individual shoots.

“Have you known each other for a long time?” you couldn’t help but wonder as you were seated to get your makeup from her.

“Ah, almost 4 years, I think. We went to high school together. Plus, he’s best friends with my boyfriend. Though, they are always bickering like a married couple,” Jugyeong chuckled joyfully as she started with the cushion. You closed your eyes, listening as she kept going on about the time when Seojun had been obsessed with his motorbike, getting into trouble with his mother. It was strange hearing about a whole other side of him, mama's boy but the image tugged on your mouth, making you smile even though you weren't sure you had the right to know all that. You also learned that Seojun's sister was dating Jugyeong's brother and you felt so involved with the girl's trust albeit it was your last meeting, you were sure Seojun must have only told good things about you.

Hence, you felt shy under his knowing gaze when you walked out of the dressing room. He must have known that Jugyeong couldn't shut up for the life of her, so he looked a bit uncertain, too, stretching the back of his neck, forcing a cunning smile onto his smile when you took your place next to him.

To fit the ballad's theme, the setting was a piano decorated with flowers and you were instructed to sit beside him as if you were about to play a four hands piece. As you did what you had been told, you were very much aware of the way your arms brushed, his long fingers over the keys close to yours, his smile small but genuine.

"Great, great, guys! Someone help her onto the piano and Seojun, stand in front of her," the photographer directed the next scene but before any staff members would have rushed up to you, the singer next to you shushed them.

"I can do it," he insisted as he stood up and looked you in the eyes, silently asking for permission. You nodded while holding your breath back before Seojun put his hands on your waist above the fluffy tulle skirt part and counting on three, he lifted you onto the lid of the beautiful instrument.

You crossed your legs, watching in awe as your pink skirt fell down on waves  but your breath hitched for an entirely different reason when you looked up, gaze meeting Seojun's feline eyes trained on you. You had never seen him look at you like that, lacking playfulness or suspicion or curiosity. He looked open, vulnerable, outright starstruck. Your lips parted meaning to ask something but your brain shut off when you heard the shutter of the camera go down and the director yelling compliments at you. It made you snap out of it and later, you blamed the evident blush on your cheeks on the makeup. Seojun blinked too, his guarded expression back in no time, finishing the photo shoot professionally, always lingering close to you, but never touching you. Even though you wouldn’t have minded.

"Hey," Seojun peeked into your dressing room just as you were about to leave, packing up, with a smile on his mouth and sparkles in his deep brown eyes. But unlike half an hour ago when he wore a fancy suit and looked at you like a prince would have looked at his princess, he acted just as casual as he looked in his denim jacket over dark tee. "Wanna grab something with me if you finished for today?"

His question took you back but first thing first you glanced towards your manager, eyes begging for permission which you had gotten with a sigh.

"Just be discreet and call me if you need me to pick you up," your manager shrugged, leaving you two alone with a knowing look that told you to be careful. You didn't need to be told though, you knew how much depended on the current public response to your image.

"Seems like a green light. Have you thought of anything specific?" you turned back to the boy with a subtle smile.

"Not really but I know a few less frequent, secluded places to avoid much talk about us," he said and you nodded, following his lead. Masks, caps and hoodies on, you barely talk on your way to the tent with the lovely ahjumma who welcomed Seojun (two heads taller than her) with a pinch of his cheeks and told you to get seated.

"Are you a regular here?" you inquire, carefully pulling down your mask since not many people are around.

"You could say that," the boy hummed letting you adjust to the place at your own pace, not pressuring you with extra reassessments about how safe it is there. Yet, he is so casual as if he wasn't afraid of a getting mobbed by Dispatch out of the blue. Not that it happened to you a lot of times but you heard stories and at such a crucial time in your career, you feared something like that more than anything.

"Do you want to come up to mine instead?" Seojun blurted out suddenly which made you wide eyed in a span of a moment as you splattered out a surprised yelp. "Come on, I don't mean anything by it. You just look really nervous being in the public," the singer said, his deep voice softening, soothing by the end and you needed to take a breather before answering. You didn't think it was so obvious but apparently you had never been a good liar with him.

In the end, you decided on going over to Seojun's place, so he asked the ahjumma to pack your food to go and you headed towards his flat a few blocks from the company. It was a small but cozy place, much softer and brighter than you expected, lots of pastels and photos of friends and family. While the boy busied himself in the kitchen, getting you plates, chopsticks and beer, you were encouraged to look around and you couldn't help but smile at his photos with not only his band members but high school friends, too. You had seen photos of his graduation with Jugyeong, then another one of his debut with her and another guy.  He was a recurring person on a lot of pictures, so you assumed that he was the so-called Suho.

"He's Jugyeong's boyfriend," Seojun affirmed as he walked up to you which you acknowledged with a hum and smiled at his photos with his sister and mother. The makeup artist was right when she said he was only tough on the outside.

"You knew Seyeon?" you whispered as your gaze shifted of a picture of three boys smiling widely into the camera. The middle one was the talented boy you had known  from the news of his committed suicide. Such a tragedy.

"Uhum. We were best friends. Him, Suho and me," Seojun nodded and without having to ask, he told you how they had gotten to know each other, what were their favourite past time activities and how they fell apart when he died. You could see he was hurting even now as he was talking about it, so you grazed your fingers against his knuckles as though to say you were there for him to listen, or whatever he needed.

Talking about his best friends and how a group of guys including someone named Chorong stuck by his side over the years warmed your heart. It was nice to know that not everyone had it as lonely as you who basically missed out on high school and memories from that time to be able to turn your dreams into reality. Your only friends were also in the industry but it made things both easier and harder.

"What about you? What did you mean by this being your last chance?" Seojun asked like a loaded gun but after everything he had just told you, you knew you could trust him with this and being in the industry for a while now, he must have understood, too.

You told him about the rising expectations, about your image and your company's ultimatum. It actually felt nice to talk about with someone other than your manager. Especially since Seojun seemed to understand exactly why you felt conflicted over the matter. You have given your youth to this dream of yours, so giving up on it would have felt like betraying yourself and everyone who believed in you but you weren't sure you could give it another 10 years of your life no matter how much you liked music. You had decent CSATs result, maybe you could have applied for a university program. Seojun even offered to arrange a meeting between you and Suho who was studying to become a proper songwriter.

You talked for hours and ate the tteokbokki even though it had gotten cold long ago and you couldn't remember when was the last time you had felt so light. You felt giddy even with just the tiny bit of alcohol in your system by the time you knew it was time for you to go.

Once you had felt relieved knowing that promoting your duet would be only one performance but recently, you started dreading the moment because that meant that you wouldn't have any more excuse to see Seojun. In the backstage, this time around you greeted Jugyeong like an old friend and teased to give Seojun a funny makeup before walking up to your  own assigned staff members. Your look was full of sparkles and glow fitting the silver colour of your dress, completing the ethereal vibe off the stage you were going to do and the beautiful song you had grown to love so much you held it close to your heart. The last rehearsals went smoothly and if you noticed Seojun's gaze lingering a bit too long, you didn't comment on it.

"Are you nervous?" he asked before the final recording and you knew it would have been unreasonable to deny it, so you replied with a small smile.

"A bit."

"Don't be. You're pretty and you'll do amazing," he reassured you and the way he said those words oh so easy. As if they were natural. As if he believed in you and maybe this was all the reassurance you needed because when you walked up onto the stage, not taking your eyes off his, it felt like it was just the two of you there. All the stress about not being good enough, about being judged for who you were and what you wanted to do with your life was subsided as you focused on the moment, just to sing this one song with one while trying to fight your heart's crazy beating.

You didn't really have the luxury to have crushes. You had always been concentrated on your work, you couldn't let yourself have distractions, especially since love scandals always affected girl worse than guy. At least that was what you told yourself for always putting up a wall around you and guarding your heart all too well. But during the past few weeks, between playful or flirty remarks, between smiles and ruffling hair, Seojun took apart your wall brick by brick even if he wasn't aware.

So it might have been only a few days since you had last seen him but in that rare moment of boredom, alone in your room, you realized that you missed him. Hell, you liked him and the feeling made me want to scream into your pillow as if you were a silly teenager. As if on cue, your phone buzzed with a new message and seeing the KakaoTalk ID made you shy.

duet partner, han seo jun

so...

i've been thinking

you

sounds dangerous but ok

duet partner, han seo jun

don't get sassy with me, miss

you

what have you been thinking about?

duet partner, han seo jun

that i don't want to miss my chance

there's this girl i like

i thought of asking her out

do you think she would say yes?

you

oh. well... why wouldn't she?

i mean, you are talented, handsome, funny and reliable

duet partner, han seo jun

and what about my job? it's busy and a bit crazy

don't you think it would be unfair of me to ask?

you

I think you should let her decide that

duet partner, han seo jun

okay

are you free on friday?

you

um, sure?

duet partner, han seo jun

cool, then go on a date with me?

[illuminatedquill]

Extracurricular, An Analysis

Oh Ji-soo and Bae Gyu-ri

“Love is the ultimate outlaw. It just won’t adhere to any rules. The most any of us can do is sign on as it’s accomplice.”  - Tom Robbins 

You know the story. You’ve heard it before, right? 

Boy meets girl. 

Girl finds out that boy is running a side protection business for prostitutes. 

Girl decides to blackmail boy into letting her join his business. 

Classic high school criminal shenanigans ensue leading them into more dangerous situations where they are forced to make desperate decisions to stay alive. 

Oh, and they fall in love along the way. 

Oh? You haven’t heard this one before? Then let me introduce you to this delightful kdrama called Extracurricular. 

I watched this one while waiting for the newest Hometown Cha Cha Cha episodes to drop and ended up binging the whole series in two days. There are many remarkable parts of this series: it’s a crime drama, first and foremost, that showcases high school teenagers caught in a cycle of violence and crime, abandoned by the society and adults that are supposed to be protecting them. There are no clear good guys and bad guys in this drama; everyone is cast in shades of grey. Our main leads, Oh Ji-soo and Bae Gyu-ri, run the prostitution business, and are both from broken family backgrounds. Their actions are morally questionable at best, but the top tier performances from Kim Dong Hee (you might remember him from Itaewon Class) and Park Ju Hyun make you cheer for them anyway. You want them to have a happy ending, despite the horrible things they do. The audience is always reminded that despite how clever they are in staying ahead, their actions have consequences, and they’re just high school kids. The drama never pulls it punches. 

But, weirdly enough, it’s also a love story. And that’s the part the really sticks with me until now. (The chemistry between the main leads is absolute dynamite and I could watch ten episodes of them just verbally sparring with each other. They don’t even kiss. They’re that fantastic when together on screen.)

I’m writing this because this is undoubtedly one of my all time favorite kdramas and I have a lot of feelings about our main pairing, Ji-soo and Gyu-ri. I can’t call them a couple (wait, didn’t I just say they fall in love) because their relationship can’t be labelled simply as that. Think of it as something similar to the main leads in My Ahjussi. Two people who should have become soulmates, yet met at the wrong time. 

