#c: korea

[faunandfloraas]

fav skz // Thor Sunbaenim

[lunaracademia3]

ㅤ ㅤ ㅤ ㅤ ㅤછ ᵕㅤThe only m͟e͟l͟o͟d͟y͟ 𓏏 𝑖𝑛 𝑚𝑦 heart 𓂃 ♪⃝ི

ㅤ ㅤ ㅤ ㅤ ㅤ𝜗𝜚⠀ ۪⠀The v͟o͟i͟c͟e͟ calling ა 𝗒𝗈𝗎𝗋 name⠀ʿʿ⠀Ꮺ

[haveyoureadthismanga-poll]

[charlotte-of-wales]

The Prince and Princess of Wales arrive for a State Banquet at Buckingham Palace for South Korea's President Yoon Suk Yeol and his wife Kim Keon Hee on their first day of a three-day state visit to the UK | November 21, 2023

[eggplantgifs]

Yelim Kim: Summer of '42 » 2023 World Team Trophy

[7698]

[lesbiancarat]

every time jun has gone back to China for activities I become more and more done with XCSS (Pledis China)... it's so clear they're incompetent and don't understand how the Chinese entertainment industry works 🙃

[denimbex1986]

'In a world of locked rooms, the man with the key is King and honey, you should see me in a crown.'

"...I loved, loved, loved working with Benedict on that, and you know, the, the first series of that show went down so well - I only had a little bit to do in the first, first series, so I was excited to be focused on Moriarty in one of the episodes particularly because people loved the show almost immediately, and that line is an amazing line that - for an actor to say..."

'I'm in Wales, and I don't have to pretend to be something that I'm not.'

"...I always recommend Pride because I think it's just a beautiful film about how we're just so much more similar to each other than we think we are. And what was brilliant about that character, the character, was that he was one of I think 15 gay characters who are the lead characters, and it so it means you weren't just playing like a token gay because everybody was completely distinct from each other, even though they were all sort of relatively similar sexualities. He just shows that, you know, there's as much diversity within, within a sex - sexuality as there is for straight people too."

'I can't get used to calling myself queer, it was always such an insult.'

"...So much of it was, was personal, even though it was very different to me. I suppose it explored the idea of losing your parents, which at the time I hadn't - I lost my mother since - but I think that's the, the power of the sort of empathetic nature of art; that it allows us to explore things that otherwise we might be too frightened to explore. That film has helped me in a way because, since the film ended, I, I feel like there's stuff in it that I feel like I was able to exorcise in some ways..."

'Yeah, that's right, Dickie Greenleaf. It's nice to meet you too.'

"...He's a really solitary figure, and to be able to just work out what's going on inside his head, and whether he's sort of capable of love or whether, whether he isn't - I kind of believe that all human beings are in need of love in some way, but it was quite difficult in that sense to sort of access within, within him, because he was so solitary. So yeah, that's why I think he continues to fascinate people, Tom Ripley."

'You've always been against going to America.'

"Korea? Is it? That's my first film...I was 17 - first ever job; first ever film. It was lovely and there was a - an actor in it who played my father called Donald Donnelly, and he was an enormous influence on me. He was very well-known, but he was incredibly kind to everybody on the set, and I've always just - you know, you learn how to be by looking at your, you know, elders, and he was just lovely to everybody.

I remember very clearly on a Saturday afternoon watching like old MGM movies. You know, like those big things where there's, you know, lots of people doing synchronised swimming in a big pool from like, I mean like, old school, like, you know, choreography of Fred Astaire and Ginger Rogers. And there's something about that that I just absolutely adored, and I knew immediately - I knew, I really; I remember when I was about seven saying that I want - that's something that I wanted to do, which is weird when I think about it. I was very shy, and so that helped me kind of come out of my shell so - I was very nurtured by, by, uh, my mum in that sense; she, she pushed me in the right direction. That's what I remember um, uh, inspiring me, yeah."

