#but from a story telling perspective this movie is a mess

[birdofprey1234]

Hi all, I have something important. Whether you're in the Markiplier fandom or not, or if you even watch Markiplier at all, if you like internet creators, and seeing independent artists making what they want to make... I urge you to read. This is happening right now!

In 2019, Markiplier was in a narrative horror podcast called The Edge of Sleep. It's an AWESOME show, if you're into psychological horror, apocalypse stories, or just audio dramas with great acting and amazing sound direction I highly recommend it. People LOVE this series, me included. And after it's success, they revealed a TV adaptation was in the works in 2021.

For a LONG time, multiple years, we have heard nothing about The Edge of Sleep. The show went dark and has been presumably stuck in development hell ever since it was announced. None of the cast have been legally allowed to talk about what's going on with it, how far along it is, or even when it's slotted to come out. Fans were originally very excited about the show, but many of us had all but given up hope of it coming out at all.

And now... It's here. But in a different way than we expected.

About a week ago, Mark released an update vlog where he explained that The Edge Of Sleep was coming out on October 18th. No warning, not a single trailer or promotion, or any sign that it was even releasing besides Mark's video. He explained that in order to "open doors" for his own theatrical release, Iron Lung, the studio has given him and his community the task of getting The Edge Of Sleep to the top 10 on it's streaming service. What streaming service?

...We don't know. Mark explains he isn't legally allowed to tell us. He's only allowed to say that it's coming out on the 18th, and it needs to be in the #10 spot or higher in order for him to do anything that he wants with his own movie.

Then, for even more chaos to be added into the mix, The Edge of Sleep ACTUALLY went up on Amazon Prime Video on October 15th, three entire DAYS before the date that Mark was given. He explains in a NEW update vlog, that this was not malicious, and the studio just did not at all expect people to find the show before it's intended opening day... For some reason.

I hope I don't need to say how insanely weird this all is, and a complete MESS from a studio perspective. Mark has little to no power over what happens with The Edge of Sleep. He was the executive producer and acted in it, but that's it. He isn't an advertising company, or in control of any of the streaming details for this show. When it airs, where, how, etc. Qcode, the studio producing The Edge of Sleep, has done almost nothing to even make people aware of it's existence, now days after it's gone live. They are putting a lot of heavy lifting onto Mark and his fanbase to get this show seen, a fanbase he now is forced to ask for help from for his own professional relationship's sake.

There's not a lot of information about what exactly is going on, and Mark has worded everything very gently. He assures that this change up is not malicious, but many of us are skeptical about the studios intentions in all this, and whether or not they actually want The Edge of Sleep to succeed. I have my own suspicions that Mark would be speaking out about this further (as he is known for doing to youtube), if he wasn't 1. Legally bound, and 2. DEPENDENT on his relationship with this studio and Amazon to be able to pursue his future creative aspirations in any way.

This is where you come in, reader! Because we can help!

The Edge of Sleep is an awesome show, I watched it myself yesterday and I have no doubt anyone who tries it out will love it. The cinematography in particular is absolutely stellar. It is streaming now on Prime Video, and is also going to to release on plex.tv (which is free) on October 18th. It's already gotten high in the US charts, but now the important part is keeping it there, showing longevity and viewer interest to Amazon and the studios. If you have Prime Video, or if anyone you know does, WATCH THE EDGE OF SLEEP! Get a 30 day free trial for it! Listen to it in the background after your done! Show it to your friends, family! Get everyone you know in on it.

Not only that, but showing genuine engagement and interest for the show online is very important for it's success as well. Shout it out across your profiles, especially Twitter! Make memes about it, fanart! Rate and like it on IMDB, as well as Prime Video itself. Leave reviews for it! Even if you don't watch it, support for it online will help massively.

Mark is an amazing creator. He has made many ambitious film projects over the years which he releases for FREE on his channel. Just 2 years ago he released In Space with Markiplier, an OVER 7 HOUR LONG, film-level quality epic which is one of the best things I've had the pleasure of watching in recent years. He is an amazing actor, aggressively passionate, and is dedicated to paying his film staff fairly and honestly. I want him to keep making things he wants to make, to succeed and pave the way further for YouTube creators to be taken seriously.

Mark is one of the most well known YouTubers ever, he's one of the biggest creators on the platform. If he can't succeed at moving into the industry, it's going to be a lot more difficult for others going forward. It sets a precedent.

SO WATCH THE EDGE OF SLEEP! Enjoy the hell out of it! Enjoy it with friends! Let's give the power to creators we actually care about! Everyone who wrote, composed or at all worked on the original podcast AND this adaptation deserve to see their ideas come to life, and the recognition for this awesome product they've created for all of us to see!

[anim-ttrpgs]

Reading the book, and I'm already loving it. I agree with a lot of the things y'all say in it (players control the characters, not the narrator, etc.), but I was surprised at the strong insistence on 3rd person play.

Personally I like 1st person play because it helps me with immersion. If I play in 3rd person then my mental camera goes 3rd person, which feels more like playing a video game and removes that thrill of embodying someone else and living in a new world.

Usually I see people either take a strong pro 1st person stance, or a noncommittal stance, but this is the first time I've come across a game that insists on the 3rd person. I'm curious about the reasoning behind it. Was it just a philosophical decision, or did it bear out in playtesting that 3rd person was the better method? In the book y'all acknowledge that 3rd person play doesn't eliminate the threat of griefing from bad faith players.

Y'all clearly put a lot of thought into the game, so that really interested me. Could be a good learning opportunity!

I passed this on to one of our team and this is what she had to say:

In addition to our own home table just preferring to play in 3rd person, we believe that perspective is an important element of TTRPGs that doesn't get explored very often in the modern landscape. The games we play are composed of language - not just the words on the page, but the words we say at the table. Changing the verbiage will create a different emotional space, and a different experience. That zoomed out mental camera you describe is part of the point! In any TTRPG, players are always two things: participant, and audience. The narration we employ at the table affects the game world, yes, but we are also the only people there to see it play out. Eureka strongly emphasizes the "audience" side of that equation, and wants to frame the "participant" side as an act of authorship and discovery rather than one of inhabiting the world.

Just on a fundamental level, perspective is a defining part of any media - the camera angle in a movie or video game, the person of a book's prose, who tells the story, and who they tell it for. The way we frame a story changes the response it evokes. As you say, you've seen either strong pro-1st-person stances or neutral ones, but not a strong pro-3rd-person stance. I don't think that's because 1st person is inherently better for this sort of game, I think its because there is a tendency in the hobby right now - for a variety of reasons - to treat TTRPGs like a form of improv theater. That's not a problem in isolation per se, but I think it's one that limits what the medium can be or do. TTRPGs can be improv theater, but is that all they can be?

On a final note, we have also seen the insistence on 1st-person play and the approach of "embodying" a character occasionally cause real harm when the people involved have trouble separating player and character. That's also part of the reason we're so insistent about these being two separate people, because investigators tend to do some pretty messed up things (this being a horror focused game, after all), and we don't want people equivocating their friends with the characters they play when that level of emotional intensity is involved. Many people who play in 1st person are able to engage with that in a healthy way and understand the difference, of course, but I think it's hard to deny that the language makes that equivocation easier.

- @ashweather (person from out team who doesn't normally run this blog)

Adding on myself, another thing that I always like to bring up in this discussion is that first-person verbiage did not used to be so universal! Playing in the hobby even 4 or 5 years ago, you'd see (or at least I would see) a mix of third and first person verbiage at tables, and even people who used both interchangably. It's only in the past few years that third-person verbiage for TTRPGs has gone practically extinct, and i think most of the blame lies at the feet of big-budget "actual play" shows like Critical Role being many people's only reference for how a TTRPG can be played. Critical Role uses first-person, so therefor that's how TTRPGs are played.

I've even had people tell me on multiple separate occassions "that's wrong" when I'm trying to use third-person verbiage for TTRPGs, when playing with rulebooks which explicitly say in their text early on "you can use 1st or 3rd person to describe your character's actions"! (most, if not all, D&D edition rulebooks say this!)

In closing, yeah, if Eureka were a video game, it would be in third-person. Eureka doesn't want you in its world, it wants a character.

[teaboot]

Hi! (just a personal ask. Sorry if it's not okay to ask for advice out of nowhere but I wanted to see an outer perspective and didn't wanna ask my friends. No pressure to answer of course but I would love to hear your thoughts!)

Is it normal for me to feel overwhelmed about something I want? I am just starting med school and it's a lot but I am fighting. And in my culture, parents buy their daughters their like things?? (like towels and bed sheets and a fridge. Anything they can buy except the apartment basically) for marriage from a young age. But my mom just started recently. And when she first bought me something. The idea of getting married & being a doctor (both things I want) felt like too much I teared up. My mom said I was being spoilers I guess?? Like I was ruining a good moment? Of course it is not that serious since I wasn't outright crying, and I just laughed afterwards as I felt silly lol ,but It got me thinking if I was being that dramatic.

This honestly felt like the moment in the movie where the mom hugs her daughter and says something like "oh how much you've grown" . Her retort felt like it was out of the script.

If you find time to answer, please be extremely blunt. Because I know for a fact I have a tendency to exaggerate things.

You are not overreacting. You are not exagerrating things. And I'm going to tell you this, because I experience this, the tendency to downplay your own feelings and recollections of events very often comes from having other people do it to you first. People tell you your feelings are wrong, or stupid, or irrational, and you learn to listen to them instead of yourself.

It makes complete sense that coming up on a major cultural milestone would make you feel excited, or scared, or overwhelmed. It sounds like you came upon the first step of a very big change and the reality of it all hit you at once, which sounds completely normal and expected!

Fuck, *I* used to get that about moving houses, and YOU'RE expecting shit like marriage? Holy fuck! I'd be a complete mess! The fact that you're level-headed enough to ask questions and process your feelings and talk things through is impressive, because I think I'd be losing my mind.

Personal story, but when I turned 17, my mom asked me if I wanted to go to a restaurant to celebrate. When I told her that it sounded nice, but I'd rather have dinner at home with the family, she told me I was a selfish narcissist, and that I was so busy thinking of myself that I didn't consider that other people might have been excited to go out.

At the time, I thought she'd been harsh but ultimately correct.

Now, I see that she had decided what kind of perfect evening she had wanted, and had expected me to play the part in the movie she had written herself. It had never been about what I wanted at all- it had been about her personal desires and expectations.

And it's normal to feel frustrated about things that don't go the way we want or expect, but lashing out at others is not an appropriate way to handle those emotions.

The way we feel cannot be controlled like a machine. The way we feel is usually not a problem. The problem is what we do, and the choices we make based on those feelings.

Children throw tantrums and sat mean things because they haven't learned better yet. They don't have the practice or experience. Adults like your mother and mine should have that on lock, but often don't, especially if culture or tradition or social expectations tell them their actions are justified.

If I had to take take guess, I'd say it sounds like your mom gave you this gift with an idea in mind of how she wanted you to react. She probably wanted you to be grateful and praising and sweet, so she could fulfill the role she envisioned for herself, and when you deviated from that picture, she was disappointed. From that perspective, it would seem that she felt slighted, and that she was owed your gratitude, and you were at fault for withholding it.