This kdrama is not particularly happy, and while I do encourage people to watch this, I am warning that the subject matter is extremely dark. If you’re sensitive to scenes depicting sexual assault, graphic violence, or anything in that zip code you’ll want to steer clear. 

Also, I’ll be diving into spoiler territory in this analysis. So if you want to go in clean, then stop reading here. 

Still here? Awesome. Let’s dive deep into the messy, amazing pairing that is Oh Ji-soo and Bae Gyu-ri. First, let’s do a brief character background on our two main leads, starting with Ji-soo. 

Oh Ji-soo is one half of our main pairing and this story starts with him. He lives by himself and has been essentially abandoned by his only parents; his father is a failed businessman who gambles whatever money he acquires on scams and his mother ran away. His apartment is small, sparse, but functional. He owns only a few outfits aside from his school uniform. The only unique item he owns is a pet hermit crab that he takes care of. His life outside of school is non-existent; he has no friends, no one to hang out with and do typical high school teenager activities with. He takes care of himself and lives only for himself and his “dream”: to graduate, attend college, get married, and have kids like a normal person. 

But to do that, he needs a large amount of money. He has no other financial means to do so (his father is largely absent, as is his mother), so he decides, at some point, to start up this protection business for prostitutes. The drama doesn’t go into detail about the how and why he came to this conclusion that this was the best way to make a lot of money in a short amount of time, so you’ll have to suspend your disbelief from the get go. Considering the themes of the story (how youths abandoned by society tend to act out in extreme ways to make it in this world), it’s not hard to believe his desperation would drive him to make such a decision. 

Ji-soo, despite his shady business, is actually a decent person. There’s a streak of humanity that exists inside him that refuses to go out, despite the increasingly dark and bleak events that start to overtake his life. He’s attached to his hermit crab, cares for his “employees” outside of them being tools to make him money, and doesn’t want to see anyone get hurt. He goes above and beyond what’s required to help out people at the risk of his own life (in particular, Gyu-ri, and we’ll get into that shortly). 

What we learn from the first few episodes is that Oh Ji-soo is extremely smart and methodical in how he approaches his life. At school, he is known as a model student - quiet, top of the class in terms of grades, doesn’t draw any attention to himself, always follows along with what the teachers ask of him. Only his homeroom teacher, Mr. Cho, seems to consider his quiet style of existence to be concerning and tries to make him less socially awkward by pairing him up with another student in a new extracurricular club. This leads to the introduction of Bae Gyu-ri, Ji-soo’s longtime crush and future partner-in-crime. 

Meet Bae Gyu-ri, the other half of our dynamic duo. Her introduction into the story kickstarts the entire plot, as one of her earliest actions leads to a domino effect that spells increasing doom and tragedy for our main leads. She messes with Ji-soo’s operation at a critical moment and she spends the rest of the drama doing her best to make up for the consequences that follow. 

In my personal opinion, she is probably the best main female lead I’ve ever seen in a kdrama. Hands down, no other character exists (currently) that rivals her sheer cunning, wit, and badassery. Gyu-ri is Crazy, capital C, and is the chaos to Ji-soo’s control; the fire to his ice. Despite being the direct cause of half the events that happen to Ji-soo in the drama, he can’t help but need her because of what she offers. They make an incredible team. Her competitiveness, her need to win no matter the odds, helps them survive time and time again. 

Gyu-ri is from the opposite end of the spectrum of Ji-soo; he’s dirt poor and she’s insanely rich (always nice to see a reversal of typical kdrama tropes). Her mother and father run a successful entertainment company. Gyu-ri is popular at school, friends with seemingly everybody, pretty, cheerful and gets along well with her teachers. Ji-soo, and the audience, believe from the beginning that she has the perfect life. It’s not hard to believe that she’s just involving herself in Ji-soo’s business because she’s bored and needs an outlet, at first. 

We soon learn otherwise. Gyu-ri has more in common with Ji-soo than he initially realizes, in that they’re both trapped in circumstances beyond their control - it’s just that Gyu-ri’s cage is gilded, whereas his is not. Her parents are strict and have her life planned out for her, all without her consent or input, leaving her feeling frustrated and powerless despite her rich lifestyle. A suicide attempt hasn’t done much to change her parents attitude towards her, only serving to further their control over her life. 

So, when she learns of Ji-soo’s operation she immediately seeks to angle her way into it. First, she tries to rip him off, believing that he’s an evil “pimp” and thus deserves it. But after spending some time with him, she changes her mind last second and decides to help him out instead. 

And, now, let’s get into their relationship, which is one of the best (if not the best) aspect in the entire series. 

I need to be upfront about something: the relationship between Ji-soo and Gyu-ri is not exactly healthy. I wouldn’t describe it as toxic - the circumstances surrounding them aren’t exactly the best environment to encourage open and honest communication - but it’s definitely not what should be considered ideal, especially for young adults, and especially for young adults who are dabbling in crime instead of studying. 

So, why do I love them so much? If you’ve read some of my previous posts, you know that I loathe toxic relationships in kdramas, so I understand if you think I’m coming off as hypocritical here. Why do I like Oh Ji-soo and Bae Gyu-ri when I didn’t like, for example from recent history, (oh boy, here I go again on my Nevertheless BS) Park Jae-eon and Yu Na-bi?

First, Ji-soo and Gyu-ri are way cooler than Jae-eon and Na-bi ever could be. They run a criminal enterprise that involves having a high amount of intelligence, cunning, and daring to do so. Do Jae-eon and Na-bi run a criminal enterprise as a side business? No, they don’t, because they’re boring art students. 

Secondly, Ji-soo and Gyu-ri actually progress in their relationship and change their views as they learn from each other. Now, granted, that progress isn’t towards becoming better versions of each other - quite the opposite. But at least they have progress. Jae-eon and Na-bi stayed in the same stupid cycle for the whole series and then decided that it was better staying that way as opposed to trying for something else. 

Last, but certainly not least, Ji-soo and Gyu-ri are actually interesting to watch for me. The chemistry between Park Ju Hyun and Kim Dong Hee is explosive and they way they spar, exchange looks, and just generally exist around each other on screen is something I can watch forever. I’ve said this before but Han So Hee and Song Kang’s on screen chemistry, outside of their intimate scenes, really didn’t impress me. 

Okay, back to Extracurricular. This relationship, man. It’s all I can think about (other than HomeCha’s Du-sik and Hye-jin, but that’s another post). Ji-soo and Gyu-ri are so good together. 

I’ve noted before that Ji-soo is methodical in how he approaches his life; he plans out everything ahead, and rigs any situation as much as he can in his favor. It’s brilliant, but when a crisis happens, he doesn’t know how to deal with it effectively. He panics and flounders; becomes indecisive at a time when clear, decisive action is required. 

Enter Gyu-ri. She quickly becomes the partner he never knew he needed. When there’s a situation, she becomes invaluable in her quick thinking and wit, coming up with solutions on the fly. It’s not perfect, but it keeps them just one small step ahead of whatever is coming their way. 

The only thing preventing them from becoming unstoppable is the lack of communication and trust they have with each other. A lot of that has to do with how Gyu-ri entered Ji-soo’s business - she blackmailed him first, and, when that failed, she strong armed her way into getting him to accept her help. It’s implied in the drama that Ji-soo has had a crush on Gyu-ri for a while (since ninth grade, I believe) and in the first episode he actually gets the chance to spend time with her outside of school on a sort of quasi-date. 

It goes sideways pretty quickly because of some shenanigans from his business, but not before she gets to know him and says some pretty touching words regarding his situation. Poor guy is head over heels - even after finding out that she’s the one blackmailing him, his feelings are only dampened, not extinguished. When he catches a glimpse of her family’s situation, he gains a deeper understanding of her and why she acts the way she does. Even more importantly, Ji-soo treats her the same after finding out this information which, to someone like Gyu-ri, means more than if he comforted her about it. 

If you want to see a physical representation of how he feels, other than paying attention to his actions, you can see it in him keeping mementos from Gyu-ri. She has an interesting habit of folding bags into origami shapes and giving it to him. Even after the blackmail reveal, you can see that he continues to keep these in a container on his desk. It’s really cute that he keeps these, when it probably doesn’t even matter that much to Gyu-ri. 

Towards the end of the drama, Ji-soo prepares to turn himself in to prevent Gyu-ri from being implicated in the crimes they committed. And it costs him almost everything to protect her. Ji-soo, the quiet, nerdy kid, puts himself on the line time and time again to protect Gyu-ri, knowing that it puts his life and his dream at risk to do so. And all for what? For some girl that he thinks doesn’t even like him in return? 

Well, let’s talk about that. Because I’ve seen some comments that Gyu-ri was only using Ji-soo for her own selfish gain. And I can agree that was how it was at the beginning for her; she definitely was only interested in acquiring money, like Ji-soo was, in order to achieve her own goal of being free from her parents. 

But, oh man, that is not what is motivating her at the end. 

It’s actually pointed out relatively early by some of her friends that it’s obvious that she likes Ji-soo more than he likes her. Understandably Ji-soo is keeping her at arms length from him given the whole recent blackmailing, so it would make sense that it looks that way. 

Further questioning reveals what she likes the most about him: 

“It’s not like I’m crazy about him. He’s fun. And amusing. He’s smart. And there’s a certain charm he has. He also has a wolfish side to him. But he thinks he’s a puppy.” 

- Bae Gyu-ri

But, as she gets to know Ji-soo better, you can certainly see that she starts to fall hard for him. As a cover story for why they hang out so much together during and after school, Gyu-ri states to everyone that they’re dating. The reactions across the school definitely imply that this is a shocking development, which means that Gyu-ri hasn’t dated anyone before. So why Ji-soo other than the reasons she herself states? 

He challenges her, just as she challenges him. Gyu-ri may be the more dynamic, quick thinking of the pair but Ji-soo is every inch her intellectual equal - just in different ways. She doesn’t seem to be the type to be easily impressed, but you can tell that she’s definitely impressed by Ji-soo’s operation and how thoroughly set up it is. When Ji-soo is frustrated at the beginning by his setbacks, he blows up at another student (knocks him out in a crazy punch) and immediately walks over to Gyu-ri afterwards (who saw the whole thing) to inform her that she is now his partner in crime. 

The look in her eyes, and the small smirk she has speaks volumes about her attraction to him in that scene. Smoldering. 

And, oh yes, she’s prone to jealousy. Another classmate, Min-hee, gives Ji-soo a present out of the blue (it was supposed to be for her boyfriend, Ki-tae, but that’s another sub-plot) - all within view of Gyu-ri. It’s hilarious how she tries to brush it off. Later, for plot reasons, Ji-soo has to spend more time with Min-hee which only furthers Gyu-ri’s annoyance. 

