#but don't really have much of an impact in the west bc most of them aren't very casual-friendly

[bluenightcomedies]

>Dragon Village Collection has a sizable english fandom *vibrates* >DVC also allows foreigners to participate in Creator Dragon contests *VIBRATES FASTER*

[girlfriendsofthegalaxy]

tuesday again 7/2/2024

as of friday i have lived in texas for a full year. that's the most neutrally diplomatic thing i can say about my time in this state so far

listening

i did a lot of driving last week and had the first album from genshin impact's legally-not-France nation on loop bc it's a lot of vivaldi inspired stuff and i find that soothing. however! one of my favorite pieces of music from this nation is this battle track. i don't have any music words but i do like the.. pipe organ emphasis? on the little flourish at 0:28. catholic brain go brrrr

-

reading

thank you mackintosh.

i liked gotham city: year one! many many many callbacks but framed in a way "and this is the start of the blueprint for how everything would go" which made me less annoyed than callbacks for their own sake. a very chandler-esque take on noir, by which i mean a fundamentally good (but tired) man gets beaten to shit and survives a doublecross as he unravels a fucked up little family dynamic for the pure nosy sake of unraveling it.

-

watching

The Ministry of Ungentlemanly Warfare (2024, dir. Ritchie). a spy/action/comedy thing about Operation Postmaster, a wwii special operation off the west coast of Africa to disrupt nazi u-boat supplies.

i did not like this at all.

i generally like a guy ritchie film-- the holmes duolgy are movies i would happily rewatch at any time, but this one is very flat. there's very little banter and remarkably little dialogue-- long stretches of this film are of people getting from place to place in perfect silence. even the soundtrack is remarkably toned down. most of it sounds like ai-generatred morricone (very few of the musical passages like. resolve in any sensible manner. there is no theming and no noticeable leitmotif. one of the worst covers of mack the knife ive ever heard is at the climax of the fuckin film. what if someone ominously tapped a hihat to create tension for literally half the movie with NO other accompaniment). when it doesn't sound ai-generated and kind of off (morricone's cowboy western work is not what i expect for a largely seafaring wwii movie) it sounds like they rented a jazz five-piece for a weekend. one of the worst soundtracks i've ever heard. it was extremely distracting.

this is a heist movie that never really figured out how to effectively intercut actions its team is independently taking. there are also a lot of places where the cuts are very strange, especially in the final harbor scene flicking back and forth from the land crew to the boat crew. just felt very underbaked as a movie. i was frequently bored. not an effective comedy, action, or spy movie. just barely a coherent war movie, though not a very enjoyable one.

-

playing

the breath of the wild to genshin ripoff pipeline is pretty clear, esp in the legally-not-India nation with lots of legally-not-koroks. u get a bunch of chests and achievements if u find all 76, i finally sat down on friday with an hour-long walkthough video and found them all. every single four-leaf clover sigil is where one of these fuckers was. and to get to this point, i had to do a whole DIFFERENT quest chain with different collectibles to unlock some of the legally-not-koroks and also make room on my map to free up 76 markers. very annoying process. i fucking hate collectibles for the sake of collectibles and padding out gameplay. i could not imagine doing this if i were employed

-

making

cross stitch update.

i got this belt for the ren faire when my sister came down, finally got around to pulling it out of the freezer and cleaning it the other day, and it was what i can only call yucky-disgusting. an inordinate amount of scunge for a belt with very few signs of wear. it's impossible to photograph bc it's quite late and i did not think to take a before shot, but it straight up changed color. it is much lighter now

[existential-life-crisis]

☆ Get to know me :) (updated)☆

Hi! A bit of info to start with: I'm a minor; a lesbian; and a cis girl (she/her).

Ethnicity and language

I live in England and currently only speak English fluently however I am currently studying both French and German! (German is definitely my favourite of the 2)

Subjects and Interests

My favourite subjects are Maths and Classical Civilisation but I enjoy most subjects. (Lessons can still suck tho bc dam some teachers can be boring)

I enjoy drawing, playing games, reading (books and fics), listening to music and watching youtube.

Video games

I have a few favourite games at the minute:

• Hades

• Horizon: Zero Dawn and Forbidden West

• Genshin Impact

Finished games I still love:

• Astro Bot (its a vr game abt a little robot)

• Spiderman PS4

• Spiderman PS5 Miles Morales

• Portal 1 and 2 ♡♡♡

I am also 100% a completionist so if I finish a game I probably have 100% on it.

Reading

My fav books are everything Rick Riordan but i plan to read some other stuff as well soon.

My fav characters from the main series are Nico, Leo, Frank and Lester/Apollo but I do love pretty much all of the main cast. I haven't read Magnus Chase or Kane Chronicles since I was a kid so I'm gonna reread those before deciding favourites but I think they were Alex and Carter. Also, in love with all of the side characters even if they are 90% hc.

My fav canon ships/friendships are

• solangelo (Will x Nico)

• percabeth (Percy x Annabeth)

• frazel (Frank x Hazel) (But I do hc that either Frank was younger or Hazel was older bc the age gap was a bit strange in canon, being 13 and 16. Its a bit inconsistent , as all ages are in PJO, but if time works normally Hazel should be 14 and therefore definitely older than Nico too but thats a topic for another time)

• shelper (or shipper as I like to call them) (Shel x Piper)

• Lost trio (platonic)

• PJO trio (platonic) (Grover my baby, why must they always forget you)

• Lester and Meg (I dont think i have to say this but platonic) (please say I don't have to say that. No one ships that right)

• Reyna and Thalia (platonic) (omg let aroace characters exist in peace) (no hate if u ship it but my gods)

Fanon ships/friendships

• Valgrace (Leo x Jason) (but aroace Leo is still amazing)

• Pollen (Apollo x Darren) (Is this entirely about Dear Reader by wrongcaitlyn? Yes. Do I care? Nope. Am I insanly invested in their relationship? Oh absolutely.)

• Nico and Leo (platonic) (This had no reason to not be canon and had every reason to be and I will never forgive Rick for this until he fixes it)

• Frank and Leo (platonic) (I swear every book they would fix their relationship and then as soonas the next one starts they would hate each other again)

• Nico and evey side character ever (platonic) (especially year round campers) (bc hes genuinely just a nice guy)

• Will and Clarrise (platonic) (this is kinda canon but all we really know is that he can calm her down)

Feel free to ask for fic recs if u want them.

Music

My fav music artist is 'Grandson'. (He writes rock/alternative/indie/rap (?) music often about political/social/personal issues.)

But I listen to tons of other kinds of music too from metal to pop to instrumentals by a ton of different artists:

• Måneskin (italian rock band)

• Polyphia (instumental, primarily guitar, math rock)

• Chappell Roan (yk who that is)

• Chase Atlantic (u have probably heard at least 1 of their songs, pop/alternative/indie/r&b)

• Dutch Melrose (alternative/indie/pop)

• Mother Mother (yk who that is right?)

• Eminem (right?)