This perspective makes sense, in an emotionally immature sort of way, but would completely overlook your feelings, which are just as important.

Your exact situation is not one I've been in before, but if I'm correct in my assumptions (which I may not be) then I'd suggest keeping an eye out for other instances of your perspective and feelings being minimized.

Are you often told you are behaving irrationally? That you're over-emotional? That you're self-centered or greedy or entitled? Are you told that you don't remember things or do things as you're told? That you see problems where there aren't any? That you male trouble where there is none? That certain conversations aren't worth having, or that "you're always like this"?

It sounds like you know that something is off. I'd encourage you to keep asking questions and follow your instincts. At the end of the day, your life is your own, no matter where it came from.

[ghostflowerhotpotch]

The hidden story behind these few seconds.

(Originally, this post was going to be about "Meet the Parents Part 3," But I feel that since I was focusing so much in Jeff and Rio's reaction, so I decided to make a little post about her.)

I had been looking at this and thinking about it a lot, and hearing the dialogue and reflecting about the story. This moment means A LOT.

I see a lot of videos about Spider-verse, which I imagine makes sense considering how much I love this movie.

And in videos, in tiktoks and online as well, I had seen a lot of people been confused as to why Gwen tried to talk to Miles's parents instead of dipping out.

And you know what? I think the answer is in these few seconds, and what she does after.

Let's give context at this scene.

Gwen had realized that the Spider-society is bullshit, and not just because the system is corrupt, but also that canon can be defied, which means she can also help Miles defy canon if necessary. She knows she owes him that much, and she wants to make it up to him.

So she goes to 1610, wanting to talk to him to tell him the news, probably apologize and say that she is on his side.

Except, that there is no one.

But that's not the only thing, she also listens to his parents talk about the situation.

She hears them talk about Rio trusting Miles, and being her idea to let him go (something Gwen of course didn't know.) Jeff may be angry, but you can hear that he is scared.

But funnily enough, what else he says?

Look, is Jeff over his head and thinking the worst of Gwen? Yeah, and I will talk about it on the other post.

However, let's see this from Gwen's perspective.

Because she went to see Miles, she didn't look after the Spot, which went to Pavitr's dimension, and Miles followed her, then the joke villain became extremely powerful and threatened Miles. Now Miles is in who knows where, with Miguel and Spot hunting him down and his family.

Now, do I blame Gwen? No, she couldn't have predicted this, and she is a teen that is hurting and afraid. While I think she needs to apologize to Miles, I can't be mad at her (especially when she is doing all of this to MAKE IT UP TO HIM!)

But do I think the girl who couldn't had known debris was going to fall on top of the lizard, and that would be enough to make them human (because Gwen didn't know this was a human mind you,) and still feels like she failed him; would feel this is her fault?

Oh what do you think?

And let me tell you, NONE of this is helping.

Gwen knows that Miles has a crush on her. She has seen the drawings, how he acts around her, what other people say. And now his mom, who saw them together for just a few minutes, can tell that Miles was shining around her.

That has to be a gut punch.

She knows Miles did what he did to help her, as well as because he is amazing. And she wants to be with him obviously, even if she before felt she couldn't.

And to top it all of, she is being confronted with the fact that Miles was right about his parents.

Let's remember that while Rio and Jeff assumed the worst of Gwen, she did something similar.

So she is confronted with the fact that Miles is in the right about trying to save his dad, and that his parents are probably worth telling the secret (not to mention that now she knows there was still hope with her dad), and that if she hasn't interfered, none of this would had happened.

And she says so herself.

And this, is why she is doing it.

Remember how I mentioned earlier about people tho didn't understand why Gwen did this? This is why.

She feels guilty, she feels horrible that she put Miles in this mess, and that Miles's parents are feeling this torn about this ordeal.

Sure, you could argue it may be better to not mention anything to his parents, to dip out and find a way to fix this mess before they know.

But I think she feels she owes Miles and his parents this much; she knows how much Miles loves his parents, and would probably appreciate a head-ups to them if it is necessary.

You know how I mention this was the scene where Gwen probably realized how right was Miles about his parents, and probably gained a new appreciation for them? I wonder if we would have the inverse scenario next movie.

Of Miles's parents realizing Gwen means well and adores their son, and would do the impossible and more for him.

If you like my work, please share and support me in ko-fi if you can, if not, please share this post!

[thetownwecallhome]

TNBC showerthought #10: Sally is her own Doll

((OOC: So I saw because of @tnbc-thoughtsandheadcanons that there's a new comic coming out that's a 'what if' if Sally had been the one to find the holiday doors and not Jack. I'll admit the idea intrigues me...but I'm a little cautious.

Now's not the time to go into it but I get a little peeved with how Disney is utilizing fan-fic ideas and concepts like AUs and mecha crossovers in their spinoff material. But, besides that fear, I'm cautious for another reason. I'm noticing a lot more stuff trying to feature Sally more and more. While I like that, I'm also kind of annoyed with it.

Among the many problems I have with "Long Live the Pumpkin Queen", one of them is I feel like they're trying to make Sally more of a female alt to Jack, rather than her own unique character. LLTPQ had to retcon Sally into being a princess from another kingdom the way Jack is already a 'King'. Which, to ME is deeply insulting.

Part of what makes Sally impressive is that she is 'just' a ragdoll. She was created, not born or 'died', and she also happens to be smarter than her creator and even the king of her town. There doesn't need to be some explanation for her being the way she is and that's what's cool about her. It's very, Ozian, for lack of a better word. It's such a cute idea of an inanimate-object-brought-to-life becoming a ruler and being thought of as their own person. It's cute and even a little empowering in a way.

While I'm not scared that this new comic will retcon anything like LLTPQ did (really, it's supposed to, given that it's an AU), I'm still worried that this new comic will give Sally the exact same reaction Jack has to Christmas and have the plot of the movie try and go on but with Sally in Jack's place...and I really hope that's not what happens.

Sally is not Jack. That's what's adorable about her. That's what we the audience love about her and that's what Jack falls in love with her at the end for. Sally wouldn't do the things Jack does with Christmas because Sally is her own person and her situation and social status is different than Jack.

AUs of this kind really kind of put into perspective the kind of characters you're working/messing with. The whole reason the story of TNBC happens at all is because Jack is the kind of person he is while he finds Christmas; extroverted, peppy, self-absorbed, ostentatious and manic depressive. Jack is the king and everybody wants his approval and attention even if he thinks no one actually listens to him. The only reason Halloween ends up doing Christmas at all is because Jack is the king and is used to doing what he wants and getting his citizens in on his plans.

If Sally finds Christmas Town or any other holiday world and comes to her own self-discovery, she better not go back and try and tell the people of Halloween about it. Sally's whole deal in the first half of the movie is she doesn't want to live with Dr. Fink; she's trying to escape. She'd probably stay in the Holiday worlds because she has no one back home desperately looking for her besides Dr. Fink. She wants to be away. If anything she has a way better reason than Jack or anyone else in town to run away. And, if Dr. Fink did make a big deal and ask people to help him look and then THAT's how Halloween first finds Christmas-- that would be something. I'd really like to see an alt. Jally-romance take that direction; Jack starts a search party for Dr. Fink's missing secretary he's seen once or twice, he follows a party personally to the outskirts of Halloween land, finds the doors and Sally and SHE'S the one to introduce HIM to the other holiday worlds. That'd be so cool!

tl;dr: I hope the 'what if' comic has Sally functionally going on her own journey and being a different character and not her functionally going through the beats of the story Jack did but just Sally in place of Jack. Sally is not Jack.

))

[vixenihy]

Late Night Guilt

Summary: A few months after the Cuban Missile Crisis, Jack is still facing the stressful aftermath and his survivors guilt from the war certainly isn’t helping either. Just when he feels he’s out of luck, someone he loves dearly is there to help.

Tags/Notes + Pairing: jfk x jackie kennedy, hurt/comfort?, swearing, mentions of past infidelity, antiquated beliefs about emotions, stress, anxiety.

Word Count: 1.1k

A/N: this is my first fic! i’m not super experienced with writing jackie, i fear. but i noticed that there aren’t any jfk x jackie fics so i wanted to change that. i love these two, lol. the indents may be a bit off bc i wrote this on my phone and used the spacebar as substitutes for indents… sorry lol. the banner was made by me, and the border below belongs to @/menschenopfer !

God Damnit…

Jack lets out a quiet groan of frustration, biting his cheek and hoping that the interviewer didn’t hear him. He’d forgotten to take the medication for managing his nerves. Not like he can remember what it’s called, though. There's too many names to even begin to remember what the Hell it’s called.

The past few months have been nothing but stress; Paper after paper and interview after interview. It’s a total mess, and it’s his fault. The Cuban Missile Crisis was the closest the world came to ending; but who started this beginning to the end? Well, Jack blames no one but himself. He can barely resist the urge to tap his teeth with his fingers in front of the camera focusing on his face.

“Mr. President, after the close call with the Soviet Union and Cuba, a handful of Americans are curious about your story that led to you earning your Purple Heart. We know there is a movie coming out later this year, but would you care to give a little of your own personal perspective?” The interviewer asks. Jack clenches his jaw and tightly interlocks his fingers as a heavy pang hits his heart. The last thing Jack wants to be reminded of is the people who he failed to protect, the two people who died because of him. He can feel the guilt eating away at him as he speaks, his voice just as calm as his face.

“Oh, there isn’t much to say. They sank my boat, and we were stranded for a while. Then with the help of some of the natives, the Navy came and saved me and my crew.” Jack explains calmly, ignoring the burning hot fire, hours of pulling men to the boat, screaming the names of the men he’d lost till daybreak. The swimming, vomiting, starvation, the close calls with death, and the terrible guilt he faces to this day. He left out all of it. No one will know how he felt that day, because Kennedys don’t show how they feel. A real Kennedy never cracks.

Jack snaps back to reality just as the interviewer finishes scribbling his notes.

“Thank you Mr. President.”

—————

“Bunny, it’s okay if you want to talk…You know I'm here for you, don’t you?” Jackie presses as she helps to massage her husband's back. Usually, she wouldn’t press too much into his day and his issues as she believed it wasn’t right to bring up the stress of the day right after it had ended, but Jackie noticed how stressed he looked and how upset he seemed to be when she saw a glimpse of him when he was alone. It worries her. And though he had hurt her in the past with his philandering behavior, she knows why he acts the way he does and how he’s doing his best to change. So, she decides to focus on the future rather than the past.

“I know, Jackie…But I'm fine. It’s just that work is stressful. That’s all.” Jack sighs, laying his head in his arms and closing his eyes as Jackie helps to work the stress out of his body. He wishes that he could tell Jackie all about his day and vent his frustrations, but he finds himself biting his tongue. Men don’t talk about their feelings, especially not a Kennedy man. He can hear his parents chastising him in the back of his mind for even having such a thought. So, he just decides to let it go and switch the conversation.

“Thank you for helping me with my back, Kid…It’s been killing me for the past month. I think picking up Caroline at Christmas really aggravated it.” He continues, turning his head back ever so slightly to look at her. Jackie looks so beautiful with the dim lamp shining behind her, illuminating her figure like an angel. He doesn’t deserve her, how did he get so lucky?