And her motivations stop being entirely about the money and more towards helping preserve the dream that she and Ji-soo share about being free. There’s a scene in episode 8 where it’s revealed that, due to a business partnership with a local gang (set up by none other than Gyu-ri herself in a desperate move), Ji-soo would have to drop out of school permanently to work on their behalf. Gyu-ri overhears this and, despite badly needing the gang’s help in sustaining their own business, immediately terminates the partnership. 

All because it would interfere with Ji-soo’s dream. 

Man, if that isn’t love. 

In the following episode, Gyu-ri, and later on Ji-soo, is kidnapped by the same gang in retaliation for terminating their partnership. Ji-soo comes to her rescue but Gyu-ri is already almost free (again, she’s really, really badass) and is demanding that they bring Ji-soo to her instead of running for her life. 

Surviving this latest attempt puts the two in a reflective, vulnerable mood and Gyu-ri asks Ji-soo why he keeps saving her. Ji-soo asks later on why she keeps risking her life to be with him. They don’t say the answer in words but in an almost kiss (yeah, you read that right - almost). 

And then, if you aren’t already convinced, Ji-soo crosses his one last remaining line in an effort to keep Gyu-ri safe; he accidentally pushes a fellow classmate down some steps and, instead of helping her, leaves her to die after grabbing the evidence she has on him and Gyu-ri. 

Extracurricular pulls off quite the magic trick here, hiding this well done love story in the middle of a serious crime drama. 

The real tragedy is that Ji-soo thinks that Gyu-ri views this whole business, and by extension his life, as one big game. It’s something that she takes offense at, visibly becoming upset when he says that. 

But even if that were true, he should be assured since Gyu-ri doesn’t like to lose. 

As they hurtle towards the end and face up to the consequences of their actions, Ji-soo and Gyu-ri undoubtedly lose sight of their original goals and dreams. They do some fairly horrible things to stay alive and ahead of the police who are close on their trail. You can’t really blame them for doing what they did; in the face of a society that has abandoned them, what they’re doing is a logical outcome to gain what they want so desperately and deserve so much: the chance to be free to live like normal, care-free people. 

I can’t say for certain that they achieve that. The drama is serious in consequences and, at the end, the net around them is drawing tighter and tighter. I won’t spoil the ending scene for you, because I highly encourage you watch this drama yourself but I will say this: Ji-soo and Gyu-ri seem stuck in an impossible situation with nowhere to go, and no one to help them, with a clock ticking down towards either death or discovery by the police. 

But, all the same, I’m always the optimist. They’ve gotten through situations like this before and they can certainly do so again. Maybe not as bad as this one, but not too far out of their league. And, like I mentioned before, Gyu-ri doesn’t like to lose. Especially when it comes to Ji-soo. 

Their relationship is truly dangerous, as Ji-soo himself notes. Them being together is the source of their problems; they’re too much alike now, as opposed to the beginning of the drama where he stated that they’re too different. Their love is the kind of love where both of them are willing to burn the whole world down if it means keeping each other safe. 

I’m a real sucker for those kind of love stories. No one’s a hero here. They’re just kids in high school, doing the best with what they know. 

Who are we to judge what is right and wrong? Especially when the one committing the acts are high school kids who don’t know any better and just want to save each other? 

Do we have that right? 

Do they really deserve that punishment? Shouldn’t we be pointing fingers at the society that forced them to act this way? 

Extracurricular really makes you think about that. Is it really so outlandish and terrible what Ji-soo and Gyu-ri do to survive when the adults who are supposed to be protecting them, teaching them better, have failed in their duty? 

Maybe they really did win at the end. Not so much in succeeding in their goals but in gaining something that not even regular people are likely to find - a partner, a soulmate, someone who will stand by you no matter what. 

If you do watch the ending, and are not an optimist like I am, then all I can say is this: whatever happened, they were together at the end. 

They were together. 

[blind-rats]

The Rise & Fall of Joss Whedon; the Myth of the Hollywood Feminist Hero

By Kelly Faircloth

“I hate ‘feminist.’ Is this a good time to bring that up?” Joss Whedon asked. He paused knowingly, waiting for the laughs he knew would come at the creator of Buffy the Vampire Slayer making such a statement.

It was 2013, and Whedon was onstage at a fundraiser for Equality Now, a human rights organization dedicated to legal equality for women. Though Buffy had been off the air for more than a decade, its legacy still loomed large; Whedon was widely respected as a man with a predilection for making science fiction with strong women for protagonists. Whedon went on to outline why, precisely, he hated the term: “You can’t be born an ‘ist,’” he argued, therefore, “‘feminist’ includes the idea that believing men and women to be equal, believing all people to be people, is not a natural state, that we don’t emerge assuming that everybody in the human race is a human, that the idea of equality is just an idea that’s imposed on us.”

The speech was widely praised and helped cement his pop-cultural reputation as a feminist, in an era that was very keen on celebrity feminists. But it was also, in retrospect, perhaps the high water mark for Whedon’s ability to claim the title, and now, almost a decade later, that reputation is finally in tatters, prompting a reevaluation of not just Whedon’s work, but the narrative he sold about himself. 

In July 2020, actor Ray Fisher accused Whedon of being “gross, abusive, unprofessional, and completely unacceptable” on the Justice League set when Whedon took over for Zach Synder as director to finish the project. Charisma Carpenter then described her own experiences with Whedon in a long post to Twitter, hashtagged #IStandWithRayFisher.

On Buffy the Vampire Slayer and Angel, Carpenter played Cordelia, a popular character who morphed from snob to hero—one of those strong female characters that made Whedon’s feminist reputation—before being unceremoniously written off the show in a plot that saw her thrust into a coma after getting pregnant with a demon. For years, fans have suspected that her disappearance was related to her real-life pregnancy. In her statement, Carpenter appeared to confirm the rumors. “Joss Whedon abused his power on numerous occasions while working on the sets of ‘Buffy the Vampire Slayer’ and ‘Angel,’” she wrote, describing Fisher’s firing as the last straw that inspired her to go public.

Buffy was a landmark of late 1990s popular culture, beloved by many a burgeoning feminist, grad student, gender studies professor, and television critic for the heroine at the heart of the show, the beautiful blonde girl who balanced monster-killing with high school homework alongside ancillary characters like the shy, geeky Willow. Buffy was very nearly one of a kind, an icon of her era who spawned a generation of leather-pants-wearing urban fantasy badasses and women action heroes.

Buffy was so beloved, in fact, that she earned Whedon a similarly privileged place in fans’ hearts and a broader reputation as a man who championed empowered women characters. In the desert of late ’90s and early 2000s popular culture, Whedon was heralded as that rarest of birds—the feminist Hollywood man. For many, he was an example of what more equitable storytelling might look like, a model for how to create compelling women protagonists who were also very, very fun to watch. But Carpenter’s accusations appear to have finally imploded that particular bit of branding, revealing a different reality behind the scenes and prompting a reevaluation of the entire arc of Whedon’s career: who he was and what he was selling all along.

Buffy the Vampire Slayer premiered March 1997, midseason, on The WB, a two-year-old network targeting teens with shows like 7th Heaven. Its beginnings were not necessarily auspicious; it was a reboot of a not-particularly-blockbuster 1992 movie written by third-generation screenwriter Joss Whedon. (His grandfather wrote for The Donna Reed Show; his father wrote for Golden Girls.) The show followed the trials of a stereotypical teenage California girl who moved to a new town and a new school after her parents’ divorce—only, in a deliberate inversion of horror tropes, the entire town sat on top of the entrance to Hell and hence was overrun with demons. Buffy was a slayer, a young woman with the power and immense responsibility to fight them. After the movie turned out very differently than Whedon had originally envisioned, the show was a chance for a do-over, more of a Valley girl comedy than serious horror.

It was layered, it was campy, it was ironic and self-aware. It looked like it belonged on the WB rather than one of the bigger broadcast networks, unlike the slickly produced prestige TV that would follow a few years later. Buffy didn’t fixate on the gory glory of killing vampires—really, the monsters were metaphors for the entire experience of adolescence, in all its complicated misery. Almost immediately, a broad cross-section of viewers responded enthusiastically. Critics loved it, and it would be hugely influential on Whedon’s colleagues in television; many argue that it broke ground in terms of what you could do with a television show in terms of serialized storytelling, setting the stage for the modern TV era. Academics took it up, with the show attracting a tremendous amount of attention and discussion.

In 2002, the New York Times covered the first academic conference dedicated to the show. The organizer called Buffy “a tremendously rich text,” hence the flood of papers with titles like “Pain as Bright as Steel: The Monomyth and Light in ‘Buffy the Vampire Slayer,’” which only gathered speed as the years passed. And while it was never the highest-rated show on television, it attracted an ardent core of fans.

But what stood out the most was the show’s protagonist: a young woman who stereotypically would have been a monster movie victim, with the script flipped: instead of screaming and swooning, she staked the vampires. This was deliberate, the core conceit of the concept, as Whedon said in many, many interviews. The helpless horror movie girl killed in the dark alley instead walks out victorious. He told Time in 1997 that the concept was born from the thought, “I would love to see a movie in which a blond wanders into a dark alley, takes care of herself and deploys her powers.” In Whedon’s framing, it was particularly important that it was a woman who walked out of that alley. He told another publication in 2002 that “the very first mission statement of the show” was “the joy of female power: having it, using it, sharing it.”

In 2021, when seemingly every new streaming property with a woman as its central character makes some half-baked claim to feminism, it’s easy to forget just how much Buffy stood out among its against its contemporaries. Action movies—with exceptions like Alien’s Ripley and Terminator 2's Sarah Conner—were ruled by hulking tough guys with macho swagger. When women appeared on screen opposite vampires, their primary job was to expose long, lovely, vulnerable necks. Stories and characters that bucked these larger currents inspired intense devotion, from Angela Chase of My So-Called Life to Dana Scully of The X-Files.

The broader landscape, too, was dismal. It was the conflicted era of girl power, a concept that sprang up in the wake of the successes of the second-wave feminist movement and the backlash that followed. Young women were constantly exposed to you-can-do-it messaging that juxtaposed uneasily with the reality of the world around them. This was the era of shitty, sexist jokes about every woman who came into Bill Clinton’s orbit and the leering response to the arrival of Britney Spears; Rush Limbaugh was a fairly mainstream figure.

At one point, Buffy competed against Ally McBeal, a show that dedicated an entire episode to a dancing computer-generated baby following around its lawyer main character, her biological clock made zanily literal. Consider this line from a New York Times review of the Buffy’s 1997 premiere: “Given to hot pants and boots that should guarantee the close attention of Humbert Humberts all over America, Buffy is just your average teen-ager, poutily obsessed with clothes and boys.”

Against that background, Buffy was a landmark. Besides the simple fact of its woman protagonist, there were unique plots, like the coming-out story for her friend Willow. An ambivalent 1999 piece in Bitch magazine, even as it explored the show’s tank-top heavy marketing, ultimately concluded, “In the end, it’s precisely this contextual conflict that sets Buffy apart from the rest and makes her an appealing icon. Frustrating as her contradictions may be, annoying as her babe quotient may be, Buffy still offers up a prime-time heroine like no other.”