• MSI (punk/alternative/rock)

And a whole lot more

I also play guitar (acoustic and electic).

TV

Loveeee Spiderman: Into and Across the spider verse.

My fav characters are Miles, Hobie, Pavitr, Spidernoir and Gwen but I love all of them.

Shows:

• Avatar the Last Airbender

• The Legend of Korra

• Batman: the animated series

• Voltron :)

Beliefs

Im an atheist but I support people of all religions. I support Palestine. I am left liberal (again I'm British so keep that in mind, I know nothing abt US politics besides the basic/well known stuff). I believe in equal rights for all groups and am open to other ideas and perspectives.

If you cant respect that then please get of my page. You don't have to agree with me but you do have to respect me and others.

Thats all for now.

Byeee ♡♡♡

[sarioh]

Hello Tumblr user Rio Sarioh! If you're bored; do you have a favourite book you like to talk about? What is it about, why do you like it? Or perhaps a movie or show of which you enjoy the writing? A fairytale? A poem?

Wow, creative writing. Any thoughts on that? Pretty swell, in my opinion.

Hope you have a nice vague nine hour time window and that your thing arrives in good condition!

HEY tumblr user tt04sty hope u r doing well and thank you for the ask. also my Thing has indeed arrived in good condition so thank god i didnt have to wait all day for it. to be frank questions about my favorite media make me feel like a deer in headlights bc for whatever reason whenever i get asked this i somehow forget every piece of media i've ever consumed or that has had an impact on me in any way and i don't know why. safe answer though is probably everything everywhere all at once which i know might come as an absolute shock to everyone (<- wrote a 16k word fic inspired by it) but generally just any media that is very Wacky and Surreal visual-wise but with a central theme of love and connection gets me really bad because i am very predictable and also a little pathetic. also as a gay asian living in the west with a very stereotypical asian mother you can probably understand why the movie had such an impact on me LOL.

also creative writing... i've only done one work of creative writing in the past few years and that was wind back the clock which i think about genuinely all the time. writing Character Study is the most cathartic and fun experience in the world to me and i prolonged publishing that for SO long because i just wanted to keep working on it forever. my writer's problem is that it takes me about 60 years to come up with an idea that i am captivated enough by to be able to put it into writing and actually stick to it for more than a day and that has only happened one single time in my 2 years in mcytblr. but by god i would kill a whole man to be able to do that all over again because i am regrettably a stem major and have not written an essay or anything else creative in years and while im enjoying it i do feel like im missing out on a crucial part of being a Person. i miss writing so much you have no idea. and i feel like the further i go into this Degree the more my Meta Analysis brain starts to rot and get replaced by Numbers and Formulas and Snippets of code. i'm losing my touch forreal

as far as other media goes... to be perfectly honest i have not been consuming much lately just because i have been very busy irl but i did just finish reading the red rising trilogy for the first time which was cool... also have probably watched about 200 hours of animal documentaries over the past few months LOL. actually on the topic of books i am going on a flight soon and will have a 9 hour stopover so if anyone has any book recommendations of ANY genre i would love to hear them. please tell me all of your favorite books i want to read them all

[floaromaxtowns]

For the fandom edition asks, can I ask for G, I and Q <3

Ask me: FANDOM EDITION [Accepting]

G - Do you remember your first OTP, if so who was in it

OKAY SO I started shipping all the way back in 2006-7 when Youtube was the new hot shit around, and I was an itty bitty kid on early internet. Whom had Pokemon and Sonic as her main big interests at the time. I'm forever thankful for those old as fuckkkkkk tribute videos, with the biggest bops from that era. Although, I'm unable to pinpoint which ship I stumbled upon first, so I consider I started shipping them at around the same time: Rival Barry/Dawn (Twinleafshipping) and Shadow the hedgehog/Tikal the echidna (Shadikal).

FUN FACT- I have been SO long into Twinleafshipping that when I first saw it, Barry had YET to receive his official name for either Japanese and English versions. Gen 4 had YET to be released in the west, and we still didn't even know all the pokemon species introduced in it. So, the fandom nicknamed him as Damion, and for the longest time that's how we called him by. Until his official name was revealed.

And my very first queer ship was Alucard/Richter Belmont from Castlevania. That was mindblowing for sb who lived in a country, where even to this day same-sex couples and lgbtq topics are treated as a taboo.

I - Has tumblr caused you to stop liking any fandoms, if so, which and why

I got into Tumblr all the way back in 2015 BECAUSE of my hyperfixation on League of Legends, and by 2017 I was done with the entire franchise. I can't say I blame tumblr entirely for me falling out of love with LoL, there were a number of factors that caused me to distance myself from it (the fact I had stopped playing the game altogether, bc my computer couldn't run it anylonger). But I can say that LoL's fandom is already infamously toxic as it is, and on Tumblr that shit becomes unhinged. And I'm certain that since the inception of Arcane, that fandom must have got even worse.

The only reason we don't hear that much about it nowadays is bc, there is now actual competition for the prize of 'the worst community'. Genshin Impact somehow managed to speedrun those levels of toxicity and unhingedness.

It was through LoL's fandom on tumblr I first saw the lengths, some not-sound of mind individuals are willing to go, to """defend""" their ships. It was the first time I saw anyone receive genuine hate and death threats, just bc they didn't sign up to the popular and most wide spread ship. And I heard through a friend of mine who is still into LoL, that side of the community truly became the worst, thanks to Arcane. Bc now you got a bunch of motherfuckers who never touched the game, wanting to weight in on shit from ppl who aren't interested in the animated show.

Im gonna spread hate on League of Legends, Arcane and anything else related to it LOL

Q - A ship you’ve abandoned and why

It's really difficult for me to drop any ship... At all. So much so, I don't recall dropping any ship in my previous fandoms (Pokemon/Star wars/Castlevania). I may not focus on some ships as compared to others, but that's mainly due to me likely having folks to talk about another ship. But I'm still most definetely a shipper.

As such, I think the very first case of me genuinely dropping a ship happened in the Saint Seiya fandom LOL. I've mentioned it a few times, I shipped Sha.ka/M.u for maybe at most 15 days. It was literally the very first ship I came across, and I genuinely loved how pretty ppl's works for the ship were. Then, the more I dug into StS' lore & content. The more I realized how this couple has little to NO actual substance to offer (by which I mean those two characters literally barely interact with one another, in the entire series).

It actually took me awhile to find out about Aldebaran/Mu, and when I did...

Nevermore looked back at it since LOL.

My theory as to why that ship is massively popular bc most of its fans likely are going off their really vague memories of watching the show, in their childhoods. And solely bc those characters look really good together (I'll give it that, their aesthetic is nice. But that's all you get bc LOL). And they feel entitled to crapping/disrespecting other ships, just bc popular ship brainrot behavior uwu.