“It’s alright, Jack. You certainly made her day.” She whispers with a chuckle, glancing into his faded green eyes and watching them spark with life, the Jack Kennedy she knows and loves seems to finally come to life.

——

The crackle of fire and the smell of oil taints the air as Jack slowly opens his eyes, groaning in agony as his back spasms. He goes to grab the nightstand, but only finds a cold metal surface beneath his hand. He stumbles as he pulls himself into a standing position, opening his eyes at last. His heart drops as he realizes where he is. He’s over a thousand miles from home, he’s in the same place he fought like Hell to escape from, he’s back.

The South Pacific.

Following the same routine he’s done a hundred times before, Jack leaps off the side of the creaking bow and swims out towards the voices of his crew. They scream and cry out for their skipper and their mothers, a haunting sound he’s listened to too many times before. Just as he’s about to reach one man, he sees a head disappear below the waves. Gasping with fear, Jack dives below the waves and claws his way downwards, the darkness of the sea making it impossible for Jack to see the face of the man he’s trying to save. But just as he reaches out, he slips out of his reach. And he helplessly watches the figure disappear into the dark abyss.

Jack awakes with a start, jolting to find himself back in the luxurious bedroom he’s lived in for the past few years. He sits up gently, bringing himself back to the present with a deep sigh. Attempting to alleviate his back pain, Jack brings his knees to his chest and lies his head on his arms. A tightness settles in his heart as guilt festers in his mind. He forces back a few tears as he remembers one of the hardest experiences of his life. Just before any tears begin to break through, he feels a hand on his shoulder.

“Jack?” Jackie asks groggily, confused to see her husband awake so late. “What’s the matter, Bunny?” Wiping his eyes with his hand, Jack lies down onto his back.

“It’s nothing, Jackie. Just a bad dream is all…” He sighs, turning over onto his side.

“Go back to sleep, Kid. It’s alright..” Jack mutters. But before he can allow himself to drift off, he feels Jackie's arms wrap around him and hold him close to her body. At first, he seems uncomfortable by the touch his wife is giving him. It feels so foreign and uncomfortable. But as the seconds pass, he finds himself warming up to it…

“Maybe we can get away to Hyannis Port on Saturday. No press, no people, no work…Just us. It’ll be cold, but I think you need a break.” Jackie suggests, placing a kiss on her husband's neck and rubbing her thumb over his hand.

“I love you, Bunny.” She sighs, cuddling closer to Jack.

“I love you too, Jackie.” Jack smiles, shutting his eyes and slowly drifting off to sleep.

[hazel-eye-coffee-shop-girl-blog]

Limelight Series - Chapter 4

Happy Monday Everyone! Here is chapter 4 of the limelight series! If you haven't read chapter three, click here to read it and then come back to read chapter 4.

This series came way of a message/ask from @hobby27 she asked:

"I would love something with Jensen and reader. He sees her when he’s at a convention and he’s bonkers for her. She isn’t so interested in a relationship with him because of the fame. So he has to woo her. Make her understand that he’s not a typical movie/tv star. Slow burn."

So I give you the Limelight series- It's a Jensen x reader (plus size, curvy girl) story, Jensen meets the reader in a bar, he falls fist, she is reluctant of course, but secretly she fell for him the second he walked through the door. So can a small town girl and a celebrity make it work?

Warnings for the whole series: language, multi-pov and switching between the pov mid chapters (sorry I can't help it), Jensen coming off aggressive for a hot second but then cooling off. Some douche side characters and some lovable ones, body shaming, angst, fluff, swoon, Jared is there and Micha is mention.

This story takes place an AU where Jensen is not married but Jared is and has kids.

This chapter is 2K+. Feedback, likes and reblogs are always welcomed. Please don't post as your own work, this is my work. If you would like to be added to my tag list, just ask, I am always happy to add you.

Thanks!

Next Day

"Hey, Jensen," you answer. 

Trying to keep yourself calm, you keep repeating to yourself, He's just a guy, you get up from your chair and start pacing around your living room, needing to do anything to channel this nervous energy somewhere other than your voice.

"Hi, Y/N. How are you?" He asks, his voice low, almost to a whisper level. 

You can hear a bit of commotion in the background. "I am good. Sounds like you're in the middle of something, though? " You ask, wondering why he is calling you and if he is working.

"Oh, no, sorry. Give me a second, " he replies, pulling the phone away from him. You hear him talking to someone quickly, and then the sound of him walking and a door opening and shutting behind him.

"Sorry about that. I just finished my last panel for the day with Jared, and I couldn't wait to hear your voice."

You feel your cheeks redden, and you're grinning from ear to ear. "I am glad you called. I like to hear your voice, too," you reply, hoping it doesn't sound too desperate. God, you wish you could be more confident. 

"How about dinner again tonight?" He asks, hoping that you will give him another chance. What happened last night with the fans wouldn't scare you off, and being with him would be worth it.

"Umm…I don't know, Jensen…" you start to reply, remembering the mess that was last night. Besides, the night starts off with his adoring fans at the hotel. Once you two left the restaurant and planned on walking back without your chaperones, a mob was waiting for you around the corner. Fans and paparazzi—it was horrible. 

"Did you see what was posted this morning about you? I can't imagine you didn't get a few questions about it?" You ask. Hoping that reminding him of that disaster last night would put in perspective that he and you won't work. Knowing full well that fans did not favor their favorite eye candy being seen with a woman and a plus size at that.

"The tabloids will print anything to sell their rag magazines. As for the fans…yeah, I had a few questions, but I diverted the questions like a pro." His confidence is loud and clear through the phone. 

You can imagine him in a nondescript hotel room, puffing out his chest like the superhero that he is. Confident in his ability to quell your worries. Now you're wondering what he said and what Jensen thought about you. 

"So what did you tell people?"

"The truth. That it was a first date and that I really liked her…I mean you." He clarified, ensuring you knew that he was talking about you.

"I am sure they didn't like to hear that." Fiddling with a pen, you start to doodle.

"Actually, they were excited to see me with someone; for some reason, they were concerned that I hadn't been seen with anyone for a while. But enough about them, so dinner? I will pick you up at 8?" He directs the conversation back to his original question. He wants to get off the subject of his fame and the task at hand, spending time with you.

Shit, he really wants to go through with this. "I am not in the city today." You reply, hoping that the idea of him driving out to Haven, two hours away, is a deterrent.

"That's fine. Text me your address, and I can leave now, " he replies, keys jingling in the background.

"I don't have anything in the house; I am serious, Jensen; I don't want you to waste your time. I am sure Evan and Quinn don't want to slum it out in the sticks again." You joke, wanting to keep it somewhat light and give him an out. It's easier for you to reject yourself before he can.

"Oh, I am not bringing those two. I can drive myself, you know, " he jokes. The sound of the door opening and closing again and his walking is apparent.

"Now, text me your address, and I will pick something up. I won't ask again." He's playful but slightly serious at the end.

You know that fighting with him on this is a losing battle, even if you have only known him for two days.

"Fine," you reply, open your text thread with him, and send your address. "I just sent it."

Jensen waits for a second, checking to make sure it came through. 

"Perfect, see you soon, " he says, then hangs up the phone. 

****

Panic really starts to set in now. Jensen Ackles will be at your place in two hours! What the fuck are you going to wear! You have to clean! You start to panic and go into turbo mode, stashing everything embarrassing in every drawer or closet you can and making yourself presentable.

At precisely the two-hour mark, your house is passable, and you are as well. You settle for comfortable jeans and a T-shirt with your good bra on. You double-check yourself in the mirror when you hear the doorbell ring. 

Taking a breath, you walk a short distance and open the door. 

Jensen stands with a takeout bag from your favorite diner, looking like perfection.

"Hey," he replies, giving you that smile that makes all girls melt and blush. He is also dressed casually: jeans and a red Henley. He is definitely dressed for a night in.

"Hey," you reply, stepping aside to let him pass. You shut the door behind him.

"You made perfect time. Hope it wasn't too much trouble." Knowing that your place is a bit out of Haven's city limits, he could have easily gotten turned around since he's not used to the area.

Jensen takes in your home, looking around at all your artwork. The space's coziness is, so you.

"No trouble at all." He replies, turning back to face you. "I hope you like burgers. I was craving just some good local food."

You give him a nod. "Absolutely, and you can't go wrong with Rosie's, the best diner food in all of Haven." You say, walking towards the kitchen. He follows, setting the bag on the counter while you grab some plates. 

Jensen starts to unpack the food, "so, how was your day?" He questions.

You turn back, handing a plate for him to use. "Fine, I got some work done between the calls and texts I was getting from family and everyone in town wanting to know the details between you and me." You casually say, trying your best to not let your annoyance show through or blame Jensen for any of it. It's not his doing; he didn't plan for it.

"Want a beer?" you question. Turning back to grab a couple of bottles out of the fridge.

"Sure." He replies, taking a seat on the kitchen island with his food and taking your plate with him to sit next to him.

"So it was that bad for you? I am so sorry, Y/N. I promise it's not always like this." He's a wreck over how much his celebrity life is getting in the way of him getting to know this amazing woman sitting next to him. 

You cross the room and take a seat next to Jensen. You place the beer before him and take a much-needed drink before responding. You can tell he's worried; the sparkle in his eyes when you open the door is slightly dimmed. Damn, you hate that you did that.

"It really wasn't that bad. I am sure I am just blowing it out of proportion. Let's just forget it." You say, wanting to put it behind you, at least for now.

Jensen gives you a nod. And you both start eating. 

****

"I still can't believe you did that to Jared!" you reply, still shocked by all the behind-the-scenes and on-set antics that Jensen has been developing for you all night. 

After dinner, you moved from the kitchen to the living room. Curling up on the couch, facing him, a few empty bottles on the coffee table, you both felt relaxed and comfortable with each other.

"We need to pass the time somehow; shooting can take forever." Jensen tries to justify his actions. “Besides, Jared and Micha got me back good, so don't feel sorry for those two, " he replies, finishing his beer and setting it on the table. 

You compose yourself, "OK, spill, what did they do?" you question, leaning your head against your hand propped up on the back of the couch. You love this; being with him is comfortable, like breathing.

"Oh, no, I will not tell you that part." He shakes his head, gets up from the couch, and grabs the empty bottles. 

"You want another one?" he questions as he approaches the kitchen.

You shake your head. "I think that was the last one. Sorry." You reply, wishing you had more in the house.

"That's fine. I am good with water. Do you want some?" He questions, not that he needed alcohol. You're like his own personal drink of choice. 

"Sure." Watching him walk away, damn, does he have a great ass or what! Feeling the butterflies start to swarm and you are reduced by the thoughts of him and his assets, you're caught mid-dirty thought.

"What's gotten you all smiley all of a sudden?" Jensen questions, pulling you back to reality. 

Oh fuck, you start to panic; taking the glass of water from him, you lie, "Nothing." You smirk and know he's not buying it.

Jensen rolls his eyes. "OK, keep your secrets, but then I won't share this with you, " he states, bringing his hand from behind his back, a small takeout container from Rosie's.