A 2016 Atlantic piece, adapted from a book excerpt, makes the case that Buffy is perhaps best understood as an icon of third-wave feminism: “In its examination of individual and collective empowerment, its ambiguous politics of racial representation and its willing embrace of contradiction, Buffy is a quintessentially third-wave cultural production.” The show was vested with all the era’s longing for something better than what was available, something different, a champion for a conflicted “post-feminist” era—even if she was an imperfect or somewhat incongruous vessel. It wasn’t just Sunnydale that needed a chosen Slayer, it was an entire generation of women. That fact became intricately intertwined with Whedon himself.

Seemingly every interview involved a discussion of his fondness for stories about strong women. “I’ve always found strong women interesting, because they are not overly represented in the cinema,” he told New York for a 1997 piece that notes he studied both film and “gender and feminist issues” at Wesleyan; “I seem to be the guy for strong action women,’’ he told the New York Times in 1997 with an aw-shucks sort of shrug. ‘’A lot of writers are just terrible when it comes to writing female characters. They forget that they are people.’’ He often cited the influence of his strong, “hardcore feminist” mother, and even suggested that his protagonists served feminist ends in and of themselves: “If I can make teenage boys comfortable with a girl who takes charge of a situation without their knowing that’s what’s happening, it’s better than sitting down and selling them on feminism,” he told Time in 1997.

When he was honored by the organization Equality Now in 2006 for his “outstanding contribution to equality in film and television,” Whedon made his speech an extended riff on the fact that people just kept asking him about it, concluding with the ultimate answer: “Because you’re still asking me that question.” He presented strong women as a simple no-brainer, and he was seemingly always happy to say so, at a time when the entertainment business still seemed ruled by unapologetic misogynists. The internet of the mid-2010s only intensified Whedon’s anointment as a prototypical Hollywood ally, with reporters asking him things like how men could best support the feminist movement. 

Whedon’s response: “A guy who goes around saying ‘I’m a feminist’ usually has an agenda that is not feminist. A guy who behaves like one, who actually becomes involved in the movement, generally speaking, you can trust that. And it doesn’t just apply to the action that is activist. It applies to the way they treat the women they work with and they live with and they see on the street.” This remark takes on a great deal of irony in light of Carpenter’s statement.

In recent years, Whedon’s reputation as an ally began to wane. Partly, it was because of the work itself, which revealed more and more cracks as Buffy receded in the rearview mirror. Maybe it all started to sour with Dollhouse, a TV show that imagined Eliza Dushku as a young woman rented out to the rich and powerful, her mind wiped after every assignment, a concept that sat poorly with fans. (Though Whedon, while he was publicly unhappy with how the show had turned out after much push-and-pull with the corporate bosses at Fox, still argued the conceit was “the most pure feminist and empowering statement I’d ever made—somebody building themselves from nothing,” in a 2012 interview with Wired.)

After years of loud disappointment with the TV bosses at Fox on Firefly and Dollhouse, Whedon moved into big-budget Hollywood blockbusters. He helped birth the Marvel-dominated era of movies with his work as director of The Avengers. But his second Avengers movie, Age of Ultron, was heavily criticized for a moment in which Black Widow laid out her personal reproductive history for the Hulk, suggesting her sterilization somehow made her a “monster.” In June 2017, his un-filmed script for a Wonder Woman adaptation leaked, to widespread mockery. The script’s introduction of Diana was almost leering: “To say she is beautiful is almost to miss the point. She is elemental, as natural and wild as the luminous flora surrounding. Her dark hair waterfalls to her shoulders in soft arcs and curls. Her body is curvaceous, but taut as a drawn bow.”

But Whedon’s real fall from grace began in 2017, right before MeToo spurred a cultural reckoning. His ex-wife, Kai Cole, published a piece in The Wrap accusing him of cheating off and on throughout their relationship and calling him a hypocrite:

“Despite understanding, on some level, that what he was doing was wrong, he never conceded the hypocrisy of being out in the world preaching feminist ideals, while at the same time, taking away my right to make choices for my life and my body based on the truth. He deceived me for 15 years, so he could have everything he wanted. I believed, everyone believed, that he was one of the good guys, committed to fighting for women’s rights, committed to our marriage, and to the women he worked with. But I now see how he used his relationship with me as a shield, both during and after our marriage, so no one would question his relationships with other women or scrutinize his writing as anything other than feminist.”

But his reputation was just too strong; the accusation that he didn’t practice what he preached didn’t quite stick. A spokesperson for Whedon told the Wrap: “While this account includes inaccuracies and misrepresentations which can be harmful to their family, Joss is not commenting, out of concern for his children and out of respect for his ex-wife. Many minimized the essay on the basis that adultery doesn’t necessarily make you a bad feminist or erase a legacy. Whedon similarly seemed to shrug off Ray Fisher’s accusations of creating a toxic workplace; instead, Warner Media fired Fisher.

But Carpenter’s statement—which struck right at the heart of his Buffy-based legacy for progressivism—may finally change things. Even at the time, the plotline in which Charisma Carpenter was written off Angel—carrying a demon child that turned her into “Evil Cordelia,” ending the season in a coma, and quite simply never reappearing—was unpopular. Asked about what had happened in a 2009 panel at DragonCon, she said that “my relationship with Joss became strained,” continuing: “We all go through our stuff in general [behind the scenes], and I was going through my stuff, and then I became pregnant. And I guess in his mind, he had a different way of seeing the season go… in the fourth season.”

“I think Joss was, honestly, mad. I think he was mad at me and I say that in a loving way, which is—it’s a very complicated dynamic working for somebody for so many years, and expectations, and also being on a show for eight years, you gotta live your life. And sometimes living your life gets in the way of maybe the creator’s vision for the future. And that becomes conflict, and that was my experience.”

In her statement on Twitter, Carpenter alleged that after Whedon was informed of her pregnancy, he called her into a closed-door meeting and “asked me if I was ‘going to keep it,’ and manipulatively weaponized my womanhood and faith against me.” She added that “he proceeded to attack my character, mock my religious beliefs, accuse me of sabotaging the show, and then unceremoniously fired me following the season once I gave birth.” Carpenter said that he called her fat while she was four months pregnant and scheduled her to work at 1 a.m. while six months pregnant after her doctor had recommended shortening her hours, a move she describes as retaliatory. What Carpenter describes, in other words, is an absolutely textbook case of pregnancy discrimination in the workplace, the type of bullshit the feminist movement exists to fight—at the hands of the man who was for years lauded as a Hollywood feminist for his work on Buffy the Vampire Slayer and Angel.

Many of Carpenter’s colleagues from Buffy and Angel spoke out in support, including Buffy herself, Sarah Michelle Gellar. “While I am proud to have my name associated with Buffy Summers, I don’t want to be forever associated with the name Joss Whedon,” she said in a statement. Just shy of a decade after that 2013 speech, many of the cast members on the show that put him on that stage are cutting ties.

Whedon garnered a reputation as pop culture’s ultimate feminist man because Buffy did stand out so much, an oasis in a wasteland. But in 2021, the idea of a lone man being responsible for creating women’s stories—one who told the New York Times, “I seem to be the guy for strong action women”—seems like a relic. It’s depressing to consider how many years Hollywood’s first instinct for “strong action women” wasn’t a woman, and to think about what other people could have done with those resources. When Wonder Woman finally reached the screen, to great acclaim, it was with a woman as director.

Besides, Whedon didn’t make Buffy all by himself—many, many women contributed, from the actresses to the writers to the stunt workers, and his reputation grew so large it eclipsed their part in the show’s creation. Even as he preached feminism, Whedon benefitted from one of the oldest, most sexist stereotypes: the man who’s a benevolent, creative genius. And Buffy, too, overshadowed all the other contributors who redefined who could be a hero on television and in speculative fiction, from individual actors like Gillian Anderson to the determined, creative women who wrote science fiction and fantasy over the last several decades to—perhaps most of all—the fans who craved different, better stories. Buffy helped change what you could put on TV, but it didn’t create the desire to see a character like her. It was that desire, as much as Whedon himself, that gave Buffy the Vampire Slayer her power.

[lovecanbesostrange]

I still believe one of the most egregious oversight on OUaT was not giving Granny her very own episode. Look, the whole show is about parents making stupid mistakes that lead to ruin for their children and then doing better. It’s everywhere. Including with Granny and Red. Because oh boy, Granny keeping the wolf a secret ruined... well, it actually killed people (that’s on her more than it is on Red).

The only thing we have is her re-telling of how her seven brothers and father (!) all got killed by a wolf. So imagine starting an episode in the EF, with the ominous “years ago”. And we hear a girl being called by her father. Lovely scene. She seems so little in the midst of her huge brothers. Just a minute to show this family is close, she is loved - as the only girl around, her mother is probably dead already, because that fits - and then the night it all happens. Keeping the violence down the viewer gets a closed up of her face, including when she is bitten. (lol this show animating a werewolf biting someone, please don’t).

And then I want to know the aftermath. How old is she at that point? How old is the wolf-man? When does said man come back for? How does it work to then turn her? Did she actually fall in love with him? How? Why? I mean he killed her family and going from so many to presumably zero is a big step (the worst twist would be if the first scene is the opposite and her family was a bunch of douchebags, but somehow that seems too weird). Did he ever have control over his wolf? Because I can believe he didn’t and so Granny never learned either after she was turned. Those would be flashback scenes 2+3, meeting him again, flirting, falling for him, a confession on his part and getting turned.

So here is Granny with her new family. And something terrible happens to her husband. Granny already praying her daughter Anita would be spared of this curse. Give me a fight between young Anita and Granny about it, explain their different viewpoints. Maybe it is Anita who embraces the wolf and so she figures out control. Not wanting to be caged during wolfstime for other people’s sake. What if Granny and her husband started doing that? He was wild and fun as a human, but dangerous as a wolf and they agreed?

Show me how a girl from a big family found a second chance, had fun in life again and then it was ripped from her in a tragic way. Husband dead, daughter gone. So she kidnaps her grandchild with this false sense of protecting her by keeping all mentions of the family “curse” to herself. Wanting to stay away from wolves, but also staying hidden from hunters.

The storyline in the present can be told all around “do I tell this truth that will make things hard or do I withhold it with best intentions (paving the road to hell a bit more)”. Ideally it would involve Emma, so I could get canon confirmation that Emma knows who made her baby blanket. Because Emma knows Granny as this no-nonsense diner lady only. And everybody has a story. Granny deserved hers told as well. To explain how she could ever think it was okay to not tell Red. Not even after the wolf got out the first time. Eating livestock and killing people!

This could casually answer some open questions about the wolves (most importantly the whole turning thing and also when did this fade from Granny??), while also rounding out one of the more prominent background characters who was always there. *heavy sigh* But also yes, give me horrible cgi wolves with Granny and husband howling together and bumping their heads affectionately.