[roobylavender]

second tag meme and also from @ravenkinnie: book recs!

no time to spare / ursula le guin / i've been slowly trying to make my way through her essay collections and this is one i really love so far. i also read words are my matter but that one had some of her more questionable political stances so i enjoyed this one bc it was focused on more generic and personal topics

good intentions / kasim ali / i would honestly highly recommend this to south asians specifically bc i don't think i've seen any other book that holds south asian millennials accountable for their tendency to damn their parents to inflexibility from the outset and then fail to hold themselves accountable for never challenging traditional mindsets. this book specifically deals with anti-blackness within the south asian community and i think it does a fantastic job of it (please wait until the end bc it does end as it deserves to end but for a moment you will get worried towards the middle that it won't go that way lol. trust me)

the king of attolia / megan whalen turner / obv i would rec the queen's thief series in general but this is by and large my favorite of the whole series (well. bar the sixth book which closely ties with it) and much as i am sure everyone loved this series the most when it was from eugenides's perspective i cannot help but think that i never love eugenides more than when i read about him through the perspective of those who love him dearly

each little bird that sings / deborah wiles / this was a pretty formative book in my childhood esp wrt the concept of how children process death. it's actually part of a quartet of companion novels, each of which i love dearly and one of which is actually the inspiration for my current username, but i think this one is executed the best and it also happens to be the most well known installment, definitely for good reason

supreme inequality / adam cohen / i feel like if you're not necessarily into studying the law but want to gain a better, in-depth understanding of why we are where we are right now with american law this is a good book to read. it corrects a lot of misconceptions around the idea that the supreme court was ever consistently progressive (ie severe brevity and breakdown of the social welfare oriented burger era) and discusses the evolution of judicial interpretation of major topics over the course of the last several decades

the f team / rawah arja / this came as a rec in a melina marchetta newsletter and i'm so glad it did! it's a really fun and messy look into life as a lebanese-australian boy and what i think it does well is not shy away from culturally ingrained flaws, rather seek to dissect and understand them and highlight how crucial an emotionally mature and communication-dependent upbringing is for young muslim/arab boys. there are a few jokes here and there that caught the side eye from me bc they felt severely lacking in self-awareness but other than that i really enjoyed it

the piper's son / melina marchetta / my favorite marchetta novel forever and always, and the second installment in the inner west trilogy of companion novels, following saving francesca. what i really adore about this one is the interplay of grief between so many people and this guilt you have to overcome over the impact of the death of a loved one on your life. bc sometimes it utterly tears you apart and other times it brings you together and the emotions of that are so horribly complicated. i also simply adore the continued exploration of the main friend group and how as harsh as the girls are on tom they are so protective and dedicated, too, bc that's how they all are with each other. it's a book that constantly makes me ache

beloved / toni morrison / interestingly i find this book to be highly relevant considering the recent abortion fiasco in the american legal scene and its relation to abusive domestic situations but it's also one of the books i loved reading the most in undergrad particularly bc of its brutal exploration into how oppressed peoples are driven to self-inflicted violence as a last resort. can you blame a woman for killing her child when the only other option was damning that child to a life of slavery? it's a situation that has to be analyzed with so much empathy and compassion and that's exactly what morrison affords it

the secret garden / frances hodgson burnett / one of two other books i loved reading the most in undergrad (with the third one being north and south). i read this for a british literature class that i took at a time i was severely starting to doubt my degree again after having already gone through a really rough depressive period following jonghyun's death so it really opportunely entered my life. i remember reading the magic monologue towards the end and just crying and crying bc it felt so liberating and while the rest of my undergrad journey was not necessarily a total high i do think this helped comfort me a lot

tagging: @briarhips, @lateafternoonsunlight, @senorscotty, @dankovskaya & @infatuate !

[struggle-but-its-all-ocean-floor]

Out of curiosity, I know that some kpop companies (hybe, jyp, maybe etc.) are trying to start these international groups trained in the kpop mold but from all countries and all singing in English. Do you foresee there being an appetite for this? Is this still kpop to you? (full disclosure I was the anon that accidentally got hooked on dream academy and, though they don't show it, I'm really fascinated by the behind the scenes of it all bc it's really heart-warming how they've all seemed to develop such strong bonds despite many language barriers and many national backgrounds)

Somewhat relatedly, I'm interested to see how the genre is impacted long-term by the increased international focus, including doing more English tracks and an increasing preference for English-speaking trainees, potentially resulting in less focus on the korean market. The siloing of kpop to the korean market was of course bad in one way bc fewer people were exposed to it and got to experience the genre, but I wonder what the genre, to the extent that it can be readily defined, might stand to lose by focusing outward. Maybe nothing of course, and it's just another example of linguistic imperialism. It'll be interesting to see. I don't expect you to predict the future! I just wanted to put down some thoughts

I remember you! Welcome back!

I don't know if what I feel is right, but I don't really want to see people who aren't of Asian descent in kpop? Actually, my problem is more with white people from more privileged countries. Kpop's recent popularity in the West means Western countries, especially the US and in Europe, are being exposed to a different culture, and Asian communities in those countries are seeing themselves represented. Having songs with Korean lyrics such as LGO and the Savage Love remix reach number 1 on the Hot 100 is so cool. We're all so used to English we forget that it's just a language and that other languages are valid. I used to feel insecure about my English, despite it being great, because it isn't perfect and I don't sound like a native. BTS showed me how "random" it all is. In Kpop, Korean is the dominant language even if us outsiders don't speak it, and it's such a cool language. I became interested in Korean and less interested in English through Kpop. Most idols don't speak English that well and it's all cool, thus I was able to take pride in how fluent I am and stop regretting the fact that I'm not an English native speaker. I literally used to dream that I was born in the US or Canada, just because I would be a native English-speaker (nevermind the fact that English in an official language in other countries...). I still love English, but I don't worship the language anymore. Seeing a group form a small, ignored country become so famous that people even started learning more about it and its language felt like representation even to me who is from a "popular" European country - Portugal has grown a lot recently, but when I was younger no one talked about us, and a lot of people to this day think we're a Spanish colony or something. I used to feel so invisible and insignificant, especially being from a small town...

I don't know, I don't really want to see a bunch of privileged white Americans in kpop. They already have a whole industry for them. Maybe kpop will be like hip hop? It's still dominated by black artists but so global. Of course, there is the issue of culture appropriation... I don't know much about this topic, but my issue is: aren't most songs already in English? We need "kpop" groups singing in English too? Part of the beauty of kpop is breaking what you called the linguist imperialism. There's a difference between Asian artists singing in English to expand their reach, because that allows for representation, shows that Americans and Europeans aren't the only ones who can become famous, and inevitably exposes the artists' fans to their own culture and language too, and international groups singing in English. What do we even mean by international? If the groups are truly diverse that could be great in terms of representation, introducing audiences to different cultures and languages, etc. Are these groups mostly going to be made up of people from privileged countries? These companies will likely privilege native English speakers or fluent English speakers (more common in Western countries, I think?), and also white or of East Asian descent...

I'm thinking aloud but I don't really know the kinds of groups that are being put together, since I don't watch survival shows. I don't know if I'm being small-minded and trying to gatekeep kpop. I wonder what Koreans and Asian communities in general think about this?