[niurd]

instagram.com/p/C7fjzY7yYh6/?igsh=MXJuY3l1c281dzZwbA==

[anemoiawithatouchofobsession]

carried away

by a moonlight shadow

[not-your-lifeline]

Decided to get off my medicines for 2 weeks to gather enough courage to finally speak up and just told my overly attached therapist how I really felt about her for last 4 years in our last session.

That I never really felt close enough with her in all honesty and her subjective advices didn't help me in the slightest, and I've been feeling pressured into pretending that I appreciate any of that bullshit.

That only thing I got 'better' during our sessions is putting up smiling faces and lying through my teeth. Which clearly worked wonders on her foolish, naive, unprofessional mind.

And even in more practical view, she had been pretty inconsistent with appointments, and mostly talked about her own thoughts and personal opinions more than listening to me, and let's be honest, I'm the one who had been acting like her therapist all this time.

She's a happily married woman with a family and children, who never experienced anything even remotely close enough to the sheer degree of the abuse I had to endure throughout this fucking living hell and curse of a life. Who will never understand what It's like to be born in a toxic cesspool disaster of a 'family' and be neglected while stuck in filthy crumbling down slum house for 20 years without any human rights.

She doesn't understand what really makes me happy, how uncomfortable and annoyed I really feel around her, twisting my words into more 'tame' and 'normal' version to make them easier to comprehend in her standards. And only vaguely.

What a great therapist that you are, not even realizing I've been lying to your face for entire 4 years.

[charlotte-of-wales]

The Prince and Princess of Wales view a special exhibition of items from the Royal Collection relating to South Korea, in the Picture Gallery at Buckingham Palace on the first day of a three-day state visit to the UK | November 21, 2023

[arkaluca]

Wheel Spin Sunday doodles so far 🐔🔥🎨🏎️💧

I’m trying to keep up with drawing at LEAST once a week and getting more comfortable with exposing myself a bit, even with the doodle process 🎨👀💦. If you’d like to check out the streams, i hold Wheel Spin Sundays on (obviously) Sundays at 11:55 AM PST. I usually just play music with the mic off so if u like chill settings and wanna draw along or relax stop on by during streaming hours ✨👋🏼✨doodels #digitalart #characterstudy #Hawks #Vulcan #JordanCWilde #Varrick #myheroacademia #fireforce #obanstarracers #legendofkorra

[7698]

[runwayrunway]

No. 14 - Korean Air

Korean Air (formerly Korean Air Lines and still frequently called KAL) is the flag carrier of South Korea and one of the largest airlines in the world. A founding SkyTeam member, it is ranked a 5-star airline by Skytrax, and is perhaps best known for the Nut Rage Incident, being one of the world’s most dangerous major airlines in the 90s, being so badly regarded that the President of South Korea chose to fly Asiana instead, and having a BLACKPINK themed plane. 

fun fact: I learned this plane existed when she landed at my local airport. image: Korean Air Facebook

But they haven’t lost a passenger in 20 years, haven’t lost a plane in over six months, and probably have good cabin service, I don't know, I've never flown with them, though first class passengers will have to suffer the humiliation of macadamia nuts in plastic packaging rather than a bowl, and none of that is what we’re here to discuss!

KAL’s livery is, in my opinion, pretty darn alright! I don’t know why every airline out there wants a livery where the top half is blue and the bottom half is white or off-white, but they managed to pick a nice pastel shade that makes it a lot harder to confuse with KLM than it could be in an even worse timeline. I also like the smaller middle stripe of dark grey in the middle that facilitates a smooth transition. They clearly like it too, because it’s been the same since the early 80s. 

It does look a lot worse on planes with less sharp noses that don’t have a clear centerpoint to cut off at, though. 

To be honest, I like the KAL livery, despite how mean to them I've been in this post (I'm sorry. It's just really hard to know the Nut Rage Incident exists and not mention it constantly. They are just as safe as the average major carrier these days and I would not worry about flying with them). Anyway, the livery. I look at it and immediately feel like I dislike it, but then I look closer and I realize...actually, I think if you're going to go with something as simple as 'colorblock the plane in half longways' and a color as frequently used as blue, it's impossible to do better than KAL did. This livery is not only inoffensive but manages to be easy to recognize and not be ugly. Nice typeface, clear branding, better than many.