You know exactly what's in a small box like that. "Oh, please tell me you brought pie, " you say, knowing he did since Rosie's has the best homemade pies in the county. 

Jensen gives you a nod. "I mean, I couldn't forget the pie, " he says, sitting down and opening the box. There sat a slice of the perfect Apple crumble pie. 

"Awe! And you got my favorite! You could have gotten any piece of pie, and it's my favorite." You exclaim with excitement. You reach for one of the forks in his hand but quickly pull them and a pie back. 

"What!" You say, giving him a confused look.

"Yeah, no, I am not sharing until you tell me where your mind was at when I returned to the room. I have to know what got you all distracted," he teases.

"Not fair!" you pout, "if I had known that you were going to withhold pie from me, I would have kept my wits about me." You joke. Wanting nothing more than to keep your dirty thoughts to yourself. 

This was all still new, and who's to say he even thought about you that way. You telling him all about your thoughts of him naked could derail and end everything.

Jensen grabs a piece of pie and brings the fork up between you, too, "I mean, I am fine with eating this all myself. It looks like a damn good pie." He says matter of fact. His voice is slightly low, and somehow he makes it so damn sexy! 

Slowly bringing the fork to his lips, he slides the fork in between his lips. Swallowing, "Mmm, that's good."

He goes for another bite, but you stop him. "Fine! I thought you have a great ass, OK!" you blurt out, and before he can reply, you lean in and steal the bite from his fork.

Jensen didn't reply right away. Stunned by what you said and your closeness and ability to steal that bite of pie. You were inches from him, so close that if he had been prepared, he would have dipped his head slightly and kissed you right there.

 "So I have a good ass, hmm? Anything else of mine you like, Y/N?" He questions. Feeling his boldness come back around. 

You can feel yourself start to get self-conscious, but then you look at him, his eyes lock with yours. Starting you down, and not a hint of cringe or discus is to be had. No, what you see is his lust-blown eyes; he seems very much intrigued and invested. Fuck it, you've come this far. 

"Your lips, I've always thought they seem very kissable. I am sure you've heard that before."

Jensen sets down the pie, wanting to get it out of the way. "I have, but for some reason, hearing it come from you, it's so much more sexy." He replies, reaching for your waist; he pulls you closer to him. 

Inches separate you two, and your breath mingles with his. 

"Want to see if your thoughts live up to reality?" he questions. Leaning in slightly, his lips graze yours, but he doesn't kiss you. He wants you to close the gap. 

You nod and lean in, letting your lips mold to his. They are perfect, soft, and supple. Jensen is tender; no rushing is involved. Moving with you, it's perfect. Feeling the need to breathe, you pull back slightly and take in the oxygen you both need.

"So?" he questions breathly. 

"Perfection, " you reply. Leaning your forehead against his, you let your fingers play with his shirt and wish you weren't in such an awkward sitting position. 

As if he can read your mind, Jensen grabs your hips and manhandles you to straddle his lap. Putting himself more in the middle of the couch.

 "Fuck, Jensen, no, I am going to crush you!" You yelp, being handled like you weigh nothing.

Jensen gives an audible pash at this. 

"Please, I am fine. Besides, isn't this more comfortable?" Running a hand up and down your back, his other pulls your face closer to his. His lips find yours again; his tongue darts out and asks for passage to explore you more. You graciously accept and let his tongue dance with yours.

Taking more of him, the taste of pie's and beer, the sweetness mix with the feeling of him close to you, and your senses are in overdrive. You card your fingers through his short locks and try your best but fail to rock up against his incredible body. God, you haven't had anyone like this in a long time; you've never had anyone make you feel so complete and wanted as Jensen has made you in the past two days. 

You pull away slightly, letting your forehead rest against his, as you take a much-needed breath. Is it just the intensity of him and his lips making your head spin, or is it the realization that you're falling for someone you know you can't have? 

"Wow, " you breathy say, unsure if your brain can form more eloquent words.

Jensen gives you a cheeky smile at this, his dimples on full display. "Yeah…same…" he breathily replies, leaning in to start peppering kisses down your neck.

To Be Continued......

Tag List:

@ladysparkles78 @smoothdogsgirl @n-o-p-e-never @stoneyggirl2 @lmhf1 @kr804573 @deansimpalababy @livingdeadblondequeen @winchesterwild78

[writingraccoon]

tagging @origami-butterfly bc i think you'll be interested at least

So some posts about women in The Strange Case of Dr. Jekyll and Mr. Hyde and it's adaptations have been going around, so I thought I'd give my two cents that no one asked for.

In the original novella there is one important female character I can think of- The girl Hyde tramples. I have not seen any J&H movies or adaptations, unless you count the four episodes of Once Upon a Time that had a (bad) J&H plotline, but i have a decent impression of how most adaptations treat the women they add in.

First of all, I don't think adding women to Jekyll & Hyde is necessary. It speaks to the attitudes of the time that more women are not in the original book, but the book as a whole is inextricably linked with the attitudes of the time, and separating the culture from the novel serves to strip away much of its meaning. Perhaps casting the butler Poole as a woman, or even making Lanyon a woman could be reasonable ways of putting a little more diversity into screen/stage adaptations, but the novel does not even pass the 'two men talk to each other about something that isn't a man' test.

A piece of media does not need to pass the Bechdel test to be good, or interesting. Frankenstein, J&H, Les Mis, Dracula (iirc), and the Christian Bible are all, to my knowledge, things that do not pass the Bechdel test. They are not less valuable for that.

Many J&H adaptations add a love interest to be killed or spurned by Hyde, or a sex worker to be raped or killed to display how evil he is. I hope I need not say that adding a woman to your story just for her to be fridged to say something about a male character is FAR more sexist and hard to watch than a piece of media that just happens to have a lack of women.

At it's heart, Jekyll and Hyde is a story that needs few characters to be told. There is, of course, Dr Jekyll himself, his alter ego Hyde, Utterson, the lawyer turned detective, Lanyon, and Poole. Any other people that show up in the story are unimportant except for what they say about the main characters (pretty common in fiction. the family that dies at the beginning of the hero's journey is not important in and of themselves). The girl that is trampled by Hyde is there to set up how Enfield met him, and tell the audience how evil he is. The old man who is trampled is there to shock the audience and Utterson, and reveal a new depth to Hyde's cruelty. Now, there's something to be said for the fact that the old man is named while the little girl is not.

While pieces that are less adaptations and more inspired by J&H have far more freedom in what they add and what they omit- The Glass Scientists comic, for instance- adaptations that aim to bring the book to stage or screen should actually read the book before deciding what should take place. I would say that adding a love interest not only is unnecessary, but in fact actively harms the effectiveness of any J&H adaptations. Jekyll and Hyde is simply not about that. It is not a love story, (except, you could argue, the love for Jekyll that drives Utterson to become more invested in his hunt for Hyde) and trying to make it a romance interferes with the point and themes of the story, just like switching the perspective from Utterson to Jekyll messes up the story.

The reason why so many adaptation of Jekyll and Hyde fail to capture the essence of the original novel, is that none of the people in charge of them seem to understand the novel at all. They don't understand why Gabriel Utterson is not only not boring, but why he is the lens through with Stevenson chose to tell the story. They don't understand that Hyde is not a separate person, or an evil second personality, or anything else, but that he IS Jekyll, and Jekyll is him (which is an interesting point about humanity's unwillingness to accept the presence of evil inside of ourselves but i don't think most screenwriters are doing that on purpose). And they don't understand why, to put it simply, the Strange Case of Dr. Jekyll and Mr. Hyde does not need the addition of a love interest, and in fact is better for the lack of one.

[aikastugeek]

Ok so idk how long this is gonna be and I'm gonna try to keep it as coherent and concise as possible. SALTBURN IS NOT A CLASS COMMENTARY MOVIE, IT IS A MOVIE ABOUT YEARNING AND DESIRE. I don't know how many times I have to say this but it seems that the biggest problem that people have with the movie is that it's a terrible class commentary and has nothing real to say about it. And I would totally agree if that's what the movie was about. I've often seen people compare it to Parasite which is crazy to me. While in a general sense it has a similar premise to parasite (an amazing movie that deserves all its awards) because it has to do with someone worming their way into a rich family the comparisons stop there. Noting that Oliver himself has enough money to go to Oxford without a scholarship I think it's safe to say he didn't need their money. Oliver never cared about the house until he killed Felix. He started trying to get close to felix even before he knew about saltburn. When Felix was introducing the house to us and we see it through Oliver's eyes we are only focusing on Felix and nothing else. And while yes the Catton family is super rich that's a part of the dream that is Felix. He's super tall, super handsome, super nice, and super rich. He is everything anyone would ever want that's why he's so shiny so from any perspective we can understand why Oliver would want to be around him and mixed with his obviously obsessive nature of course he's gonna do anything to win Felix. Until Felix died there wasn't a real emphasis on the house itself just how grand it is but we don't see the happy montage in the house it's outside. And Oliver ingesting the fluids of the family is supposed to show just how far he's willing to go what he's willing to do just to be around Felix. And most importantly Oliver is shown to be a hella unreliable narrator so you can't exactly believe him when he says that this was all some master plan of his I mean he's not even telling the story to anybody. Elspeth probably can not hear him he's talking to himself because that's who he's trying to convince. He's trying to convince himself that killing Felix was all part of some plan to get saltburn because of his massive regret. After Felix's death he's seen sobbing in the church and sobbing on his grave wanting to be as close as possible to his lost love. And even when he says he hated Felix the montages that we see is not him being menacing or Felix being terrible it's Oliver weeping whenever he felt pushed away from Felix. And this misinterpretation bothers me so much because it messes with what the movie's about. It's not a commentary, or a story with a sweeping moral it's pure entertainment and hedonism. And this sort of misinterpretation paints the creator in a bad light because everyone is going around saying she can't write because people didn't understand the point of the story she wrote. I've watched many interviews of her talking about the movie and you can with even just one interview that she never meant it to be a class commentary but people will never give women the benefit of the doubt. But anyway that's all, I could really make a whole long ass essay about the misinterpretation of saltburn but I'll leave it as a long post and go.

[enhashoutout]

Seiji, Arata, and Noboru

Sooo I'm rewatching High&Low the Worst as one does, and my brain started running again; so here is a comparison post of Seiji, Arata, and Noboru.

Seiji and Arata are to Fujio what Noboru is to Cobra and Yamato.

(Also I'm really sorry the Arata photo isn't centered. I tried fixing it but due to the picture dimensions I couldn't get his picture to center)

The One Who Can't Mess Up

When we meet Noboru for the first time, he is introduced as the friend who has a bright future. Even from their childhood, it is highlighted that Noboru is different from Cobra and Yamato. Noboru has dreams of becoming a lawyer, he does better in school, he doesn't get into fights.

Cobra and Yamato even say it themselves multiple times that Noboru isn't like them; that even though he came from a run-down area he had dreams and a better future than anyone else from there. In the Story of S.W.O.R.D series, Cobra even states that Noboru went to college, which was a completely different world that Cobra and Yamato could not understand. We also get a scene where Yamato tells Noboru that he is their star, encouraging him to keep going toward his dream of being a lawyer.