But this is an interesting topic you've raised! I'm sure we'll be seeing a lot of discourse about it. For now these groups are just starting out, right? We don't know how successful they'll be. We already have XG who sort of fit this concept, but they're all Japanese so it's different. I wonder how confusing it will be for Western audiences who are just being introduced to kpop and now have kpop without Asians (or with non-Asians). And Asian countries where kpop is mainstream, would they care for these groups? They might be indifferent to them? It might not make a difference the language they're singing in or how they were trained?

Thanks for the ask! I'm too ignorant to answer you. These are more questions than opinions! I'd love to hear your thoughts, as someone with an actual understanding of how these groups are being created!

[kestrel-of-herran]

apparently some cast member supposedly spoiled the show on twitter??? they keep saying that people interpreting the show one way when they have made it another is very hurtful to them. and that the show is sad until the end.

I don't think we can trust this person tbh. They have ndas and what not. One doesn't just spoil shows because of fan theories.

i agree completely!!!

i just woke up and i see i received three asks about it, i'm sorry this happened and freaked out everyone 😭

from what i gleaned from the twitter discussion, a similar thing happened during the airing of happiness -- someone "spoiled" the ending, but it turned out to be a false rumour.

here's what i think: as you said, staff members sign ndas and work on dramas for a long time; they're used to hiding information, and it's not only bc of their contract, it's also bc this is their hard work that they put months into, so it would be disrespectful to their own labour and to their team if one of them really spoiled the ending, especially of a drama that's currently the most popular ongoing show in korea. from what i've observed, work ethic in korea is much stricter than in the west, and the only real spoiling i ever saw happen was when a european guest actor on vincenzo uploaded a bts photo of an upcoming scene that was a secret, and that person's instagram was immediately shut down and stayed down for a while after. also, korean public figures rarely use twitter -- they prefer korean social media or instagram, which is the only place i've seen drama staff members post. if a korean netizen really wants to make an impact with a statement, they would post anonymously in korean social media.

when a show reaches this level of popularity, the rumours going around get out of hand. it seems unlikely that a staff member would endanger their job and complain about fan theories, given that theories arise about dramas from the very start and are heavily encouraged by promotional material (tvn's promo once jokingly addressed the yi jin death theory). my brain right now is even going: what if tvn planted a false sad ending rumour because we noticed the "appa" background noise and are getting hopeful again? i know they lurk on social media and i won't put it above them.

i'm going to rewatch the kiss making tvn released and try to avoid fearmongering. whatever happens will happen on sunday, but until then we should have the freedom to hope.

[mikami]

As a European white woman as well, I wonder if it isn't simply easier for us to take for granted the Japanese mindset of DN than it is for an American audience bc we've been doing that all of our lives. American entertainment dominates the West so this is the American audience's point of reference. But non-Americans consume largely what isn't their own culture so shifting into "This is how it is in Japan and I don't need to frame it in my own cultural experience" comes more naturally.(1)

(2) All my life I've known my own country's entertainment culture and the American entertainment culture, and I've come to accept the norms of the second as "This is America, this is their style, these are their beliefs." As such, it's easy for me to approach DN or any country's material from a beginning point of "This is THEM" instead of "How does that apply to ME?" Eg Misa and her goth aesthetics in a Japanese vs American audience. I wonder if we're just more used to such shifts.

Huh... honestly, it's possible.

I also feel that growing up with American cartoons and movies, I definitely had a sense of "this is a different culture that I am getting a window into" (which I resented because it presented all these big things in The Teenage Life that I knew I was never gonna get).

But I think another aspect is just that a lot of Death Note fans aren't necessarily anime fans. Like, it's hard to expect people who haven't previously had a lot of contact with Japanese media to intuitively understand the culture? In the end all we can do when we approach any piece of media is judge the implications based on our own standards of knowledge - it isn't an intentional "I am reading my culture into this" so much as it is an "I have never conceived of the idea that this is a local belief and not a universal standard".

I still run into things like that all the time - even with anime, even as I have spent most of my life with the genre. There's always something that winds up just stumping me because I thought it would be a universal experience and it turns out it's just not.

Like, did you know kissing was considered a) kind of foreign and b) fairly obscene in Japan until into the 20th century? I don't think anyone would ever really think to question like "is kissing an expression of affection that people do in other countries" but of course the history of public kissing as basically an imported good absolutely frames how often we see kisses in (especially older) anime and the impact they're supposed to have, etc...

There's always something. I think since DN is such a beginner anime, a lot of its fans are just at the start of their journey into learning more about the cultural context that produces anime as a whole.

[commajade]

Would you say that the rise of kpop Boy groups and Kdramas (specifically actors) Has had an effect on men in SK and men the Korean diaspora in the west and their sense of emasculation against whiteness like you said? Of course a lot of how non-Koreans specifically white ppl/white women’s interaction with kpop is very racist, fetishistic, etc but I would assume that it would “alleviate” that feeling in a way (?). Or maybe bc these are public figures and they represent like the ideal and unattainable standards so it creates an even bigger feeling of inadequacy? For ex a lot of men of color in diasporas very much tap into their objectification by white women to gain a false sense of power over the women and lgbt members of their communities but that might not be true for the men in the motherland so I’m wondering if something similar has happened in South Korea and abroad? Sorry I’m trying to use the right language just so I’m making sense haha

this is many many questions put into one question anon this might get long. also totally understand what ur saying i'm not speaking negatively about u at all just trying to be clear!

1. i think ur asking if the popularity of korean media in the west/wider global entertainment sphere is affecting politics but there's an inherent othering in ur phrasing, u have to specify cuz for korea they're dance pop singers and actors they've been our entertainers.

2. idols and actors are of completely different statuses as entertainers in sk. korean male actors tend to be very cool and masculine with a prestige status in entertainment while kpop is seen as lowbrow with a younger audience. the gap is getting smaller because so many idols are also brilliant actors now but there's a sense of becoming a full time actor (dramas, movies, musicals) being a step up in career maturity as opposed to the vibrant youth and varied activities of an idol. and the increase in fans of kdramas was relatively slow and steady compared to the very loud and sudden US interest in kpop.

3. kpop stuff in general has pretty small bearing on south korean gender conversations (but a big positive impact for esp younger sk lgbt people). conservative korean men have always looked down on kpop because of the usual reasons people don't like pop music (it's not real music, it's shallow, it's too flashy, it's childish, etc). and for male idols it's usually mild homophobia too. most korean men don't identify with them at all, idols are idols. korean men (besides those interested in music, dance, etc) generally don't see the way intl fans talk about idols because they're not interested. bts becoming huge in the US is more like a lucrative export to cash into for a lot of people.