I’m sure with a bit more thought this would have fit into 4b somewhere with all the heroes & villains talk, because sometimes good people make huge mistakes and it doesn’t mean they’re evil. I even take a talk between Granny and Snow, who is eaten up by remembering what they did to Lily - with the best intentions for their own kid.

It’s been 84 years and this is something I can’t get over.

[tommydarlings]

When i was your girl

pairing: Tom Holland x singer!reader

warnings: suicide, character death, sad and just heartbreaking 

w/c: 1.4k

Requests: OPEN

Summary: After y/n´s heartbreaking Music Video, Tom decides to fix it all because it isn´t to late, right? 

that is the part 2 of “Grenade” :) 

Music Video -> tap here

masterlist

"You have to find her and talk to her Thomas" Nikki said in a quiet voice to her son. "What if she doesn't let me talk to her?" he replied. "She will," said Dominic, who was sitting on the couch next to Tom and Nikki. "You can't push her away forever for a mistake you made!" Harry shouted. Harry was the most aggressive in the whole thing... but he also had a good reason for it. You were his only friend he had trusted with his life, and that's exactly what he lost because of his brother. When he first heard the news, he wanted to kill Tom, but he held back because he knew that's not something you'd want.

The TV ran in the background when the whole Holland family was still trying to make Tom realize that he needs to talk to her urgently, otherwise he will never get you back.

"And if she rejects you... You tried it, okay?" said Sam to his older brother who was just in deep thoughts,

What if it's too late and she has a new one? What if she doesn't even want to see me anymore? Where the hell is she anyway? What is when-

Tom's thoughts were interrupted by the TV.

--- REGISTRATION ---

Everyone watched TV. A reporter with a sad look came into the picture. Everyone looked at the TV with a confused look until the reporter finally spoke after taking a deep breath,

"Uhhh, okay... I'm very sorry, dear viewers, to tell you that... the famous singer y/n y/l/n was found dead at a train station in New York, USA, this afternoon. "

Everyone in the house was speechless until Harry shouted, "NOOOOO, THIS IS FAKE, TELL ME THIS IS FAKE!" Tom started crying like a waterfall. "Mum, please say that's fake," Paddy said with tears in his eyes. "I'm s-sorry guys, but I b-believe it's true," Nikki replied with a stuttering voice and tears ran down her cheeks.

Behind the Reporter was a monitor showing a picture of you and Tom. In the picture you and Tom kissed in the middle of the stressful streets of London. One of Tom's favorite pictures.

"About half a year ago, y/n had caught her past boyfriend Tom Holland, also known as Spiderman in the MCU, cheating on her. The police are not sure if it was suicide or if it was an accident, they are trying to discover it. When it was suicide, do you think she did it because of Tom? "said the reporter.

Tom suddenly felt guilty. He never thought you'd do anything like that in life, but maybe he was just too busy giving another woman pleasure behind your back...

"Okay, new news!" said the reporter, which brought everyone back to the TV in the room. "They actually found live footage where the police officers investigating at the station... I'm very sorry to tell you that now but... It was pure suicide.

Everyone´s heart broke into a thousand pieces. Nobody could believe what they just heard...

"Next to the dead body we found some things from y/n. First, the police could find a polaroid photo of y/n and tom and next to it was a small note on "Love can kill you" was written on it. " Explained the reporter.

"Oh my God," Nikki whispered quietly, but everyone heard it.

"The officers were also able to find her cell phone next to the glides on which they found y/n." On the monitor has now been displayed a picture of her phone, the note and the polaroid image. "A record recording with the title " When i was your girl " was also found on the phone. Maybe it's a new song she wanted to release? "

It was already quite late and everyone was already exhausted, so, everyone made their way to bed after they had wiped away their tears.

- 

The next morning, Tom got a call from an unknown number. He sat down on the couch in the living room where his family was and took the call. "Hello, Tom Holland here." He said into the phone.

"Hello, Officer Walker speaks here, Could you come to the police station in London?" Tom explained to his parents where he had to go and after he got dressed he went there.

Once there, Tom got your phone and a date was set for your funeral. Tom thanked him for getting the phone and before Tom left, the officer said something else,

"She trusted you, and only you... The last wish was to play her record recording 'When i was your girl' to you... Maybe you play it at her funeral? "said the officer to Tom who got tears in his eyes again.

"Okay, I'll do, thank you," Tom replied. He drove home and told his family everything. "Should we play it at her funeral?" Dominic sighed.

"I'd like to do it... If that was her wish... "Tom said with a calm and fragile voice. Everyone agreed and tried to process it all.

The day of the funeral came and the Hollands and friends & family of you were at your funeral. After everyone wiped their tears and the pastor had finished his speech, it was Tom's turn,

"Okay, uhh... I think everybody knows what I did to y/n and uh... I know it won't help, but I apologize for what I did and I hope you can all forgive me. I loved her and still love her and I will never forget what a disgusting and arrogant person I was the day I cheated on her... She recorded one more song before she died. I've never heard the song before, but it was her last wish... The title is' When i was your girl '. Let's start it please."

 Same bed but it feels just a little bit bigger now,

Our Song on the Radio but it don´t sound the same,

When our friends talk about you all it does is just tear me down,

Cause my heart breaks a little when I hear your name,

It all just sounds like, oooooh…

Mmm, too young, too dumb to realize,

That I should have bought you flowers,

And held your Hand,

Should´ve gave you all my hours,

When I had the chance,

Take you to every Party,

Cause all you wanted to do was dance,

 Tom loved to dance, and you liked it too. But now Tom has to dance alone without her in his arms...

 Now my baby´s dancing,

But he´s dancing with another girl.

 "I would never dance with another girl except you darling" Tom whispered to himself as the tears started to spill.

 Your pride, your ego, your needs and your selfish ways,

Caused a women that I thought you love walk out of your life,

Now you never, never get to clean up the mess you made, ohhh

And it haunts me everytime I close my eyes,

It all just sounds like ooooooh,

Mmm, too young, too dumb to realize,

That I should have bought you flowers,

And held your Hand,

Should´ve gave you all my hours,

When I had the chance,

Take you to every Party,

Cause all you wanted to do was dance,

Now my baby´s dancing,

But he´s dancing with another girl,

 Everyone was dissolved in tears and just wanted you back. But that was unfortunately no longer possible.

 Although it hurts,

I´ll be the first to say  that i was wrong,

Oh, I know you really much too late,

To try and apologize for your mistakes,

But I just want you to know,

 "So she knew exactly when she was going to kill herself... She planned everything and wrote this song as a Goodbye message." whispered Tom to himself, but his family heard and started to cry even harder.

 I hope she buys you flowers,

I hope she holds your Hand,

Give you all her hours,

When she has the chance,

Take you to every Party,

Cause I remember how much you loved to dance,

Do all the things I should have done,

When I was your girl,

Do all the things I should have done,

When I was your girl.

 Tom took y/n's phone back in his hand to close the recording, but it wasn't over.

"Turn it off Thomas," Nikki said with a devastated voice.

"But it is not over yet- ,

Before Tom could finish his sentence, your voice came trough the speakers.

„Hello!“ Everyone held their breath before you talked. You let out a tiny laugh before you spoke,

 "I told you Tommy,

I jump infront of a train for you.“

a/n: That was the second Part aka. final part! Hope you like this video! Music Video is linked on the Top! Maybe listen to it while reading! :) You can message me Songs Requests in my askbox too! :) ily, liz <3

[sserpente]

So um I saw this twitter post on how the main reason the loki series was created in the first place was to make loki the first main character in the mcu to be bi, is this true? I mean I thought the reason it was created was because marvel wanted to continue on where loki went after he escaped in endgame. I know I shouldn't just belive everything I read on the Internet that's why I'm asking you about this. I kinda belive it for a second cuz ever since ep 3 of loki came out, Kate herron has been kinda pushing the fact that loki is bi in everybody's throats in a twitter post of hers and I quote "it was very important to me, and my goal, to acknowledge loki was bisexual." So yeah, I just need a second opinion on this cuz lately marvel has been kinda woke if you know what I mean if you know about the whole controversies on their new comics. I really don't want any of this to be real. I'm really looking forward to your response.

*blinks* Okay, first of all, I'm flattered you want my opinion on this because I didn't even work on the show and I am, in fact, just another Loki girl on the Internet, haha! Okay, so here me out:

The main reason? I really doubt that! The reason we got a Loki show is because Tom Hiddleston has been stealing the show for years. In fact, I strongly believe that it is OUR passion for this character and HIS incredible talent and commitment that Marvel went ahead with his own series. If Tom's Loki wasn't this popular, I'm pretty sure he would have stayed dead after TDW. So don't worry about that. ♥

As far as I'm concerned, Kate is bisexual herself. She loves Loki as a character, so her passion for this is understandable. I support the LGBTQ+ community with all my heart, so I too cheered when Loki cheekily went "A bit of both". They worked this lovely aspect of his character into the show and given that it's always been there both in the comics and in the myths, it was only a matter of time in the show, I guess. After all, they didn't really have the time to focus on that in the Thor films.

But, and this is very important now: Loki being bisexual doesn't define him. It's a meaningful aspect of him (an aspect that resonates with many fans which is great), part of who he is, sure--but it doesn't define him as a fictional character. He is Loki, the God of Mischief, not Loki, the MCU character who is a bisexual. A friend of mine is a lesbian but if I pointed this out to her every time we met or only referred to her as such, she would go mad. And she certainly wouldn’t keep talking about her being a lesbian every time we met either. It doesn’t define her. It’s part of who she is but it doesn’t define her entire being, let alone reduces her to that. Just... let people love whoever they want, you know?

In other words, I remember there being a few discussions on whether the show should include Loki’s sexuality or even love interests before it came out and I understood that worry to some extent simply because Loki has a lot on his plate right now. Think about it:

The last thing that happened to him was him finding out that he is a Frost Giant, why Odin favoured Thor all these years and that his entire life is a lie, him starting a desperate attempt to gain his adoptive father’s recognition, failing, trying to commit suicide, ending up with Thanos instead, getting tortured and being forced to invade New York City, failing again (presumably even intentionally) and now being about to be brought back to Asgard expecting Odin to execute him (which is not far-fetched—Odin said ‘Frigga is the only reason you’re still alive and you will never see her again’ in TDW so I’m sure Loki was almost certain to be executed by Odin). So when the Tesseract landed at his feet, he saw his chance so he took it and escaped and now the TVA is telling him that he shouldn't exist and forces him to work for them, else he will be disintegrated and he learns that he can't return to his own timeline, has no home. He is struggling with his identity and finding his place in the world, figuring out who he is and what he wants. Now imagine making all that only about his sexuality and gender identity and disregarding everything else or shoving it in the background. Doesn't make sense, right? Loki must learn to love himself first before anyone else, regardless of their gender identity, can love him. If he ever gets love interests in the future, I'm pretty sure it'll be a process full of angst and hurt. I don't know anything about those alleged controversies concerning the new comics though, so I wouldn't be able to comment on that.