This early version of Noboru we see is exactly who Seiji is.

When we are first introduced to Fujio's childhood friends in the H&L The Worst movie (I haven't watched the Worst spin-off shows so I'm speaking solely based on the movie) Madoka informs the group that Seiji is the top of his class, making him the smartest person their age. To this, the friends celebrate and call him "The hope of the Hopeless Housing Estates".

Later when the group meets up again after the Oya High and Housen fight, Madoka points out that Seiji has a bruise on his lip which is unusual for him. Right away, Fujio tells Seiji that he can't be getting into fights. I'm sure Fujio knows what the costs are for Seiji, that's why he never encourages fighting with him like he does when he talks to Shinya and Masaya. We also see this when they meet up in the morning before school. Seiji asks Fujio if he is going to Hope Hill, and Fujio tells him that he'll be the one to bring Arata back and that Seiji doesn't need to worry about a thing and to stick to his books.

When Seiji gets into an altercation with his classmate who is speaking badly about the Oya students, he is confronted by one of the authoritative figures at school. This man points out to Seiji that all the teachers at school have high expectations of him. The teacher also tells him that with his grades he could get into any college of his choice in the country and that it would be best not to act in ways that would jeopardize his future.

We see that both Noboru and Seiji are constantly held up to higher expectations by the people around them simply because they were different than their peers growing up.

How Seiji and Noboru must've felt

I have not finished Story of S.W.O.R.D yet so Noboru's feelings are purely my own theory/speculation.

We get Seiji's feelings/perspective on the matter in the movie. When the man who I assume is one of the teachers or even is the principal is confronting Seiji about his actions, he also says that he heard that Seiji hangs out with boys who attend Oya High. He goes on to tell Seiji how he shouldn't be seen around them to which Seiji confronts him with the question about cucumbers.

Seiji points out that cucumbers do not naturally grow straight, we as humans put them into a mold that makes them grow straight and only allow those ones to be sold at markets. He relates this back to himself vs his brothers.

"My friends, my brothers, they aren't hoodlums or twisted. Among my friends, there's not a single loser, scumbag, or lowlife! They just grew up naturally bent! Sometimes, I envy them. I wish I were... I'm fine sir. I will become straighter than anyone else. I will be placed in the best position in the best market. For their sake."

Seiji knows that his capabilities are higher than the other boys and takes advantage of that and seizes every opportunity he can academically. He understands that he is being molded into an image of someone who is "successful" or "acceptable" in the eyes of society. However, sometimes he is envious of the fact his brothers do not have to do the same. But Seiji understands that for the sake of everyone, he has to be the one who strives to do better and take a different path in life than one where physical fighting is prominent. The lying undertone of this being that Seiji is working towards a better life so he can take care of everyone makes my twisted, bitter, little heart happy.

So how exactly does this relate back to Noboru? It's because I think that Noboru must've felt the same way.

From my understanding of the movies, we don't see much of how growing up with different behavior affected Noboru other than the fact he focused on his academics and had big future plans. He falls off course after his time in prison though. When Noboru and Cobra are talking outside of the gas station, Noboru tells Cobra how he had lost his way in life and could no longer see the future plans he had for himself. This plays a large part in how Noboru is similar to Arata, but let's back up a bit.

I assume that there were multiple times when Noboru had felt the same way Seiji did. In the show, we see that Cobra got his name because he had been Cobra twisting everyone since they were kids. This alludes to the fact that even at a young age, Cobra and Yamato fought with the other kids while Noboru didn't. We see that Noboru went to high school and took his college entrance exam which Yamato dropped him off for. We also see the scene where Noboru tells the two that his college acceptance is just the beginning, he has to also pass the bar exam. All while this is happening, Noboru is still friends with Cobra and Yamato. He hangs out with them, Naomi, and the other Mugen members at Itokan when he isn't studying. This leads me to believe that Noboru had to have felt the same way as Seiji multiple times throughout his life. He must have been struggling by himself with his academics and was envious of his brothers who didn't have to do the same, but understood that for the sake of everyone he had to be the one that "does better".

Little Parallel I noticed: Being friends with the people they are, these characters know how to fight even if they don't actively use these skills.

During the Mugen era, Sannoh's Pre-debut era if you will, Noboru doesn't get into fights with anyone. However, we do see him beat the shit out of the guys who harmed Miho. He doesn't actively fight until Sannoh era but I assume that being friends with Cobra, Yamato, Kohaku, and Tatsuya they taught him some stuff.

This also rings true for Seiji. Let's bring it back to the morning of the Kidra fight. After Seiji and Fujio meet up and Fujio tells Seiji not to worry, he walks in while his classmates are talking smack about Oya and Housen. When he's had enough of their yapping he swings at one of his classmates. Based off of everyone else's body language, it doesn't seem that the guy he punched would be able to fight back or that any of their other classmates would be able to step in and stop the fight. None of them seem like they know how to fight or even knew Seiji could throw a punch like that. I assume being friends with guys as strong as Fujio, Masaya, and Shinya teaches you a thing or two though.

The One Who Tried to Purge His Past

When H&L the Worst opens, we are introduced to Arata when Madoka tells Fujio that Arata has been hanging around some bad people and there are bad rumors revolving around him. We meet his character when he is caught on the construction site selling RedRum to some guys who work with Masaya and Shinya. Throughout the film we see that Arata is simply working with Kidra for money, he's not friends with any of these people or shares the same morals as them. This is the first point of comparison for Arata and Noboru.

Arata is working with Kidra because he needs money to take care of the house bills and his mother's hospital bills. Noboru only took up Nikaido's offer to join Iemura because he felt that it was the best way to continue from there when he felt like he had lost everything. Both took a path they thought would be best for them even if it was morally wrong or they were engaging with the wrong people because they needed something from these people.

When Arata is confronted by Fujio, he tells Fujio that he has his own way of doing things and that he wishes everyone would just leave him alone; to which Fujio tells him that he knows what he's doing is wrong, and that's why he showed up to Grandma Sada's resting place in the night by himself. Fujio tells Arata to throw the dirty money away. The night before when Madoka tells the group that Arata's mom has cancer and is worried for Arata because he has been working so hard to pay for everything, Fujio comes to understand why Arata is working for Kidra but also points out that what he is doing is wrong. Fujio tells the group that he doesn't know how to explain it, but he knows the way that Arata is going about the problem is wrong. Fujio tells Arata that his problems are also Fujio's problems because they grew up together and got in trouble together, so why shouldn't Arata's problems also be his? This is the equivalent of Cobra and Noboru's scene when Noboru is aiming the gun at Sannoh. Cobra tells Noboru he understands why he did what he did. Noboru's actions are to keep Sannoh safe from Kuryu, but that he went about it the wrong way just like how Arata is making money for his family but he went about it the wrong way.

Both are much smarter than the people around them, not in an academic sense

Noboru and Arata are both smart, much smarter than the people surrounding them even if it's not in an academic sense.

Noboru is seen as the brain in Sannoh. This is prevalent when we see the Amamiya brothers come back to him for help in breaking through the USB firewalls to reveal the Casino Project. This is also seen when Noboru was still working with Iemura. The other Iemura members are hot-headed and act recklessly whereas Noboru always treaded with caution and logic. It definitely wasn't one of his best moments but I have to give it to him because using Chiharu and Shion to push RedRum and cause chaos within S.W.O.R.D was pretty smart of him. I'll give credit where it is due lol.

After the Oya and Housen fight, we are brought back to Hope Hill where all the Kidra members and RedRum pushers are partying because they think that Housen and Oya can no longer get in their way. Not only are they talking about Oya and House, they are talking down on the S.W.O.R.D gangs as well. To which Arata speaks up, saying that the S.W.O.R.D gangs are not dumb, and that if Kidra wants to continue their business they need to move faster. Growing up in this area, Arata knows vaguely how the S.W.O.R.D gangs run and how everything works in the S.W.O.R.D area, whereas the Kidra guys do not considering they got beat by Murayama twice and think they can do whatever they want with no consequences. The other pushers clearly don't use their brains as much as Arata either. All the scenes we see of these characters together, it seems like those guys are just there to be there while Arata does the actual work of selling RedRum.

Grace Periods and Protecting Your Friends

Every time we see Arata, he's avoiding his friends. He avoids talking to Masaya and Shinya on the construction site, he avoids Seiji's messages and calls, he avoids Seiji when they both show up to Grandma Sada's resting place, and he tries to avoid Fujio in Hope Hill. Arata avoiding his friends and not talking to them is the equivalent of Noboru giving Sannoh so many grace periods to disband for their own safety.

After his run-in with the Oochi brothers on the construction site, Arata keeps quiet and doesn't tell the other pushers who Masaya and Shinya are. He avoids Seiji and Fujio until he can't. I feel that in a way this was to protect everyone. He knows what he is doing and the people he is involved with are dangerous. Ignoring them was partially so they wouldn't stop him but, part of it must have been to keep everyone else out of it because as he states while he fights with Fujio, this is his problem.

Both characters are trying to protect their friends while engaging with people who could harm the people they care about.

Purging one's past

Arata in order to work for Kidra is doing what Noboru tried to do and tries to purge his past (he is unsuccessful obviously).

Noboru multiple times throughout the series and Road to High&Low movie is telling his friends that he is different now. He tells them that people change and that he is no longer the same person he used to be. Nikaido gives him a gun, essentially telling him to either kill himself or kill his past (Sannoh). When he pulls the trigger, we find out that the gun is actually not loaded and the guy is just shooting blanks. The symbolism to this is that he can not purge his past even if he wanted to because your past is a part of you. Without your past, there is no present or future. You can't make the present or future better if you don't have your past to look back on.

Arata is doing the same when he tells Seiji he isn't the same as he used to be and when he tells Fujio that he's changed now. Fujio tells him that he can continue to punch Fujio, but his fists don't hurt one bit, not as much as his disappearance hurts their hearts. Arata and Fujio are both crying by the time Fujio is about to send another punch Arata's way, only for Masaya and Shinya to stop them. When they bring Arata back, Seiji and Madoka are there to greet him and welcome him home. Arata looks at the market and you can see the look in his eyes change. He never changed, he missed this place just as much as he missed his friends. He wasn't able to purge his past. His past is actually what helps him in the present and future, considering the group works together to give him money to help with his mother's treatments.

A Home to Come Back to

In High&Low the Movie, we see Kohaku's monologue about being a home to return to. Cobra and Yamato decide they want to go after the guys that got Noboru in jail and they tell Kohaku that it should've been them that got arrested because Noboru had a bright future and they didn't. To this, Kohaku asks them how either of those actions would help Noboru; Cobra and Yamato don't have an answer. Kohaku tells them that they can't change what happened, but that they can wait for Noboru because if Noboru has no home to return to, he'll never come back. At the end of Road to High&Low, this is exactly what we see. Sannoh was built so that Noboru would have a home to return to. Yamato even says that they can disband Sannoh Hoodlum Squad if Noboru doesn't need it anymore, that is fine, but he just wants his friend back. Once Noboru realizes that he doesn't want to purge his past, he asks Cobra and Yamato if he can come back, to which they gladly accept and welcome him back with open arms.