4. for diaspora the impact is a little bigger because idols r the most visible korean people widely talked about in internet spaces and it's hard to avoid talk about it on places like twitter where kpop stuff is trending constantly. the huge increase in white female attention to idols and all korean people being compared to idols is a little freaky. one of my korean mutuals had someone comment "says the person with a kpop icon" on their political tweet when it was a selfie of his own korean face it was so weird. also like there's always been a lot of "kpop is gay" sentiment from the diaspora mainstream.

but like honestly i'm not really plugged into the south korean internet or talking to like. the many many groups of people in south korea esp men so i can't really tell u definitively what's going on with that. i really don't even know what korean american men r up to. what's more harmful and more easily identifiable from my side is what i was talking about before, that korean diaspora men are being recruited through the purposeful reactions to kpop journalism that uphold US racial fascism because kpop is becoming one of the biggest korean media phenomenons in the western internet sphere. it's a tokenizing tool for the state media apparatus and convinces korean americans their own internalized lies about korea is correct. such as bts going to the un and accepting awards named after war criminals that slaughtered koreans. or reinforcing the idea that korean music will always be tacky and lesser than white industry music. that south korea is primitive and backwards compared to a progressive US. and on twitter u can see what's going on in kpop all the time through trends and memes spreading so when a fascist misogynistic ilbe social media campaign works they have a much farther quicker reach and are right now reaching the diaspora more than ever.

[hazzabeeforlou]

heyyy toni <3 hope ure having an amazing day!!

with the things happening, i am very mad at h. he has done multiple things in the past that prove(?) he's a zionist. ofc celebrities are not required to comment on every single political event, but i think it is necessary for h to clarify this time. i really really don't feel good and i really despise him rn bc of it. i feel like it's impossible for me to like him anymore

Hi babe! First of all, you don’t have to feel obligated to like or support any celebrity. For any reason. Period. If they cross a line for you, that’s okay. You can unstan.

Second, the key word here is “has done things in the past.” I really hope he has learned about this issue and changed his stance, but we have no way of knowing as for whatever reason Harry doesn’t speak about much these days. Zionism is a tricky subject and a super complex issue, and upon first introduction many many people believe that they’re supporting the Jewish people via supporting Israel. Lots of propaganda and misinformation exists, and is propagated by MOSTLY evangelical white people here in the US, who use Israel as a chess piece for their “end times” propaganda/rapture/return of Jesus shit. I read an interesting article about Bernie Sanders and how he contrasts the new Jewish masculinity/Zionism and how that movement has co-opted white supremacy and strict patriarchal capitalism/colonialism to serve the interests of the global west. Anyway.

Honestly I believe that for most people, a social media post from Harry is a way for them to say “well I stan the perfect Harry Styles who has atoned for his past beliefs and now is a GOOD,” like it’s a turducken way of once again proving how great we personally are and how pure our hearts because we only stan “unproblematic” people. I despise how social media has made it seem like Harry Styles speaking out on the apartheid conditions of the Palestinian people is somehow anything more than a way for him (and by extension us) to avoid doing anything tangible to actually impact the situation.

There is no such thing as an unproblematic person, celebrity or not. Demanding celebrities make statements doesn’t change a fucking THING. Demand your congressional representative stops sending Israel BILLIONS in weapons and defenses every year. Demand that printing houses stop publishing propaganda magazines like “Israel My Glory” that cons evangelicals into believing Israel is in spiritual war for the future of Christianity. OR, demand your fave celebs give money to the multiple fundraisers that will directly help those on the ground who are fighting for their freedom, to keep their ancestral homes, to live without constant police state oppression and systemic murder. Because just by holding over 50 million in wealth and assents, Harry Styles, and Louis Tomlinson for that matter, are already not pure. Imagine all the causes and things that money could do. I don’t want them to post a link for us poor fans to donate, or for them to give som paltry amount that they’ll make back in tax write offs.

My point is, you are valid to unstan anyone for not aligning with your beliefs. Keep in mind though that shifting the focus to celebrity statements when human rights are being violated, seems to me a trite way of engaging with these very serious issues.

[margridarnauds]

I know you prefer a-cast, but what are some pros to buying m-cast instead? There's a bit of a war going on abt which is better. I heard m-cast is better bc the cast is more senior and experienced, but I don't know what to believe. Is a-cast or m-cast just a taste thing, or is it abt smthing else? Would you mind making a chart or smthing for the pros and cons of both versions? Maybe ratings per category? I know you have a preference, but I just think you are quite nuanced. Thanks in advance!

I am very honored that you would think of me as someone who’s fair and nuanced! 

Before I begin, I’m going to say one thing that might or might not be considered....well. Very American of me, from the perspective of Japanese fandom: I do not believe, when it comes to spending the amount of money that these cost, on holding back information in order to appear diplomatic. I’ll try to be diplomatic, for the sake of people who might like anyone I criticize, but, also, if I dislike an aspect, I will try to find SOME way of making said displeasure known, because, again: The amount of money required to buy one DVD, let alone two, is quite a lot. I personally like to buy both, since it lets me compare and contrast, but my God, is it a bit of money (and this year, with the exception of the 2016 Elisabeth, I’ve had to cut down quite a bit while I’ve been abroad: I haven’t touched Frankenstein or Phantom...at least not yet.) 

Also, I am always willing to arrange streams of either/both casts, since this musical is my baby, so that anyone reading this now can see whether what I say is true or not, as well as in order to determine your own preferences. 

Alright, so that disclaimer out of the way, let’s start off: 

I kind of disagree that M cast is more experienced, as a whole. Let’s compare:

Marie  

Rena Sasamato (A Cast) - Had her debut when she was ten years old, in 1995. She is a Toho veteran with many, many musicals under her belt, including The Woman in White, Love Never Dies, Jekyll and Hyde, Les Miserables, West Side Story, Rudolf, Fiddler on the Roof, and, of course, the original 2006 production of Marie Antoinette, where she played Margrid Arnaud. 

Hanafusa Mari (M Cast) - Almost needs no introduction, such is the fame that she has. And I say this as a detractor. My personal feelings about her personality, acting, and singing aside, I can admit that Hanafusa Mari is a living legend in the Japanese musical industry. She certainly lives up to her title of “Empress”, in all senses of the term. She had her debut in 1991 (after, admittedly, undergoing the training of the Takarazuka Revue, so I will give her that she had experience beforehand, just not in acting and singing on stage), and remained there until 2006, when she retired in conjunction with her fellow top star, Yoka Wao. From 2010 onward, she appeared in non-Takarazuka roles, including my very first exposure to Japanese theatre, Dracula, in 2011. 

Now, of the two of them, I won’t deny that Hanafusa has more experience, however I also feel like saying that Rena has less experience is making it sound almost like she was some starving waif that Toho picked off the side of the streets in order to star in their new musical, as opposed to a seasoned actress in her own right who, on top of having an impressive number of musicals under her belt, also has experience in the musical itself. Hanafusa, when it comes down to it, only has four years’ more experience than Rena, though she is almost a decade older and undoubtedly, when she premiered, had more polish than 10 year old Rena. But, on the other hand, she DID remain with the Revue an impressively long time, which is very intense as far as how many musicals they perform on a yearly basis (most Top Musumeyaku only last about...2-3 years or so), she was the original Elisabeth in Takarazuka (a legendary role in its own right), and, my snark about her having the best career money can buy aside, I am willing to say that, for the most part, she’s earned her status as a legend. 