A lot of people are staining society with their negativity and try to find negative aspects everywhere which is why I never interact with such posts on here or elsewhere, it’s not worth my energy. It starts with bisexuals who happen to end up in a relationship with the opposite gender and are being judged for it even within their own community and as of right now it continues where some individuals on the Internet insist that we all must now use "they/them" pronouns for Loki when even in the show, they use "he/him" pronouns for him and "she/her" pronouns for Sylvie--not every non-binary/genderfluid person exclusively uses “they/them” pronouns.

Most importantly, I really doubt that every future episode now will keep reminding the audience that Loki is bisexual. You’re probably not familiar with her but Alex, the winner of this year’s season of Germany’s Next Topmodel is transgender--and, at some point in the season, when she was asked by an interviewer about what she thinks about a transgender model winning Germany’s Next Topmodel, she said in her opinion, simply a woman would win Germany’s Next Topmodel because that is what she is, meaning that society should stop pointing out how “different” the LGBTQ+ community is by constantly pointing it out but instead to finally start acknowleding it as normal. She told her story once and that’s it--she wants to be considered a female model, not a transgender model. Being transgender is a part of her but it doesn’t define her entire being.

Puuh, now that was a very long answer. Please, anyone, feel free to add things, I’m happy to learn more about what you guys, especially if you’re in the community, think about it. ♥

[house-of-cakes]

Jamais Vu 

Masterlist || Series Masterlist 

Prev || Next

Chapter 17:  Gimme! Gimme! Gimme

Jungkook x Reader: enemy to lovers AU

Word count: 2164

Warnings: Swearing and mentions of slight bullying

Premise: “There’s an opposite to déjà vu. They call it jamais vu. It’s when you meet the same people or visit places, again and again, but each time is the first. Everybody is always a stranger… Nothing is ever familiar” – Chuck Palahniuk, Choke

AKA Jungkook goes in search of the girl who got him expelled.

I feel so bad posting late that I wrote a bonus chapter 😅 the extra chapter will be out this weekend.

If you would like to give feedback or be tagged in this story please send me an ask/message 😊

Tagged list: @inspinkyring @betysotelo18 @kardia-apo-marmelada @casspirit0705 @preciouschimine @therealsugababe  @lucedelsole97 @deolly @lexy9716  @thesweetest-peas @sannsia​

Bright flashing lights…catchy retro theme songs…the loud cheers of victory from teenage boys and girls defeating their opponents – these were the ingredients that made up Y/N’s favourite place in the world. While Namjoon found comfort on the stage, she felt most at home under the glowing neon lights of Reload.

A few years ago, Y/N had found the arcade a by chance after she had “run away” from home. She had just had an argument with her mother about her appearance and after countless moments of nagging and insults she had finally snapped and left home without permission…it was her first act of rebellion.  

Y/N’s mother was fixated on looks and how a “lady” should behave and present themselves. She always claimed that Y/N she be focusing on her physical imagine instead of having her face hidden behind a computer screen. It killed her mother that her youngest child spent all of her free time working in a place she deemed to be so juvenile. Y/N knew this for a fact and if she was being honest it only added to the appeal of working there. The job didn’t pay much nonetheless she loved it just as much as she did the Magic Shop.

A young boy runs through the arcade and finds Y/N sat on top of an air hockey table (a privilege that only she was allowed). Her attention is focused on her phone, trying to keep tabs on her best friends who are working a job without her. It was not very often that she could not attend an appointment however her elderly boss had caught a cold and there was no one else to cover the busy Friday night shift.

“Noona.” The soft whimper of the young boy catches her attention. “What’s wrong, buddy?” She jumps off the table and kneels so that she is eye level with the child “A-an older-r b-boy…” his words are choppy as his small body shakes with sobs “Stole my game.” “That wasn’t very nice of him. Can you point him out so Noona can have a chat with him.” The little boy continues to whimper but with some comforting words of reassurance and 5 free game tokens, she is able to convince him to point in the direction of the most popular first-person shooter game towards the back of the arcade.

“Thank buddy, that was very brave of you. I promise you in 10 minutes the game will be free for you to play.” She wipes the last of his tears and ruffles his hair for good measure “Come find me soon, ok?” The boy sniffling boy nods as Y/N quickly makes her way to the other side of the room.

At the game Y/N stands off to the side of the machine and pauses to analyse the teenage boy and his skill. The teen would get easily flustered each time a surge of villains would rush after his character and he would frequently let out a string of cuss words whenever he missed his mark, he was an amateur and it showed.

Suddenly his life bar at the top right of he screen started flashing, indicating that his game would soon end if he was not careful with his energy. This must have been enough motivation for him to focus better because his kill streak went from 3 to 9 in almost an instance.  A wicked plan formed in Y/N’s head as she he went in for the last shot of the level.

“Hey!” she called out to him causing him to flinch and miss his target. This caused a fatal error as the enemy on screen took the opportunity to shoot his character right in the face. The teen let out a sound of frustration as the screen read ‘Game Over’ in giant letters and request more tokens to continue. Y/N waited for him to insert the coins before making her presence known in front of him.

“You stupid bitch! You made me lose my game.” He grumbled and lift his gun to continue playing. Y/N reached over to the power point behind the game and switched it off.

“Get the fuck out of my arcade.” She spat and point towards the exit “Reload has a strict no bullying policy so don’t think for a second you’re getting a refund on those tokens.” The teen didn’t bother arguing, he has realised his mistake when he figured out who she was and walked away looking rather embarrassed he had been called out in front of everyone on a busy Friday night. He was sure his class mates would all be talking about it come Monday morning.

The screen of the machine flickered back to life as Y/N switched the power back on, she waited to make sure that the unexpected reboot did not affect the game. The download bar reached the end of the bar and loaded the high score screen. She read over the listed and frowned when she got to a name that had been annoying her lately – Nochu.

This Nochu person had climb two positions high on the leader board since the last time she had checked this game and the achievement displeased her. That name was popping up on the leader boards of many games recently and while she did not feel her abilities were being threatened, she was annoyed that she could not put a face to this person.

Hours later back at the Kim residence, the two cousins enjoy the cooling weather on their porch as Jin attempts to tune his guitar by ear.

“The Basement wasn’t closed tonight.” Jungkook states when he scrolls through his Instagram feed and comes across a new post by the club “I never said it was.” Jin pays no attention to his cousin, instead he fiddles with the knobs at the head of guitar and plucks at a string once he believes he’s tightened the key enough. The sound rings out and the pitch is too high. “So why did we go to Reload instead?” Jin repeats the process with the chord again, the pitch is closer to where its supposed to be however the sound is still off. “None of the guys had a battle or a performance tonight.” He explained as he plucked at the string again and again, trying to pin point why it sounded wrong “And Y/N had to work, so we decided to hang with her instead.” “So we went for Y/N?” Jungkook tone was accusatory “No one forced you to tag along.” Jin fired back, he had stopped trying to tune the guitar to face him “She’s always supports the guys at the Basement, sometimes we repay the favour by making an appearance there to help drum up business.” Jungkook scoffed “You told me Reload was popular because she attracts people with her skills…if that’s the case why would she need you guys?” “She doesn’t need us at all.” Jin moved his guitar from his lap and lent it against his seat. He was frustrated with it and this conversation was adding to the stress.  “That’s the thing about having a good relationship with people…you do things to support them, even when they don’t ask.” “Oh yeah? If she’s so good why is she only ranked second on all the high scores.” Jin rolled his eyes at his cousin, he was being petty again and completely missed the point he was trying to make. “Mr S.K?” Jungkook nodded in confirmation.

Jungkook was becoming a regular at Reload and it was evident to him that Mr S.K was clearly the real champion of the joint. The guy had dominated every game of the arcade by holding highest score and while Y/N’s name always sat below his, her score was always miles away from meeting his. To Jungkook this was clearly another instance of Y/N receiving praise and adoration where it was not merited… it was Mr S.K who deserved to celebrated and yet it was Y/N who stole his popularity. If he had to come up with an explanation as to how this occurred, he would bet all his money it was because Y/N was considered to be “beautiful”.

“Mr S.K has held the top for as long as anyone can remember. There’s no mystery to who he is…He’s obviously the owner of the arcade.”  Jin windshield wiper boomed out and filled the stillness of the night as his cousin’s face fell. 

Jungkook pondered on the last few weeks, there was so much background information he didn’t know and for some reason his brain chose to fill in the gaps by somehow hating on Y/N.

His thoughts were interrupted by the sound of a car blaring loud music as it sped up and down the street.

“What the fuck is going?!” Jungkook exclaimed as he stood from his seat and made his way to the top of the porch stairs to get a better look at car. “Ah my Angel is home!” Jin jumped up and went to stand next to Jungkook. “Does she always carry on like this? She drives like a dipshit.” “Nah, that’s not even her driving. You see a while back she got caught at the illegal races, her parents made her sell her car as punishment... She must have gotten into a fight with her mother, this is how she always gets back her.”  

The car finally stopped doing laps down the street and pulled up into Y/N’s drive away. The pair watched as Y/N jumped out of the passenger side of the car and wave to the driver as they pulled away from the house. She was still unaware that she was being watched by them

“Hey Brat!” Jin called out, capturing her attention “Didn’t your mother ever tell you not take rides from strangers?”

Jungkook’s breathe hitched at the thought of Y/N allowing herself to be in a car with a stranger, especially someone who drove like a lunatic. He didn’t catch a glimpse of the driver but surely, she wasn’t reckless enough to put herself in such a dangerous situation…was she?

“She did, that’s what make’s it all the better.” Y/N bantered on smugly, Jungkook couldn’t figure out if she was joking or not. “Well it’s past your bed time young lady, you march right on inside and get right to bed.”  Y/N let out a sound of fake indignation and clutch her hand to her check overdramatically. “To think I raced all the way here with a surprise and this is how you treat me? You really are such a punk!” “A surprise?!” Jin’s eyebrows shot up in excitement, the façade dropped immediately. Everyone knew she gave the best surprises. “Gimme! Gimme! Gimme!” he demanded and waved her over to them. Y/N laughed at his eagerness and rummaged through her bag as she closed the distance between them.

“Sorry I didn’t have time to wrap it.” She purposely handed him a grey game cartridge face down so there was some kind of element of surprise to the gift. His eyes widen comically when he turned it over and read the title of the game. “Y/N…is this…??” For the first time in Jungkook’s life he had seen his loud mouth cousin speechless. “Yah! Don’t make a big deal of it.” She tried to brush it off “Consider it an extremely late birthday gift.” “Not a big deal? This is the original Super Mario Bros 3! I played this game every day as a kid then this idiot blew it up somehow.” He nodded his head in Jungkook’s direction who rolled his eyes in response.

The incident happened years ago and he still hadn’t heard the end of it, he pretended like it didn’t bother him but deep down he felt so bad for accidentally destroying something his cousin held so dear to him.

“I’ve been trying to find it ever since! This must have cost you a fortune.” “Like I said…it’s no big deal. I was cleaning out storage at work and found it packed away, we never got round to fixing game console for it so the boss-man was nice enough to let me have it.”