Fujio, Seiji, Madoka, Masaya, Shinya, and the market are Arata's home and place to come back to just like Sannoh was for Noboru. Had the group left Arata alone or chosen to exclude him because of the rumors that started to surround him, Arata probably would've never come back. But it's the fact that everyone was constantly trying to reach out throughout the course of the movie and Fujio, Masaya, and Shinya literally jumped into Hope Hill to fight and physically drag him back out that Arata comes home. He had a family to return to who would accept him even after his mistakes.

How Arata and Noboru must've felt

Again, this is pure theory and speculation because it isn't directly stated in any of the films I have watched.

Noboru must've felt alone not being able to tell anyone what he was really going through, it might even tie back to how he's the friend who couldn't mess up. Having such high expectations for himself, Noboru probably felt like a failure landing himself in jail even when he felt he wasn't in the wrong because those guys hurt Miho. On top of that, he never really tells Cobra and Yamato how he's feeling whenever they visit him in jail. When he worked for Iemura, he also had no one to confide in either. The only person who was really within his vicinity while he worked for Iemura was Nikaido, but Nikaido was the hardest on him and was violent with him because, to Nikaido, Noboru was like looking in a mirror. Nikaido aka Cain used to come from Nameless City and he truly wants to purge his past and forget ever being a part of Rude Boys and wants Noboru to do the same with Sannoh. Being so alone was probably affecting him in a lot of ways.

Arata was the same. None of the group knows that Arata is actually working with Kidra for his mother's hospital bills until Madoka tells them after she visits Arata's mom. He didn't confide in his friends for this matter, and never really talked about his feelings in general. Fujio reminds him that Grandma Sada was always worried about Arata because he never spoke up about his feelings, always bottling them up. Arata must've felt that he should take care of his own problems instead of troubling others which led him to be lonely.

Something random I noticed: The scene at Grandma Sada's grave when Seiji confronts Arata and Arata punches him, can be seen as symbolism of how Noboru felt inside during the show and Road to High&Low. Visualize Seiji and Arata as two parts of Noboru who are battling and struggling to co-exist. Seiji is his past, telling him that it's alright to come back to his home and his family while Arata, his present, is trying to tell his past that he isn't the same anymore.

It's definitely not that deep, it's just how I interpreted it.

You made it to the end! These are probably nothing new and very obvious points that everyone saw in the movies I just wanted to write about it so here we are lol. This post is not proof-read and is a little messy and all over the place but thank you for reading it anyways.

Likes, comments, and reblogs are appreciated. Feel free to add your thoughts in the comments and reblogs. Please don't take my work and repost it anywhere or take credit for it, if you would like to build off of my work please tag me for credit and tag me because I would love to see your thoughts :)

[that-ari-blogger]

A Special Kind of Hypocrisy (Stayed Gone)

If you have been following my blog for a while, the fact that I take issue with the rules of writing will probably not be a surprise. I think that there are generally accepted guidelines, but these are tools and the best stories use them in unexpected ways.

“Put your readers in the action,” Darksouls is phenomenal and most of the stuff in that story has already happened. “Make your writing flow,” Turtles All The Way Down goes out of its way to feel jagged in order to portray the discomfort of its protagonist’s mind, and that is a book that shattered me for a solid week and a half.

“Show don’t tell���. That one is tricky. If an audience sees something, they are more likely to believe it, so it isn’t a tool for good writing, it’s a tool for making writing feel real. If it’s played straight, it can evoke a feeling of safety and trust, or can evoke emotions in a reader that are difficult to achieve otherwise. If subverted, this idea can present unease, deceit, or even hypocrisy.

Let me explain.

CONTENT WARNING: Not much in this one, but a standard warning because of the show I’m analysing. Gore, foul language, etc. Read at your own peril.

SPOILERS AHEAD: (Hazbin Hotel, The Family Plan)

I feel like clarifying everything I am about to say with the fact that tropes aren’t bad, and that subverting everything doesn’t make for good writing. Stories are about using what you have to build something, and if that something is just a box you can put things in, it doesn’t need to be complicated.

For example, The Family Plan is a perfectly fun movie that I really enjoyed, and it doesn’t push any boundaries at all. It’s just got Mark Wahlberg playing a cooler version of himself and some road trip shenanigans crossed with a spy thriller. It doesn’t invent at all, but its tightly written, well shot, and genuinely quite funny.

I think we look at art these days from an overly critical fashion, evaluating how it contradicts tradition or makes a point that will be remembered for generations, and some stories are aiming for that, but some just want to be a fun ride, and that’s ok.

Some stories, however, want to be controversial, and want to ask questions. Most notably in this context, Hazbin Hotel.

Hazbin Hotel’s selling point is that it dissects morality on an intrinsic level, and part of this is done by the character of Alastor, whom is objectively a villainous character, but who serves as a protagonist for the majority of the season.

Alastor has a song in the pilot, but because I’m not covering that for my own reasons, let’s talk about his musical introduction to the actual series, Stayed Gone.

This song introduces Alastor as a villain, but not an especially powerful one, and I feel like that’s kind of the point. Alastor certainly has an ego, but he’s a parasite. He works by twisting people’s intentions into benefiting him. He’s a schemer, a talker, a forger of Faustian bargains. This song sets up what kind of evil Alastor works with, and it isn’t brute force.

This is exemplified by the music choice, in that Alastor doesn’t add anything at all to it. This is Vox’s song; Alastor just changes the direction a little.

From that perspective, this song depicts Vox more than Alastor, and explores how he causes his own downfall with the barest of inputs from his ex. Remember what I said in the start about show don’t tell? Let’s observe it in action.

Starting with the runup, because this feels heavy, right? It feels like someone is marching with that Mortal Combat style of walk that lets you know they mean to mess someone up. This sound is implicitly threatening.

Part of that is that it is so calm. There is nothing going on here, no fancy movements or anything of the sorts. The base line is the same two notes played an octave apart on repeat. It’s an A then an E played twice, then a few lower notes that rise higher before resolving back to that E. It's like the creature is taking a breath as it moves. A big, lumbering breath for a massive creature. It feels steady and adds variation.

Meanwhile, the higher chords are exactly the same as each other. A Major repeated four times, then the bottom two notes shift down by a semitone each, to throw the listener off balance.

But its more than that, right? These notes make you feel unsafe, there is intrinsic malice to the steadiness. I sent a friend of mine who knows music better than I do a message to try and work this out, and they mentioned that the higher notes give add suspense, which I think serves to make the bass part feel even heavier by comparison. They give you a moment to weight for that strike, like pulling back a bow string, and they give you something higher to contrast that low tone.

Then we get Vox’s singing voice. He’s been talking and vaguely rhyming up to this point, but now we get a song.

Also, there's a drum now. You would think this creates cohesion, but its offset, adding to that feeling of unease. It matches the second note of each bar to further accent the force of that first step by giving it some backwards force, then the same drum plays twice, once off the beat, once back on. Again, we’re lurching.

But notice how Vox’s sentences interact with the bars. Vox is the only thing that messes with the standard rhythm established by the backing music. Where everything is the same beat repeated each bar, Vox talks quickly for a bar then regains composure.

This is enjambment, linking ideas between thoughts and giving vox momentum. Now that weight has direction behind it, and judging by his word choice, that being the repeated use of the pronoun “you”, that direction is towards you.

Skipping ahead for a moment, I’ve found a ton of disagreement in the online sheet music for this song as to whether there is a tempo change for when the TV goes live.

If there is, you could analyse it and point out how it portrays the superficiality of Vox as a person and how he presents as someone less in control of himself when on camera. Maybe there is a question of which the real Vox is, the composed version or the manic newscaster. Maybe.

On the other hand, maybe there is nothing there, and I am going to wield executive privileges gained from this being my blog and go with my favourite one, this one. (I also used this one, for the record, I just prefer the first)

The score I followed gets so much more complicated once the television starts going, and so do the visuals, honestly. Everything about Vox gets so much more complicated, every joke is earning your attention like a TikTok, terrified you’ll look away. This is how advertising works on YouTube by the way, at least the adds that have to contend with the skip button. They compress everything into five second chunks because they need your full focus.

There are a few jokes in here of note. I would be foolish to not mention the venison pun, but none of them are of particular importance, which paradoxically makes them extremely important.

Notice here, he presents two versions of himself. The purpose of a conversation is to have two different perspectives come together, even if they are similar. But this is the same guy pretending to be varied.

Nothing that Vox says means anything at all. It is all one liners and insults, there is nothing going on behind those eyes, and that is exactly the point. He is all talk, no show.

Vox says he’s powerful, he says he will mess up Alastor’s day, his music makes you feel scared, and yet he is empty.

There is a disconnect between what he tells you and he shows you, which is made even more obvious by his obsession with Alastor. Everything he is saying is “Alastor doesn’t matter, he’s insignificant, meaningless, that’s why I wrote this song to tell him as such.” It’s like an ex who is insisting the breakup hasn’t affected him.

Which, side note, sets Vox up as the type of villain who doesn’t respect boundaries. He’s a stalker obsessed with someone who will not reciprocate his affection.

Vox is the personification of those “I can fix him” twitter incels that view sexuality as a challenge to be overcome. He’s one of a triumvirate of chronically online villains, and trust me, there are people out there in real life who are worse than him.

In his watch through and analysis of Hazbin Hotel, @ohnoitstbskyen posited the idea that, since Alastor doesn’t sing his own song at any point in the actual series, we don’t get any moments of interiority. I would like to politely disagree.

Alastor’s entire deal, as presented in this show, is being a Machiavellian schemer. Like I said earlier, he’s a parasite. What we learn about his interiority here is that he doesn’t ever bother to create, he just steals and repurposes.

It’s that thing about Alastor where the show doesn’t tell you what he wants, it just shows you how he works as a person and how he moves towards his goals.

Case and point, here Alastor just takes Vox’s song and makes it his own, offering questions about Vox’s strengths and pointing out the hypocrisy. Although it's interesting what Alastor choses to highlight, because that does shed some interiority.

“Is Vox as strong as he proports? Or is it based off his support? He’d be powerless without the other Vees”

In other words: look at this guy, he has friends that he relies on.

Now, the Vees are awful human beings, Valentino especially but Vox isn’t too great either. But by far their least bad trait is the fact that they support each other. Again, they are cruel, vile entities, but they are cruel vile entities together.

To my knowledge, Vox doesn’t ever deny that he is working with others, or even obfuscate that knowledge.

It would seem that Alastor, in his attempt to criticize his opponent, has revealed something about himself. That sounds a bit hypocritical to me.

Speaking of which, Alastor is entirely hypocrisy. He spends the entirety of the series talking a big game about how strong and powerful he is, but he never actually demonstrates that. He turns off the electricity in the city, but that’s not strength, that’s flicking a switch. He makes threats, and yet doesn’t back any of them up.

“You still pissed he almost beat you that time?”

“Almost” is a key word in that question, it would seem Alastor has a bit of an ego problem.