And I want to say that I’m not ripping YOU apart when I say this, I want to make that absolutely clear. You’re asking me a very good question, but it is something I tend to find quite a bit of when I talk Japanese musicals, in the sense that there is often this...assumption that actresses who started off in non-Takarazuka musicals (also a moment of silence for the Shiki actresses, who I almost never talk about but who are kicking ass as Disney Princesses) are somehow...lesser, or that they have less training. Takarazuka is and remains very prestigious, but it’s hardly the be-all, end-all of all musical theatre, and, in many ways, I would argue that Rena has more experience than Hanafusa, in terms of the world of Toho musicals, which require a different style of acting and singing: Less stylized, less affected, more what you would expect from a Broadway or West End show. It’s actually something that I find quite a few Takarazuka actresses struggle with when they come to Toho, as they have to adjust how they’ve done things for a new audience. 

Now, what does this have to do with the overall point? Well, a lot of people bought Marie Antoinette FOR Hanafusa to begin with, since she does have a huge following. I have seen plenty of people admit that they only bought it for her in the first place and didn’t bother with the other cast. I have even seen, in the past, people argue with me on the idea of a musical that DOESN’T have Hanafusa in it getting a proshot, simply because, for them, she IS the world of Japanese musical theatre. Coming from that perspective, of course Rena is less experienced, because she, simply put, isn’t Hanafusa. 

In terms of their overall presentation of the characters, I found that their respective training really impacted how they portrayed the characters: Rena played Antoinette as being very elegant, with a pride that could turn to haughtiness. It made for an Antoinette that is interesting in her own right to watch, which is tricky, since I find that Antoinettes tend to be overshadowed by the other characters, especially Margrid, Fersen, and Orléans. She did include certain aspects of a Takarazuka performance in her performance, since her mother was a Takarazuka star in her own right, such as how to properly use an 18th century fan, but, for the most part, I’m willing to say that she played it much more naturalistically. 

Hanafusa, meanwhile, emphasized the tragedy of Marie’s life. Throughout a decent portion of the musical, she can be seen crying, especially during the trial (which Rena played straightfaced, playing a Marie that is totally numbed by grief), and expresses her happy, joyful moments in a very exaggerated, almost forceful way, more what I would expect from a Zuka actress given that Zuka performances tend to emphasize extremes of sadness and happiness. (Keeping in mind, of course, that traditionally, it’s expected for musical/opera singers to act in an exaggerated way in order to be seen from the back.) If you are used to Hanafusa, then you’ll LOVE it, because she is very much there, and it’s very much what you’ve been accustomed to. She does show her training; she doesn’t miss a single note in the entire production, but I do find that, in this one area, her added age over Rena might be to her detriment, as I find that her voice has thinned somewhat with age, comparing her now to where she was in Dracula or during her Takarazuka days. Her vibrato also isn’t quite to my taste. Not BAD, but not for me. She isn’t UNPLEASANT to listen to, and again, if you are buying it to hear Hanafusa Mari’s voice, that is exactly what you’ll get, but I also do think the luster of it has faded.

So, in terms of overall ratings, here is what I would put them: 

Rena: 

Year of Debut: 1995

Acting: 9/10

Singing: 10/10

Hanafusa: 

Year of Debut: 1991

Acting: 4/10

Singing: 6/10

Margrid 

Sonim (A Cast) - Sonim’s history has been gone into detail here by my friend, @chibimyumi who, unlike me, has a native speaker’s understanding of Japanese (as opposed to getting lucky with Google Translate), so I’ll leave it to her. But, suffice it to say, Sonim had her musical debut about...2007 or so (she was involved in other stage projects, but for sanity’s sake I’m marking her appearance as Johanna in Sweeney Todd as her musical debut) after the idol industry decided to be cowards and kicked her out because she didn’t conform to their pretty pink princess dreams, was offered the title of Ogosho IMMEDIATELY upon her joining up with Toho, and, since then, has distinguished herself as one of their undisputed leading ladies. She has appeared, to my knowledge, on three proshots, two of which I own: Mozart, 1789, and Marie Antoinette, and has also appeared in Kinky Boots, Tanz der Vampire, FACTORY GIRLS, and Rent.  

Natsumi Kon (M Cast) - Natsumi Kon is, admittedly, also no slouch in the world of Japanese musical theatre: She had her debut in 2011, with the coveted role of Juliette Capulet in Romeo and Juliet, and has since been in Les Miserables, Grand Hotel, the Addams Family, The Fiddler on the Roof, and The Secret Garden, as well as being the voice actress for Belle in the 2017 Beauty and the Beast. She has been praised as essentially being “the next generation of the musical world”. 

By the same standard I’ve set re: Hanafusa and Rena, there isn’t THAT much in terms of their ages, since they have the same difference in debut time (though in this case, it’s in Sonim’s favor, and I also think that it’s much more dramatic in terms of younger musical performers as opposed to older ones.) 

I feel like, of the two of them, more people would have come for Sonim, since she is an Ogosho herself, being at the same level of ranking as Furukawa and Hanafusa. What I suspect, in fact, is that Toho, in a CLASSIC Toho move, split the cast that most people would have wanted, with Hanafusa, Furukawa, and Sonim, but I can’t confirm and, honestly, I feel like Hanafusa’s very expressive Antoinette would have clashed with Furukawa’s more aloof Fersen, but that will be dealt with down the line. As it is, M cast has Hanafusa, and A cast has two Ogosho-level performers for the price of one with Sonim and Furukawa. (Meaning that, on a purely technical level, it has the most starpower behind it.)

Sonim has a strong belt and has a reputation for playing scrappy girls, possibly because she herself easily qualifies as a bit of a “scrappy girl” herself. Her Margrid is bitter and cynical, not necessarily kind. The years on the streets have warped her into someone who is primarily motivated by herself and her own personal revenge. She uses “the people” as a self-justification to pursue her own vendetta, only realizing by the end what it’s done and cost her. She doesn’t care for social norms AT ALL, and would be the exact type of person that you would see on a tabletop counter at 2 AM, legs spread out, trying to stuff an entire pizza down her mouth. She’s distrustful, especially towards men and, even for those that she trusts, she has a low level of tolerance for. She is, frankly, a bit of a bitch. And I adore her for it, because it’s more realistic to what I think someone would be like after undergoing what she has. She’s a kind of female character we get relatively little of, really. I do think that, on a few occasions, Sonim perhaps outbelts herself here but, in general, I feel like it suits Margrid’s personality more. 