That was a bold-faced lie.

Y/N had known about the sentimental significance this game had to Jin and went in search for it many months before his birthday. She only managed to get the game after she traded a set of mint condition baseball cards, she had acquired as collateral when a client fell through their end of a deal.

“Y/NIEEE this is why you’re my angel! Thank you so much.” He pulled her towards him and wrapped her up in a big bear hug. Jungkook felt out of place as he watched Y/N shriek and attempt to struggle out of his grip as he showered her with love…he could help but feel jealous of the fact that she could fix a mistake that he had made so long ago.

[khaleesiofalicante]

somehow internet is making ppl believe that they have to take a moral stand on every single thing in the world and tell ppl what’s right and wrong- even in non-issues.

Like these days ppl will call every single thing as a toxic relationship. every single relationship in the world has problems. You’re two different human beings who want to be with each other but we’re all human ans have various needs and sometimes it causes disagreements and fights and what not.

ppl will watch one scene from one tv show and decide to take a stand and get that thing cancelled, or get those people cancelled which is so goddamn whack because when you consider every single problem and label them as ‘toxic’ or ‘abusive’ you’re just creating unreasonable expectations in the world.

nobody’s partner is perfect? you fight, you argue and then you learn?? you compromise? Adjust?

idk why compromising or adjusting is seen as such a bad thing like everybody has to do that? It’s normal?

sorry my point is that it annoys me so much when people will call everything and anything as a toxic or abusive relationships and just aren’t willing to see real stories with real people, who have real problems and imperfections and what not

Bringing in a different take to this:

See, I think people ARE allowed to think relationships are toxic or abusive - it depends on what their perception of abuse and toxic is (which is a very subjective thing)

But what we are NOT allowed to do is judge people for being in those relationships because we don't know the context and we don't know the background.

What we need in this situation is not judgement and moral policing, but support and empathy.

So, if we think a particular ship (in a book or show) is toxic and abusive, yes you are allowed to share your frustrations on the internet.

But I think it's VERY important for us to be aware that there might be people in the fandom - or in the larger digital space - who might be in similar relationships and going through similar issues.

So saying things like "I would never be in a relationship like that" or "is she crazy why is she doing that to herself" or "she needs to get out and leave him right now wtf" can be incredibly damaging for people who are in the same situation IN REAL LIFE and are observing all these comments and thoughts - all the while being completely helpless because real life is very different from fiction.

Of course this does not mean we shouldn't call toxic ships out. But it means we need to be careful of our language.

We need to be sensible of how our actions online affect people offline.

At the end of the day, these characters are fictional. What we think of their relationship and say about them does not affect them. They are not real.

But it does affect people in the fandom and people who are exposed to this content. People who might already be in vulnerable situations.

So if we can care for real people and their very real feelings as much as we do about fictional characters and relationships, that would do us so much good.

[365days365movies]

March 21, 2021: Orlando (1992)

Tilda Swinton...confuses me.

Like, in a good way. Because Tilda may be the most versatile actor working today. I mean, look at the goddamn filmography, and you’ll see what I’ve mean. I’ve seen Tilda Swinton in a lot, surprisingly, and I don’t think anything I’ve seen was bad. For example, I am an ARDENT defender in the portrayal of the Ancient One in the MCU.

I understand the controversy here, but I actually think this is excellent casting. Especially considering...being comic book-accurate would NOT have been a good idea with this role, if we’re trying to AVOID controversy. But Tilda Swinton FUCKING KILLED IT in this role, and I will always be happy for this choice.

Let’s see, there’s Jadis in the Narnia films, as shown at the top, there’s Snowpiercer, as Mason (an amazing character, and an acting job that Swinton disappears into), Moonrise Kingdom as Social Services, The Grand Budapest Hotel as Madame D., and Gabriel in Constantine. Which is a good segue to the next talking point...

Gabriel is pointedly androgynous, and honestly, Tilda Swinton kind of is as well. You may have noticed that I haven’t used any pronouns in referencing to Tilda Swinton, entirely out of respect. Gonna be a little hard to keep up with, so I’ll be using she/her from here on out, only because those are the pronouns that Swinton’s most recently promoted for herself. She’s also referred to herself as queer of some variety, as well as being famously gender non-conforming.

Which is fitting, given that a lot of that public image began with today’s movie, one of her first big roles. I’ll be revisiting Swinton in the independent movie scene in a couple of months, but this may be a good introduction. Instead of spoiling anything off the bat, I’m gonna jump right in. And so, I present: Orlando. SPOILERS AHEAD!!!

Recap (1/2)

We begin with a young man named, well, Orlando (Tilda Swinton), a young man with a feminine appearance and a good upbringing. His name means power land and property, but all he really wants is company. He writes and rests by a tree in the day, but falls asleep by mistake. When he wakes up, he runs back to where he’s meant to be, with a tribute to Queen Elizabeth I (Quentin Crisp) playing in the background. And that’s a REAL song, by the way, actually sung in the 1600s for Elizabeth! Very neat.

A title screen flashes, reading “1600: Death”, and we see where Orlando is meant to be. He speaks poetry for the Queen and her court, but is interrupted by the aged queen, who asks whether or not his poem is appropriate for her presence, as the poem is about youth, and Queen Elizabeth is not that. Orlando’s father (John Bott), who is serving as host to Elizabeth, intervenes on his behalf. However, it doesn’t seem to matter to the Queen, as she invites Orlando back to England to serve as her “favourite”. He accepts, and soon lives alongside the Queen. She quickly promises Orlando much land and property, for him and his heirs, but on one condition: that he does not fade, wither, or grow old. 

The same wish cannot be applied to Elizabeth herself, nor to his father, as both grow old and die soon afterwards. Fast forward 10 years, and it’s a cold winter in England. Visiting Orlando’s vast estate is a woman from Russia, named Sasha (Charlotte Valandrey), and Orlando quickly falls for her. This is to the dismay of Euphrosne (Anna Healy), his fiancée? I’m not sure, to be honest, but they’re definitely involved, and she’s definitely upset.

However, this is also a scandal for everybody else as well, not just because Orlando’s already engaged, but also because Sasha is Russian, during a particularly poor economic period for the country. Euphrosne angrily throws his ring back at him, and Orlando speaks directly to the audience, telling us that a man must follow his heart. The two go to his private cottage, and they start to make out, when Orlando suddenly comes down with intense melancholy.

Because this is such great happiness that he feels, but this happiness too will one day end. Which is, like, the most emo-shit I’ve ever heard, but I’m kinda here for it. And yet, that happiness does indeed end, when Sasha is forced to return to Russia, despite Orlando’s pleading for her to stay. He asks her to meet him at London Bridge, so that they may elope together.

Later, Orlando happens upon a performance of Othello, noting to us that it’s a terrific play. This is as the death of Othello is being played out, so that’s probably foreshadowing, right? Anyway, Orlando leads two horses through the thick fog, waiting for Sasha to arrive and come away with him. But as a storm sets in, there is no sign of Sasha. And Orlando stands there in the rain. Said rain, though, soon becomes ice, underneath his feet, floating away down the river, along with his hopes of a happy future with Sasha. The treachery of women, according to Orlando.

Over the next week, Orlando languishes in his bed, asleep for the entire time. Increasingly more servants are brought up to try and rouse him, only for him to remain asleep, no matter what they do. But then, he wakes up, noting that he can only conjure three words to describe women, none of them worth explaining.

Forty years later, and the title screen cries “Poetry”! And Orlando looks exactly the same. Guess he really took that whole “don’t grow old” thing from Elizabeth to heart, huh? He speaks to a poet, Nick Greene (Heathcote Williams), and gushes about his poetry, which is a pursuit that he loves greatly. But Nick is...well, Nick is kind of a dick, to be honest. Orlando wants only to share his love and his poetry with him, but Nick’s only in it for the money. Not a true artist, and he mocks Orlando’s poetry, which he reads only after Orlando offers him money. And then, he writes a poem mocking Orlando further, which angers Orlando...but doesn’t stop the money flowing to Nick.

Orlando moves onto his next pursuit, in 1700, in the next section: Politics. Now over 100 years old, Orlando becomes an ambassador to the Ottoman Empire, and travels to Constantinople. There, he receives a somewhat rough and awkward greeting, which Orlando is not helping with. They share some Turkish coffee, Orlando has trouble drinking that Turkish coffee, they drink a LOT of Turkish coffee, and they toast to multiple things, including the “beauty of women, and the joys of love.” Orlando pauses at this, and reveals that he is still suffering quite a bit of heartbreak. His Turkish friend, the Khan (Lothaire Bluteau), bonds with him about this.

After 10 years, Orlando has fully retreated into life as a Turkish man. This is interrupted by a British emissary, sent to bring him news of a new appointment and power from the Queen. However, something goes wrong when the Khan arrives and takes Orlando hostage. The city is under attack, and the Khan asks Orlando if he will help against their enemies. Orlando agrees, and gives them arms, and heads to help himself at the walls. There, he witnesses a man dying, and it shakes him greatly. And just like before, he sleeps it off for seven days. And then...she wakes up.

YUP. WHAT.

Yeah, um, Orlando is now a woman. Like she says: “Same person, just a different sex.” Which is a very interesting premise, not gonna lie. Looks like Orlando now has to live life as a woman, which is going to be...difficult in 1700s Turkey. Or England. Or anywhere. Or any time.

Still, Orlando approaches this new life with aplomb, and without really any needed caution. Parading in some awesome dresses, she greets fellow nobility as the lady Orlando. However, the emissary from earlier, Archduke Harry (John Wood), begins to recognize her as similar to the lord Orlando.

In speaking with a group of poets, however, Orlando learns EXACTLY what men think of women in this society, and it’s not even a little bit good. She leaves, enraged and embarrassed. Harry also speaks with her, assuming that she was a woman all along. However, Orlando’s in EVEN MORE shit, as she’s quickly served with papers that are an attempt to take away all of her property and titles, because Lord Orlando is legally dead, and Lady Orlando is a woman, which one of them says is basically the same thing. FUCKIN’ YIKES, BRUV.

Ah, but Harry tries to help by proposing to her ON THE FUCKIN’ SPOT. He believed that Orlando was perfect as both genders, and is happy to do it. However, Orlando understandably refuses, and after Harry tells her that she will die as a spinster, alone and dispossessed, she runs into a nearby hedge maze. And while in the hedge maze, time passes, and her outfit changes to match the period accordingly.

Forward 140 years now! The year is 1850, and a new chapter begins: Sex.

And as she runs from the maze, she runs into who else...but Shelmerdine (Billy Zane), a man who...Shelmerdine? SHELMERDINE? What fuckin’ witch cursed his entirely family line to have THAT name? That’s the kind of family that was named AFTER a bridge, not the other way around! WHAT KINDA NAME IS FUCKIN’ SHELMERDINE?