Could it be improved when it comes to little details? Sure, I think a little bit of the dark grey stripe on the top of the nacelles would be nice, and I'm sure there's a bit more they could add, but this is fine. I think I'm attached to it, in the sense that it's synonymous with the airline due to its longevity and in the sense that if KAL were to change it I would be afraid of that and would presume that the new version would be much much worse. There is so far to fall here relative to the average livery, despite how simple it is.

The BLACKPINK plane is fine. They just added BLACKPINK to a plane, meaning they can be in your area, provided you live somewhere KAL flies the 777 to. They picked a nice photo and placed it well, making it visible despite it not being an all-over design. It's a non-intrusive logojet, not sure there's much else to say on the subject.

And, indeed, not sure there's much else to say about KAL. Although it does feel like there's something chewing at the back of my head. Why do I feel like there's something I've left unsaid? Undone, even?

Wait, wait a second. Sorry. Wait. Is that...

It can’t be....

...

...

...

Get in. 

Final grade: C+

[denimbex1986]

'“This is a love story”, says Phoebe Waller-Bridge’s protagonist in the opening lines of Fleabag’s (2016-2019) second season, before all-but-breaking the Internet with the introduction of Andrew Scott’s Hot Priest in the episodes that follow. She utters these words to us, her eager audience, the blood that she’d been wordlessly cleaning up from her nose still drying, no context given. Scott’s Hot Priest, as the Internet has since baptised him, is heard as a disembodied voice from afar. His character’s place in our hearts comes as unexpectedly as the place he subsequently gains in Fleabag’s. This, too, is a love story. A love story between Scott and his many faces, between Scott as one of the most celebrated actors today, and us, his loyal following.

The Meet Cute

Andrew Scott has been set to mend hearts since day one. Born in 1976 in Dublin, he was brought up by an art teacher mother and a father who worked at a youth employment agency. He describes his Irishness in the form of a good measure of Catholic guilt as well as a strong and specific Irish sense of humour and eagerness to talk to people. With the support of his mother, he began attending acting classes in an effort to get rid of his childhood lisp. Despite being a shy kid, he took to the medium almost immediately, acting in TV commercials, portraying the most tragic of Shakespearian heroes in youth theatre productions, and even playing the Tin Man, who he aptly describes as ‘the guy with the heart’, in The Wizard of Oz at age 10.

Fast forward a few years, he is 17, forced to make a decision which will come to define his life and career. On the same day, he receives both a scholarship to study painting at art school and an offer to star in the independent Irish war film Korea (1995). After wrapping up on the film, he attempts studying once more, this time beginning an academic Drama course at Trinity College Dublin, the alma mater of his future co-star Paul Mescal. He shortly drops out, drawn to dreams of taking on the stage over learning about its theory in lecture halls.

So, our meet cute with Scott happens in the theatre, the affinity with which he has maintained to present-day. He describes stage acting using wonderfully-fitting cardiac imagery: ‘It goes directly into your veins. It’s pure. You start at the beginning of the story and you go through to the end.’ Most of Scott’s early career pans out on the stage. After dropping out of university, he joins Dublin’s Abbey Theatre for six months before moving to London at 22, where he graces the UK’s theatrical nucleus with roles in Conor McPherson’s Dublin Carol and Joe Hill-Gibbins’ A Girl in a Car with a Man at the Royal Court Theatre.

He gathers momentum as a theatre actor, working with acclaimed director Sam Mendes on The Vertical Hour and, most recently, taking on lead roles on the West End’s most famous stages in Hamlet, Present Laughter, and a one-man adaptation of the Chekhov tragedy Vanya. Scott has spoken about the exhilaration of creating a microcosm in which anything is possible for a few hours, explaining the theatre as ‘an art form that is ephemeral’. He feels this excitement through his actor’s eyes as well as his viewers who become enraptured with his every move.