Natsumi Kon took a more tragic bent to the character. Her Margrid IS a good person, at heart, but she lets her desire for justice, along with her own revenge, steer her towards a course that just causes more suffering. She is more like an 18th century Eponine from Les Miserables, the street girl who, if she’d JUST had the upbringing that Antoinette had, could have been a great lady like her. She seems to play up the love triangle with Fersen more, getting a little closer to him at different times, giving him more longing looks, while also seeming to have...some sort of dynamic with Orléans, with the two of them often touching and laughing with one another. She does have a very smooth, strong voice, though I feel like, on some level, she has never quite escaped playing ingenues, and, rewatching it with a critical eye, I think that, as the musical continues, her voice starts getting a little breathy and strained. I don’t really know whether this is by intent or simply because of the musical being very vocally demanding for the Margrids, but I do think that, if Sonim overbelts at times at the beginning, Natsumi has some issues by the end; the notes aren’t coming out quite as clear or as strong as they should be. Her Margrid has a little bit more of a polish to her and, in general, seems a little younger and more naive compared to Sonim’s. I do give her credit for really being willing to go UP CLOSE to her fellow actors in stand-offs, giving her Margrid the sense of being a little bit of a bull in a China shop; during the duet that Marie and Margrid share, there’s one point where it seems like Natsumi is only INCHES away from her face. I know that it’s out of style to make Harry Potter analogies, but Sonim plays Margrid as a Slytherin; Natsumi as a Gryffindor. She didn’t do a BAD job as an actress, and in fact adds some nice touches to Margrid that I do like, but she doesn’t really do anything too new with the character. 

Now, why does THIS matter? Well, for one, I think that, if you go in expecting the best of everyone, Sonim’s Margrid can be like a dose of cold water. Natsumi is more...palatable. Less conflict, less difficult questions, especially since it becomes that much easier to separate Orléans-As-Villain from Margrid-As-Heroine.  

Overall: 

Sonim: 

Year of Debut: 2007 

Acting: 10/10

Singing: 9/10. 

Natsumi: 

Year of Debut: 2011

Acting: 8/10

Singing: 8/10

Fersen

Furukawa Yuta (A Cast) - Probably one of Toho’s most bankable male leads at the moment. His presence in a musical is generally a VERY good sign to me that Toho is planning on a proshot, since they know that fans will buy anything he’s in. (To illustrate: I wasn’t PLANNING on buying Marie Antoinette, I had more than my fair share of doubts after the disastrous German run, but then I saw Furukawa Yuta and Sonim were signed on and I promptly got both casts. Best insanely rash move I’ve ever made in my life.) He had his stage debut in 2007 with The Prince of Tennis series, and since then he’s played in the Black Butler (Kuroshitsuji) musicals, Elisabeth, 1789, Romeo and Juliet, and Mozart. Though he initially made his name with his dancing and acting abilities, along with his personal charisma, he has since worked on his singing, putting himself through Hell and back to earn his spot as Ogosho. While Mozart was his official debut, I would argue that, in some ways, it was as Fersen and then, later, Romeo that he REALLY got to demonstrate what made him star material. 

Mario Tashiro (M Cast) - Mario Tashiro, like Natsumi Kon, is absolutely no slouch either. He has a full, operatic voice that he uses to excellent effect, making him very recognizable even if you don’t know who exactly he is. Plenty of times, I’ll be listening to a trailer on Youtube and hear this BOOMING voice and go “MARIO TASHIRO?” He has been very prolific on the Toho scene, taking roles in Sunset Boulevard, Chess, Love Never Dies, Elisabeth (marking the first time in known history that Fersen is locked in a love triangle with Fersen for Marie Antoinette and then seduces Fersen’s son, Fersen), The Great Gatsby, Jekyll and Hyde, and Sweeney Todd, among others. 

In terms of approach, both men took very different approaches to their role. Furukawa played Fersen as much more aloof and distant, which makes for a contrast with Marie’s sunny, naive personality. He has a dry sense of humor and has a long-running cat and mouse game with Orléans where both understand, on some level, that they’re on equal ground. His love of Marie, while definitely a real, true love, is also very idealistic: Marie represents a world that, for Fersen, is slowly dying out, she represents the best part of humanity for him, especially after being gone during the war. I do not believe, looking at Furukawa’s Fersen, that he and Antoinette ever actually slept together, rather that it was very much a courtly love. He cares for Margrid, entreating her to have compassion, but there’s just enough wiggle room to wonder how MUCH of it is genuine VS him needing something from her at the time, and he’s very aware of his status as an aristocrat and makes use of it. It’s really unlike any other take on Fersen I’ve seen, in any media, and it’s part of why I ended up leaning towards this production, since it’s generally a MASSIVE feat to make me like Fersen. Furukawa’s voice in the role is softer, lacking the strength of Tashiro’s but still making for some very impressive low notes.

Mario Tashiro, on the other hand, focuses more on Fersen as a romantic hero, full of dash and daring. He has a notably dramatic take on Fersen, with flourishes and exaggerated movements, which, as an opera singer, are probably part and parcel of his acting training. If he’s aware of Orléans’ general presence, he doesn’t seem bothered by him, with their being really little sign that Orléans has any respect for him at all. He loves Marie as well, but it is much more of a sort of fairytale, Rose of Versailles love. There’s not as much moral gray areas to his Fersen, even though he makes the exact same decisions as Furukawa’s and, like Hanafusa Mari’s Marie, tends to go through extreme emotions. His voice was, as always, phenomenal, I give him full and complete credit for it, however, unfortunately, when put up against Hanafusa Mari, I found that the two of them had the tendency of trying to outbelt one another, leading to a distinct lack of chemistry during romantic scenes. (And you’ll notice that, despite generally being weighted against Hanafusa, I am NOT giving her the full blame for this one.) 

Furukawa Yuta (A Cast)

Year of Debut: 2007

Acting - 10/10 

Singing - 9/10

Mario Tashiro (M Cast) 

Year of Debut: 2009 (He had his singing debut in 2007, but his overall musical debut was 2009)

Acting - 7/10

Singing - 10/10

Louis

Takanori Sato (A Cast) - Probably the baby of the group, in the sense that he had his own debut a little while after the others, in 2015. In his case, and his case alone, would I say that there was a REALLY strong case for him not having as much experience compared to his counterpart. He has played in Titanic, Elisabeth, the Scarlet Pimpernel (the one with Kazutaka Ishi), Mata Hari, Legally Blonde, and Chess, the latter possibly most impressively since he did the entire thing in English. 

Yuichi Harada (M Cast) - I’ll be honest, I’ve never in my life been tempted to look up his biography before, but when I did, I was impressed to find that he’s actually been working in the world of musicals since 1992, when he was in Anne of Green Gables and then again in Les Miserables as Gavroche. He has had a long career with Toho, too, being in musicals such as Les Miserables, The Sound of Music, Titanic, the Beggar’s Opera, and La Cage Aux Folles, none of which I literally had any idea about until today, but that is very impressive. Massive props to him, honestly, as well as working as a director for Bare: The Musical, which...well. Props to him for branching out. I will never understand the love for Bare worldwide, but you know what? Almost all musicals deserved to be loved by SOMEONE. He has an impressive track record, I’ll give him that. One of these days, I’ll probably have to dig deeper, since I suspect that there’s a lot more to him than meets the eye. 