Which leads me back to the concept of tell don’t show, because if you don’t show your audience something, they don’t trust it. Alastor and Vox are paired up because they both keep talking and proclaiming their intimidation factor, and yet neither of them actually demonstrate any power beyond that which is normal.

Yes, they mow down mooks, but so do Angel Dust, and Husk, and Sir Pentious.

Before I finish up, I want to talk a bit about how performance can affect personality, and with that I want to contrast a cover with the original.

This is a cover by Annapantsu, Cami-cat, and Chloe Breez. I highly recommend checking it out.

But I want to note how different the acting choices are to the original. I’m not saying one is better, I’m saying they are different.

First, Anna’s version of Vox is so much wilder than the original. Like, the version in the actual series rockets between emotions like a greyhound on skates, but when he is in control, he usually has that malevolent smile that tells you he enjoys messing with your perceptions. I don’t think Anna’s version of the character would ever smile except in that forced, news presenter way. This character seems permanently unbalanced and making only the barest effort to present as otherwise.

She also seems like a more active character than the original, who can only react to Alastor’s advances. This version of the character might make an appearance in a later episode beyond the gratuitous dad-watching-the-big-game commentary of the final fight. Maybe she rocks up to the hotel while Charlie, Vaggie and Alastor are on their quests for allegiances in order to just menace the characters in a way they are completely unprepared for.

Meanwhile, all that posturing has been put onto Alastor. Who has one main difference in performance, but one that shakes up the rest of the song. This version of Alastor is put together, just like the show. She’s casual and almost disinterested, just like the show. She’s detached and hands off, just like the show. Until that final verse.

Then she growls, and that little break in character implies that this version is concealing a much more physical menace. The best way I can put the difference is this: For the original version, it seems like transforming is an effort and something that he becomes. For this version, I think the transformation is Alastor’s natural state, and it is taking every fibre of her being to hold together the façade of civility.

Final Thoughts

I despise the concept of genre, and this is actually a good example of why, because… what is this song? Is it pop? Is it rock? Is it jazz? You could argue it is anything, but I would argue it doesn’t matter.

This song is fun, that’s all that matters. It sets up two villains, one of whom I think could have used more screen time in the series, but ho hum, and the other who got so much screen time and yet remains so mysterious.

Next week, I’ll be covering It Starts With Sorry, and I am genuinely shocked by how many people don’t like that number. I think it’s great. Stick around if seeing me argue that point interests you.

Previous - Next

[my-deer-friend]

Jeanne du Barry: A review

I watched it, so you don’t have to!

There was a preview screening of Jeanne du Barry that coincided with a presentation on 18th century fashion and hygiene, so I figured that would make for a pleasant Sunday. The lecture by Marta Veil was splendid.

The movie was… not.

I wasn't expecting greatness, really, but I also wasn't expecting it to fail in quite so many ways. Shall we count them?

First, it falls flat as a piece of cinema. The ponderous shots just scream second-year-film-student-auteur. The narration, usually a gimmick, is critical because the directorial vision seems to have been “tell, don’t show”. It’s all glamour with no heart, a faux-profound fashion parade that fails to let its consequential story beats resonate on any emotional or narrative level. Despite being told about the constant danger than Jeanne is in, we never feel it. Despite witnessing her tragedies, we don't empathise.

The lead actor-director gives du Barry none of the wit, charm or depth you would expect of the subject of a biography, and most characters are either outrageous caricatures (the evil, Alice in Wonderlandian step-daughters, complete with heart-shaped perms) or have the nuance and magnetism of an untoasted slice of white bread (the Dauphin, a key side character, shows not a single discernible character trait besides “aloof”).

Second, it fails as a biography. Maïwenn, the woman responsible for this mess, has apparently been trying to bring this story to life for over a decade - and then manages to give us nothing more than the blow-for-blow you can get from the du Barry Wikipedia article - dryness and all.

(It’s also exceedingly clear that Maïwenn got more than a little 'inspired’ by Sofia Coppola’s Marie Antoinette, and ironically - given their historical rivalry and the way Coppola's Antoinette was lifted wholesale from her film - the Dauphine outshines du Barry completely here.)

Despite being a biography, the movie devotes very little attention to Jeanne’s coming of age - and almost no time (literally, a 30-second narration) to the 12+ years of her life after Louis’ death, which include such dramatic things as her being betrayed by her servants, tried and executed in the wake of the French Revolution. Very little of her internal world is explored - so we don’t really understand what drives her, and even when she expresses her goals it comes across as insincere.

The bulk of the movie focuses on Jeanne’s time as Louis XV’s lover. That’s understandable, I guess - people want the sexy, sparkly intrigues, not the convent drudgery - but the movie doesn’t do any work to embrace the politics and scandal surrounding her on more than the meanest surface level. I mean - "this is Versailles!" (A line that’s cribbed verbatim from Coppola.) Where are the machinations, the manoeuvres? The only meaningful drama we get is domestic. Louis’ daughters don’t like his mistress. They’re mean to her. And… that’s it.

Most egregiously, the movie makes the unrecoverable error of losing grasp of its own point of view. We ostensibly follow Jeanne for most of the movie, in what is made out to be a limited first-person perspective. But when she’s banished from Versailles, we get to witness the unfolding events without her. After all, the death of Louis XV is surely more interesting than some woman bundled off to a convent (wait— who is this movie about…?) and so we stay with him - and miss the opportunity to follow Jeanne and empathise with her isolation, fear and grief.

If the goal of the movie was to humanise and rehabilitate du Barry, then maybe she shouldn’t have been made so vapid, boring and lacking in agency that her own biography lost interest in her.

Third, it fails as a historical piece. Not entirely - some of the men’s fashions are sumptuous and on point, Marie Antoinette is chef’s-kiss, and Versailles looks splendid on screen - but that makes the rest worse, somehow.

Again, we get Coppola plagiarism, in the form of Louis’ morning dressing routine (with the same comical play on the endless steps and bored attendants), as well as in many of du Barry’s fish-out-of-water moments.

But the movie forgets its own rules and context. For example, we’re told that “no one except the Dauphin is allowed to turn their back on the king” - a rule that’s respected until about midway in the movie, at which point, its plot purpose exhaused, it's forgotten entirely. Jeanne is also surprisingly enlightened about racial equality, showcased in painful scenes with Zamor, her black… servant? slave? Although it’s not really clarified on screen, the former is heavily implied, which would be gross revisionism.

Even Louis is treated with a strange sort of familiarity, left to mill around with his guests in the hall of mirrors or stroll the gardens with his hair undone.

As for the clothing… I can’t bear to deep-dive into the entirety of the mess, but here are a few examples of just how lazy the styling is.

Now, when he’s done up in his finery, Louis XV actually looks grand - and even (what a rarity) has very decent period men’s make-up. But then it’s clowns all the way down. Take this shot.

Just behind him is his daughter, sporting a top-of-the-pops 1980s crimped blowout, and beside her is the Dauphin of France - though you could be mistaken for thinking he’s some fella getting to pose for a romance novel cover in the world's most ill-fitting suit. (I don’t recall this man tying his hair up one single time for the duration of the movie.)

Some of the critique is a little nitpicky, yes - for example, du Barry wears this outfit to be formally presented to the king:

The big hair and ostrich feathers are a decade too early (stop trying to be Marie Antoinette: The Unauthorised Prequel already), the makeup is mid 2000s, and the necklace... the less said about it, the better. But at least an attempt was made!

But this?

And this???

0.5 out of 5 stars. It would have been zero on account of all the plagiarism, but a half-star is given for the cameo of Elizabeth Vigée Le Brun.

[welcome-to-green-hills]

Now that “Knuckles” is out and assuming you’ve seen the whole series, I humbly request headcanons post-series please, especially with Wade and Knuckles.

Hi Hon!❤️✨

I can whip up a few headcanons for you, yeah! I’ve had some help from @movie-robotnik-positivity to make these:

Knuckles frequently sees Pachacamac around the Wachowski home after his little quest in Reno. Pachacamac rummages through the fridge to eat snacks and messes with the electronics in the kitchen. Knuckles often has to intervene and redirect the ghostly apparition from screwing up technology.

Pachacamac still hasn’t come to terms with the concept of him being a ghost. He still thinks that he’s flesh and blood. It takes a few reminders from Knuckles and Ozzie’s continuous barking that only they can see him.

Sometimes Pachacamac likes to mess with Wade’s head for shits and giggles. These consist of trippy dreams of Wade wearing a Knuckles suit and traveling across a floating island and taking care of creatures in a garden. Wade has been told not to throw the spotted eggs.

Knuckles hasn’t talked about his encounter with the spirit of Pachacamac with anyone at the Wachowski home. That’s an experience that he keeps to himself to feel only.

Since his transition into a spiritual realm—only appearing every so often from the Great Battleground in the Sky—Pachacamac has found inner peace and tranquility. He no longer desires ultimate power. He’s a bit calmer and more relaxed. However, he’s still set in his ways of telling history from his perspective.

Pachacamac is a die-hard baseball fan and pesters Knuckles and Wade to take him to see games.

In order to help preserve some of the echidna history, Knuckles scribes down every oral lesson he can think of. One night, Sonic, Tails, and Maddie found him on the roof meditating on a fable’s moral lesson. Seeing that Knuckles struggled to interpret the words onto paper, the three of them offered to help him write it down as he talked. With their help, they’ve recorded hundred of stories, songs, folklore, and epics to share with others.

As soon as Knuckles arrived home from Reno, Maddie was the first person to confront him. Neither of them fought with one another. All that they did was exchange a glance before embracing into a long hug.

In exchange of learning the Ways of the Warrior, Wade teaches Knuckles how to bowl so he can have an earth activity. Knuckles gets upset that he can’t power bump the pins in order to get spares.

Knuckles has a love for coffee. He drinks an entire pot a day. No sugar, no cream. He gets up extra early to drink an entire pot before he does his daily training exercises.

There’s still a hole in the living room’s wall by the time that Knuckles comes backs from Reno. Wade offered to fix it himself, but ended up in the ER due to not knowing how to control the power tools.

To commemorate the end of the adventure, Knuckles gave Wade a hug.

[betterbemeta]

As it is right now, machine learning image generation is classist. It depends strongly on the human audience's eye for pareidolia to smooth over its inconsistencies and find patterns in its noise where its procedural generation falls short.

This means that the less opportunity a person has to gain context for information, the more likely 'AI art' is to be convincing. As long as that person has been given a baseline to 'believe' the general arrangement of elements, AI art will 'make sense' even if that baseline is just exposure to more acontextual imagery. Which is what the machine learning's algorithms were trained on in the first place.

For example, 'AI' right now struggles to coherently depict plants. When it's not blurry, indistinct plant fur, leaves from different kinds of plants appear on the same stem, plants from the wrong biome are included in 'nature' images. Someone who has very little educational opportunity, but has seen movies where people walk through jungles or forests as set pieces or something, might not notice the difference. And why do you 'need' to know if the plants look right, poor person; you'll never leave your immediate area or take a biology class!

Someone without the opportunity or comfort to travel might not recognize that a cityscape has been artificially generated, depicts no actual real-world city. Is that supposed picture of Dubai or New York City or Cairo showing a real place that exists? Who cares, you're too poor to ever go there.