Well, I’ve looked it up now, and it is apparently a real name. So, if any Shelmerdines are reading this...I mean, I’m sorry, but also, FUCKIN’ SHELMERDINE? OK, back to Shelmerdine. He’s twisted his ankle falling off his horse, and Orlando is now taking care of him. She reveals, in the process, that she’s about to lose everything. The reasons for that aren’t quite said, but Shelmerdine offers a place at his side, back to the great free land of America.

After having a conversation about the roles of men and women in the world (which is interesting given the context of the film in general), the two fulfill the chapter’s imperative. And we never see the act, but we do get some interesting angles and hand-holding. But the next morning, this post-coital reverie is interrupted by the lawyers from the Queen. The lawsuits have been settled, and Orlando has been legally declared a woman, meaning that unless she has a son, all of her possessions will be lost.

Shelmerdine (I swear, every time I say that name, a fairy gets chlamydia) leaves as well, with the southwest wind. As he heads back to America to fight for freedom, Orlando stands in the rain, facing an uncertain future, and broken fully by the politics of the time period.

And then...the sound of planes overhead. Looks like a new time period once again, heading into the periods of World Wars, and Orlando is now...heavily pregnant. OH. FUCK. Welcome to the next chapter: Birth.

We jump past the period of World War II, and to the 1990s! Orlando is presenting a book to a publisher, and he believes that the book will sell. With her young daughter in tow, she finally goes back to her old mansion, now finally able to go back after losing it 100 years prior. The narration from the beginning repeats, recontextualized for Orlando’s new life. She is over 400 years old, and finally, FINALLY...she is happy.

And that’s Orlando! I think I loved it. Real talk, this was a fascinating movie, and I’m into it. I’m very much into it. I’m sure there’s more to be gleaned from this film, but I’m glad I watched it regardless. More in the Review, though! See you there!

[sintreaties]

Fic prompt where sayaka accidentally kills somebody in school and she realizes she finally finds thrill in doing something and that something is killing

(And she becomes a serial killer)

I feel like that would be kinda dark but I think for some reason it would fit strangely?

If you want to write gore and violence for gore and violence’s sake, I’ll spare you the time and say to just write it and have fun. If you want to see how I’d go about it and get a glimpse of my creative process, I do advise reading this answer.

For starters, I believe that a good thing to keep in mind when writing any kind of story is that every good character needs a motive and a goal. Having badly written characters will inevitably cause you to end up with a weak narrative — and thus with a mediocre story. Let’s start with that then.

As introspection makes up for like 40% of my narrative voice, I personally like my characters to be as human and realistic as possible.

Killing isn’t an easy act no matter how you look at it. What are the (human, realistic) causes that would lead a person to such a thing? Figure this out first. This will be the motive, the beginning, the accident that sets the whole story in motion.

Then figure out what the character wants to achieve with all the killing. That will be their goal. You should see the goal as the light at the end of the tunnel: your character might or might not see it in the end, but it has to be there for your story to work. Even having no goal is a goal in itself, because in most cases, the goal becomes finding something to achieve.

Together, motive and goal will keep the story going.

If you want to go the extremely realistic way, remember that in the vast majority of cases, serial killers irl come from a very tragic background, leading, in most if not all cases, to serious mental illnesses. People don’t just wake up someday and decide to commit atrocities like this. Something in their life went tragically wrong and they don’t know how to fix it. You will need to research this. Make sure you have the stomach and the tact for it.

If you’re not interested in that route (and I know I wouldn’t be), use Sayaka’s canon character as a base. This will make the character more solid overall, but if you’re worried about writing her OOC, it might take away some of your creative freedom.

You said that Sayaka would keep killing because she’d finally find something that gives her a thrill. This seems like a weak motive and a bad goal because 1) It doesn’t seem coherent with Sayaka’s character, 2) Sayaka already knows where to find that thrill. She finds it in Kirari — in being her “number one”. Sayaka was literally willing to cause Yumeko’s death at the Tower of Doors to be able to be with Kirari.

So. Canonically, here’s your motive: Sayaka kills for Kirari’s sake. People don’t just enjoy killing other human beings — not without serious mental issues at least. That’s also why I’d avoid using the “thrill” as a motive.

If all, you can mix it to the goal: killing for Kirari gives Sayaka some power in their relationship. It makes her feel like she’s worth something, she auto-convinces herself that she’s a guardian, that without her crimes Kirari would be in real danger. This gives her the thrill. Kirari herself might or might not be unable to stop her (and this could be a conflict, to make your narrative more interesting).

So, why does Sayaka starts killing? Like in the ToD, the first accidental killing is somehow connected to Kirari.

Why does Sayaka keep killing, although killing is a Very Bad Thing and you shouldn’t do it? Because a twisted, sick part of her realizes that, if she kills everyone that threatens Kirari and their relationship, they can be happy together. Sayaka can be Kirari’s number one then. You don’t have to worry about being a number two if literally everybody else is dead. Perhaps it ends up escalating. That messes Sayaka up so much that she has to live through delusions, or else she won’t be able to live with what she’s done. (Consider this as a second conflict).

Which brings us to what we can call the archetype of the story: the Sayaka we created isn’t original. Anime, games and manga and filled with yandere girls.

I used to be very much against this kind of cliché and tropes, but guess what? If you give your readers something that they already know (an archetype) there’s a higher chance that they might enjoy it, because familiarity will ease them more into the narrative. Consequently, you’ll have more chances of growing your audience — which it’s something that a writer, any writer, would want to keep in consideration.

This is just an idea. The main flaw that I see in it is that, like for most yandere characters, Sayaka’s character practically gets reduced to being a love interest and nothing more. So, I’d take just a peek at the extremely realistic way of creating a serial killer: Sayaka’s childhood was hard. Being bullied and isolated at school fucked her up more than she realized. Becoming Kirari’s number one for Sayaka actually means affirming that she is a person, that she finally wants to live and be happy. Even if that means harming others.

No matter if you agree or not with my idea, I do suggest keeping these things in mind: your character is a conglomerate of motive, goal and internal conflicts (killing is bad — it’s okay to kill for Kirari/ It’s not about Kirari, it’s actually about how I choose to achieve my own happiness). Use the conflict that these characteristics create to give depth to your story.

I know that this was extremely long and detailed. I did say I’m obsessed with writing. It’s like playing chess for me: I look at the board and I absolutely adore figuring out all the moves before actually touching the pieces.

Answering was fun for me, but I hope it ended up being useful for you lmao.

[rubykgrant]

I’m gonna ramble about the Director and Allison, because I have all these background thoughts with them, and I’m not sure if it’ll come up in my story-line much, but still... I thinks me thoughts-

I’ve never been shy about trash-talking the Director, or as I like to call him, Dr Sadboy McDeadwife. Oh sure, he certainly had a lot of tragedy in his life, he lost people he cared about, and I have perhaps a drop of sympathy for him... but, y’know, he also used his loss as motivation to manipulate and torture people, basically getting everybody around him killed, just to fulfill his own agenda. Basically, he sucks (and I’m not slamming anybody who enjoys his character; we all have a jerk in our favorite collection, and just from a story point of view, he’s a very interesting character). Like many “I’d kill for the one I love” characters, he loses perspective; would Allison want him to turn Project Freelancer into a front for his personal experiments with AI? No, she seems to have been somebody that cared about human life and genuinely wanted people to survive the war. Instead of actually solving problems or protecting people, the Director used Freelancers for gathering equipment, causing all kinds of internal power-struggles on Earth... he even helped start the false “Red Team/Blue Team” propaganda, getting people to sign up for a totally fake war with fake armies but with REAL weapons, which got many of them REALLY killed. The Freelancers robbed office buildings and played capture the flag. Down the road, this created the Flag Zealots and the incident with Temple’s group. Would Allison want him to IGNORE THEIR DAUGHTER, the person who was still alive, the person they had brought into the world together? I very much doubt it. If he HAD somehow gotten Allison back, would she still want HIM? In the end, he finally realized he couldn’t get what he wanted, and so he gave up (in a very final way). Perhaps he saw it as poetic punishment, but... it would have been nice if he had, at least, left behind something besides a legacy of ruin. The first AI he created, Alpha, was gone. As were the others. The only one left was the memories of Epsilon, who still had so many questions regarding what/why/how in terms of his own existence. There were still several Freelancers out there, now wanted criminals on the run for their lives or locked up. The Director saw the AI as extensions of his own mind, selfishly believing that the pain he caused them was also inflicted on himself... they certainly felt his pain and were at times consumed by his obsession (in different ways). However, when he began breaking Alpha into pieces, he didn’t break himself as well each time. While he may have been arguably “punished” for his crimes, he didn’t really apologize for them or attempt to fix anything (and if he’d talked to other people... maybe the truth about Charon would have come out sooner. Chorus could have been saved the bloodiest part of their manipulated war).

Allison is more of an enigma, because although we get to know Tex pretty well, “Allison” as herself is only seen vaguely through the memories of the director, and mentioned briefly by Carolina. We know she wanted to help people. We know that she was often absent from Carolina’s life, and hated to say good-bye. We know she unfortunately died before coming back to her family. If I can simply use my own imagination... I can’t help but think that she was very idealistic, and perhaps something she and the Director shared was poor perspective; she lived in a time when humanity’s survival was low, the outlook dreary. Perhaps when she met somebody who was so eagerly devoted to her, she didn’t hesitate to fall recklessly in love as well. No time to take things slow, the world could end tomorrow. Perhaps she wanted children as soon as possible, because this was the only chance to create a new generation. Even if the previous people didn’t survive, humanity still had a chance. Perhaps she didn’t simply stop fighting and decide to stay at home, because that wouldn’t be fair. So many people weren’t able to be with their children, and if she could help end the war, then EVERYBODY would come home. The Director was overly selfish, but Allison was overly SELFLESS, and it wound up hurting others (obviously, Allison had different motivations, so I wouldn’t quite say she’s “equally at fault”... and it sure wasn’t her fault she DIED). Because she cared so much about so many people, Allison accidentally ignored the person who needed her most; Carolina. She was (presumably) only about 6 years old when her mother died, and even then had not been able to see her very often. Again, I can’t blame Allison for the worst of it, because she wasn’t THERE, but she chose not to be there in the beginning... mostly with good intentions, but she simply didn’t think about the results of her actions. The Director was perfectly aware of what he was doing, and didn’t care. Before these actions started hurting the rest of the world, it hurt a little girl first. Carolina lost her mother AND her father (one unfortunately died, and the other just STOPPED being a parent). Some of this is purely my own brain nonsense, because we just don’t KNOW a lot about Allison, or how much over-lap she could have had with Tex’s personality. Speaking of Tex, I always felt that, in the beginning, Alpha hadn’t intended the Beta AI to be a clone of Allison. It was the Director who began putting his own memories of her into the Beta’s program, and because he was so fixated on her death and “failure”, this is was doomed Tex later on. If there was at least one trait that carried over from Allison to Tex, it was her determination. Even when Tex knew she was probably going to fail, she still TRIED.