Takanori has a very smooth, strong voice, without the projection of Mario Tashiro. I found that his take on Louis was quite charming, tender to his wife, a normal man who Marie respects even if she doesn’t love him in the same way as she loves Fersen. (Honestly, can I just say: While we all know that Orléans has my entire heart....if Takanori’s Louis asked me to marry him....#PhilippeWho.) He’s a steady man, not really dumb, but well-intentioned and occasionally oblivious to the real danger, and it’s that that kills him, in the end. 

Yuichi’s Louis is much more...confused throughout the thing and, while I think Antoinette has some compassion for him, I don’t really feel like it’s love so much as...affection, mixed with a certain amount of pity. He does show moments where it looks like he knows a lot more than he lets on, but in general, I think he did play it as much more humorous, a lot more...well, dumb, at least until the second act. He does have a solid voice, I give him that, but in general, it felt like there was a little less subtlety in how he interpreted the role. There’s something almost childish about the way that he grasps Orléans’ hands when he’s asking him to intercede for them, whereas in Takanori’s case, it’s more him realizing that his cousin is...well. Orléans, but knowing that he has to do a little bit of crawling if he’s going to survive. 

Yuichi’s Louis DOES still get sympathy from me, but it’s in a way that is kind of insulting to him as a character, mainly because it’s less about HIM and more like “......god. Killing him is a bit like kicking a puppy. Like, you could do it, but my God, why would you?” Like, I do kind of want to write a fanfic where he can just......be safe........far, far away from everything, because I’m not sure if he would notice if they took him any place else, but it does kind of...take away his complexity? I will say, in his defense, looking over his entire performance, that seeing him constantly trying to smile as he’s being led while Marie panics, trying to let her know this is all going to be alright, is a tearjerker, though I still feel like his Louis is played a bit too much like the caricature of Louis that, at this point, I’m kind of used to seeing. That being said, while I don’t necessarily like all of the DIRECTION he took Louis, I can see that he put genuine thought into constructing the role, so I’m not going to nuke him too much in the acting category.

This one, more than any of the others, is probably YMMV, because I know people who were genuinely shocked to realize Louis is double-cast at all. Mainly because it isn’t like the role leaves THAT much of an impact, overall, having only one major song. I honestly think that the 2021 cast is making the right call in splitting Orléans and giving Louis one role, all things considered. 

Takanori Sato

Year of Debut: 2015

Acting - 10/10

Singing - 10/10

Yuichi Harada

Year of Debut: 1992

Acting - 8/10

Singing - 8/10

The Case for M Cast

Now that we’ve gone through the rankings, it’s time for the original question: What are the pros of M Cast? And, if you just listened to me laying all this out, you would think that I wouldn’t have much positive to say. That being said, when I was back in the States and could spend an hour or two watching musicals every day, a LOT of the time, I would watch M Cast. There has never really been a point where I said “You know? I regret getting that cast, I wish I’d just had A the entire time.” If I was dangling off a cliff and I could only save one cast recording, I would HAVE to choose A (and then promptly sob), but I do, genuinely, like M on its own and would recommend getting both simply to compare. 

- Mitsuo Yoshihara. Now, this is going to be odd for anyone reading, because I can hear it now: “But he wasn’t double cast! Wouldn’t you get him on A too?” Yes, you definitely would. But he is a very unique type of Toho actor in the sense that he changed up his performance for EACH cast he was in. If you look at M cast, he has a much warmer dynamic with Natsumi’s Margrid, either as a paternal substitute (making up for her own aristocratic father) or as a prospective love interest. He is MUCH more hurt in the final court scene, very clearly viewing Margrid’s decision as a personal betrayal. As the admitted and confessed Morléans shipper, I have to eat the angst up like it’s candy. The two of them have a nice amount of familiarity and chemistry with one another, presumably due to having worked with one another on other projects before. 

- Mario Tashiro’s voice. This deserves its own section because it is REALLY, REALLY phenomenal. You know whenever you’re seeing Mario Tashiro in something simply because that voice is VERY distinctive and is totally overwhelming each time you hear it. I noted my misgivings in his section, but overall? It is very much worth the price of admission just to hear him. 

- Different shots. I’m still figuring out exactly WHAT shots dramatically change from each cast, but M cast does contain some shots that A doesn’t have and vice versa. M cast doesn’t have this shot of Margrid and Antoinette, and A cast doesn’t have the one here of Antoinette and Fersen’s hands touching, which is a wonderful little bit of cinematography. I do think that, depending on the shot, you can get more or less of a character’s motivations in that moment. A personal favorite is Hébert trying to get Margrid alone during the scene just before the ball and Margrid shoving him off, which foreshadows what happens near the end of the second act. 

-Hanafusa and Natsumi’s voices actually do go quite nicely together at the end.

-Mario Tashiro does make for a very splashy Fersen; yeah, you might not spend too long dissecting what he’s doing when he’s on stage, but he is fun to watch swish around in his 18th century officer’s outfit.  

-My griping on Natsumi’s Margrid aside, I do think she has a lot of charm. No, it isn’t my FAVORITE take on the role, but I do actually like what she does, she adds quite a few nice touches to it, and she does make the song “Enough is Enough”, near the end of the first act, her actual bitch, adding her own riffs onto it to give it a sense of individuality. The parts where she’s smiling, hanging onto Orléans’ arm, make even my wrinkled, shriveled heart grow three sizes. I’ll be genuinely excited to see her return to the role in 2021 to see if there’s anything she changes, though I doubt I’ll be able to see any part of it in person. 

-If you’re a Hanafusa Mari fan, you get to see the kind of performance from her that you’ve grown to expect and appreciate. If you’re not, you get to see her get splashed in the face with champagne. Win, win, win. 

Overall, I think that it will depend on what you’re looking for. I really enjoyed the realism and the grit of the A cast, but not everyone WANTS grit, and in that case...I suppose M cast would appeal more, since M cast relies on everyone involved being much better human beings than A cast, though I do want to emphasize that everyone in A cast is still redeemable. (Except Hébert. Because fuck Hébert.) M cast is....easier to digest, in many ways. There’s a good queen, a stupid-yet-sweet king, a dashing hero, and a misunderstood-yet-angry-poor girl, manipulated by the siren’s song of the Revolution and her unrequited love for Fersen, who bullies the poor, downtrodden queen when she gets a chance before realizing the error of her ways. I think that, for many people, that’s perfectly fine, and that’s what they wanted, especially if they’re already used to Rose of Versailles. I do still LIKE it, because it’s a production of one of my top 2 favorite musicals, but I do think that, if it was the ONLY version of the musical available, I wouldn’t have spent so much time picking it apart. (Though I still would have thought it a MASSIVE improvement on the German.)

 I do put a lot of it on Hanafusa Mari’s influence, though, because of the prevalence of her fanbase and the general belief that no one could ever come close to their star, so why bother getting another cast. Especially given how....devoted the Takarazuka fanbase is in comparison to the Toho fanbase, and the Thing I’ve noticed where fans try to argue that there is some sort of empirical reason for their bias as opposed to simply liking one more than the other.