Searching for information about animal species, even, can get messed up by generated 'content.' Do servals have ear tufts? What kind of insect is that? What species of lizard or snake am I looking at? You don't deserve to know what kinds of animals are real. What time do you have to go to a zoo, if there's even one around you?

The less money you have, the more likely you are to be surrounded by advertising and "AI Art" is ideal for advertising because it only tells a very simple story at best. There's no complicated human emotions; its literally made of averages of what has been seen before. Marketing and advertising content often replaces actual art that might be a window into a greater world. It may even just be dropped in there to fill the awkward silence or blankness that would have otherwise surrounded marketing efforts-- commercials would be surreal without some say-nothing 'music' track behind them, and billboards would be creepy without the graphic noise that surrounds the product and its information. Someone who passes through more monetized public spaces per day will see more of it than someone who inhabits private property.

And like, at the end of the day if you are wealthy... you probably don't care about any of this. You have access to whatever you want, so why do you care what's real? You trust you can 'pay for' the real thing, right?

Plus, who knows the economic status of who generated imagery the machine learning algorithms train on? It's all stolen.

Photography has been critical in modern history for bringing 'the world' across social divisions of class, race, geographical divides. Photographers and filmmakers, along with other visual artists as well as musicians, writers, and journalists associated with all of these disciplines give us lenses, framing, voices, and perspectives to understand our greater world no matter where we are. Hell, identifying the human intentions BEHIND those lenses, framings, voices is key to our development. No matter your circumstances, with a strong grasp of media literacy anyone can sit down and say, wait a minute, is this real, would it be true for me too? Or is this someone's point of view?

To the point of view of wealth and capital, the working class and those without wealth who cannot work (disabled people, displaced people, homeless people shut out of employment, and more) do not deserve to know about reality. To that point of view, nonwealthy people don't deserve to even know who created the perspectives they're allowed to see. You can be born, get trained to work, go to work, come home to the minimum, repeat, and die having seen no images of reality for all they care. They'd like that! How can you dream of something outside the current exploitative structure if you can't even trust you know what plants and animals and cities look like, outside your tiny box?

[sea-owl]

I'm rewatching the first How to Train your Dragon movie for the first time in years and rewatching with adult eyes I can kinda see Stoick's side with his strained relationship with Hiccup.

Now, before I get into this, I do want to say that I do not agree with Stoick's actions and words during the whole 'you're not my son' fight. Nor do I agree with how he allowed the village's treatment of Hiccup. I can see where he was coming from, but I do not agree with it. I just kinda want to explore his side of the relationship since we have the whole movie for Hiccup's pov and his side has been discussed multiple times over the years.

Now I'm going off the movie itself first without the extra info the other movies, shows, and the deleted scenes give us.

We actually get a lot of Stoick's perspective from the first 10-30 minutes of the movie, we learn Stoick is the leader of his people, meaning their tribe's wellbeing rests on his shoulders. We know the island they live on has a problem with dragons. The vikings and dragons are in competition with one another over food and livestock. Plus, the village has been burned down so many times because of this competition, the vikings are constantly repairing and rebuilding. It is also hinted at that there is a food shortage which endangers the village with the upcoming winter where food would be even more scarce.

Being a leader is tough, and adding all that on Stoick's plate as well I'm not surprised he has this no nonsense attitude.

Then we add in Hiccup, Stoick's son and future chief of the tribe. Stock loves his son, you can see it even in the first movie, but Hiccup is also unintentionally a problem viking. Don't get me wrong, Hiccup is well meaning in his inventive way, but he still has caused issues for the tribe. Now this is inferred from a spefic scene. When Hiccup is trying to convince Stoick he shot down a night fury he tells Stoick "This isn't like the other times," and when Stoick is sending Hiccup back to their house he says in a sorta frustrated tone, "I have to clean up his mess again." This tells me a few things. One Hiccup's past actions has led Stoick to seeing Hiccup as childish and tells stories leading to goose chases. The second thing is Hiccup either does not take responsibility for the messes he has created in the past, not helping with the clean up of those messes, or if he has it has just led to, in Stoick's eyes at least, more problems.

Now let's add in Gobber, who is the middle man between father and son. We see him trying to reassure both of them. He takes in Hiccup like an uncle figure and teacher in the forge. He talks to Stoick like a brother and confidant, giving him advice. These talks with Gobber also highlight the communication issues and how little Stoick and Hiccup have been listening to one another.

Stoick's conversation with Gobber also has this one line that most would think is a throw away or an opening for a joke but I think actually is an example of why Stoick and Hiccup's relationship is strained at least from Stoick's perspective.

"I take him fishing and he goes hunting for trolls!"

Fishing is an act that can help provide. Bring food home to a family and a job basically. Hunting for trolls is seen as child's game, by the village at large, they don't believe they exist.

Stoick's main problem with his strained relationship with Hiccup is that in his eyes that Hiccup is not meeting or not taking seriously the duties he should have already started at least training for as heir to the tribe. This is further reinforced by how proud Stoick is by Hiccup's success in dragon training because in Stoick's point of view, Hiccup was finally growing up and taking his responsibilities seriously. This is also reinforced again during the battle with the Red Death when Stoick's pride seeing Hiccup lead the other riders.

Now, add deleted scenes and information we have learned throughout the series. We know Stoick and Hiccup had a better relationship when Hiccup was younger. They were more loving and soft with one another. This leads one to believe that their issues are a more recent development in the last 3 years at the earliest is my guess.

Now you might be thinking, but Hiccup is only 15! We gotta think back on viking times and culture. Hiccup is old enough to get married. I believe I remember reading most vikings, which were considered adults by 16. Not to mention, with the constant attacks, Stoick could unexpectedly die at any moment. Hiccup needs to know this information, and needs to take it seriously.

I think another big strain in their relationship is what the two represent. Stoick is old school, follows the traditional viking way. While Hiccup is the younger generation moving forward and adapting. It is gonna cause conflict, but as we see later on, when these two learn to communicate, talk and listen to one another, there is room for both.

Now Stoick is not without his faults and definitely has shares his portion of blame, but it is unfair to lay all the blame on him. He was trying with Hiccup and he did love his son. But he also did have responsibilities to the tribe as a whole that sadly was a higher priority to him.

[galaxythreads]

How do you feel about Odin, because I saw lots of posts saying odin messed big time with all three of his kids but then you say you only said because it’s fun

In Thor 1, and only Thor 1, with ONLY the context of Thor 1, I can argue that Odin was just trying to reach out to his kids and couldn't quite manage it. That he was a good, but flawed father, who tried. That opening scene where he grabs their hands is extremely soft. Odin couldn't fight the Odinsleep and he had been putting it off, but rather than immediately go to sleep after Thor was banished he finds Loki to make sure he's okay. I genuinely think that if Odin hadn't fallen asleep, he could have talked Loki down from the rest of the chaos of the movie. When you add in all the movies after Thor 1, that's when I'm like "hmmm. no. with more context, you're actually a terrible person and father."

I've read so many fics where Odin is a good parent. I've written a few myself. I actually started a one-shot series, now deleted, of times where Odin was a good parent. I love the idea of him being a good parent, but I just don't see that as canon reality. With how he's treated his children, the combined evidence of how all of them turned out speaks volumes for how loved they felt. Even if we got to see Odin's perspective, that doesn't matter to me. Odin doesn't get to decide he isn't the bad guy to his children. What he did affected them permanently. Are his children biased in how they view him, so the audience is too? Yes. But again, Odin doesn't get to be the good guy just because his motivations are muddled and more complicated than we usually think of them as being. His children were victims of him and you can see that time and time again. That is something that I personally can't look past. Even if he had the most loving, deeply caring reason in the entire world to treat them like that, Thor, Loki, and Hela deserved better than what they got. They are not okay and if Odin had been a good parent, they would have felt loved and more secure. Being a bad parent is different than being a bad person, but Odin manages to get 2/2 with the context of later movies.

I said in the tags of a post I reblogged discussing Odin not being as horrible of a person as we consider him to be, the post you tagged me on, that "I write him as abusive because I find it interesting" and to be clear - I do think that Odin, with all the context of every movie we have, is abusive. I do not think he is physically abusive, and I didn't clarify that. There is little to no canon evidence of that, but THAT is what I put into my fics because I find it interesting. Physical abuse. It's not that it's the Worst Type of Abuse or that I'm trying to play everything up just because I can. IT's just one type of abuse that I want to explore. It's fanfiction. I am exploring the possibility of what Thor and Loki would be like if they were physically abused. I wrote a fic where Hela was the victim of human experimentation and like. I had fun. People love that story. It isn't canon and I know that, but that doesn't mean I can't write it. It's very canon-adjacent.

But, regardless of that, emotional neglect is abuse. Thor, Hela, and Loki in canon absolutely have symptoms of being emotionally neglected and somewhat have some of being emotionally abused, You can see Frigga being emotionally neglectful to Loki in the TDW, and the way Loki reacts to it suggests that he's not surprised and he is used to it. Odin tells Loki his birthright was to die as a child on a frozen rock and that he should be grateful to Odin for not killing him. You know. As a baby. Odin is extremely dismissive and emotionally neglectful of both Thor and Loki in the TDW. He compares the woman Thor almost died for to a goat and you can see that it hurts Thor, but he says nothing in his defense. Thor is severely depressed in TDW and you can see it everywhere, and Odin doesn't care. Frigga doesn't care. They ignore it because it's easier. Sif is really the only person to ask if he's okay, and that's at the end of Thor 1. That to me suggests that their home environment was not very healthy. You know that entire conversation of "reassurance" between Frigga and Thor in Endgame? That is a master class of emotional neglect. She didn't help him. She didn't listen to him. Not a healthy environment.

I think deep, deep, deeeeeep down in canon, Odin and Frigga wanted to be good parents - to Thor and Loki, they would leave Hela in prison for a 1000 years and be cool with it, oh wait they actually did - but they didn't have the time/energy/mental health to manage it. They're both the rulers of nine worlds, they don't have time to raise kids. Thor and Loki are vying for their attention constantly which suggests that it's a very rare thing to receive from their parents. Thor is the most attention-starved person in MCU in the first Thor. Emotional neglect!! I genuinely think that Thor and Loki more so raised each other than their parents.

So no, I don't like Odin. I think he's a complex character and I'm happy to discuss him in depth, but I think he is an awful, awful parent. Like I said, there is a distinction between parenting and the person, and Odin is a TERRIBLE parent. He's not an amazing person either, but I think he tried. Odin didn't decide to stop collecting realms on a whim, something must have happened that made him value peace over bloodshed. He told Thor and Loki that "a wise king must never seek out war, but must always be ready for it" so he was trying to be a better king and not leaping at things with his teeth bared. He tries to stop the war with Laufey. Idk. It's complicated. Canon is complicated. People are very rarely black and white and Odin isn't an exception to that rule.

There is a reason that him being physically abusive doesn't feel ooc, AND why him trying to be a good parent also doesn't feel ooc. A complicated man, to be sure. I don't really discuss Odin as a character that much, but I do think about him. He and Frigga are fascinating to me.