His screen debut as the lead of Cathal Black’s Korea (which Scott maintains no one has ever seen so it doesn’t really count) marks the beginning of his relationship to the world of the screen. His first few screen roles are all in war films, from his one-line-long moment of fame in Spielberg’s 1998 Saving Private Ryan (he is credited as ‘Soldier on the Beach’ no less) to Band of Brothers (2001) and 1917 (2019). But surrounding himself with weapons and violence did not come naturally to the actor; ‘I’m a lover, not a fighter’, he jokes. So, he remains a heart-mender at his core.

Did you Miss Me?

It was the hearts of the masses that Scott won on the 8th of August 2010, following the release of Steven Moffat’s and Mark Gatiss’ TV phenomenon Sherlock’s first season finale. Whilst this was well over a decade ago, the world has still not recovered from Scott’s debut as sexy, playful, devilish baddie Jim Moriarty. Sherlock became, for its loyal fanbase of ‘Cumberbitches’ including my own teenage self, a religion in its own right. I endlessly rewatched the sparse selection of movie-long episodes, committing all iconic lines to memory for future quoting to my middle-school friendship group. The show’s force was undoubtedly fed by Scott’s unforgettable performance as Moriarty, who would become one of the most recognisable TV villains of the century. Scott’s face became synonymous with catchphrases like ‘IOU’ and ‘did you miss me?’. He describes the almost overnight change where he went from peacefully riding the tube and walking around London to having his photo secretly taken by fans in public and being given CDs of fan-made videos shipping Moriarty and Sherlock (Benedict Cumberbatch) as initially freaky, even odd, but also says that it doesn’t bother him now.

I Love You. It’ll Pass.

Perhaps the Sherlock fanbase was good practice for the still larger, more explosive Internet phenomenon that Scott was about to become the centre of. Hot Priest could never have existed without Scott. Literally, because Phoebe Waller-Bridge, whom Scott calls ‘one of my main homies’, wrote the character specially for him. The pair’s bond spans a good 15 years of friendship. Waller-Bridge has nothing but praise for her old friend, describing him at once as ‘an absolute pixie of mischief’ and someone who ‘can stop time with his honesty’.

What made us fall in love with Hot Priest was less the Catholic guilt that haunts so many of us (though apparently Scott’s performance led directly to an increase in searches of religious porn by a whopping 162 percent) and more the sheer honesty that emanated from his performance. At its core, the love story between Fleabag and Hot Priest is one that ends with no ‘happily ever after’ in spite of all the love that is left lingering. Beneath the endlessly-memefied closing sequence at the bus stop by night (you remember the one) lies such a raw yet universal experience of love which we can all connect to. We can’t always be with the person we love, whether that is because the world doesn’t accept our love, or because the practical rhythms of adult life get in the way. ‘Not all love stories end the same way’, Scott reminds us.

Scott has stated countless times that his most recent roles have all been punctuated by a certain humanity. Though the name Andrew Scott has become synonymous with the image of the screen villain – think Jim Moriarty, the Bond franchise’s C, Tom Ripley in Steven Zaillian’s adaptation of Patricia Highsmith’s novel, and O’Brien in the 75th-anniversary audiobook of Orwell’s 1984 – Scott vehemently opposes labels such as ‘troubled’, ‘psychopath’ and ‘villain’ when describing his darker roles. His true mastery of the roles comes from the humanity he extends to such outsider characters. For what emerges from his darkest performances is a fervent empathy, an extended arm, an understanding that life beyond the margins is lonely, difficult to survive, and that we all deserve to be loved. Scott seeks to understand his characters’ natures before their actions, to see the three-dimensional life in them. As he so wonderfully puts it in relation to his latest venture into darkness, ‘there’s Tom Ripley in all of us’.

You Are Always on My Mind

Such an understanding of the outsider shines through Scott’s latest cinematic masterpiece as the lead of Andrew Haigh’s All of Us Strangers (2023). Scott plays so subtly with the transcendental loneliness that emanates from the film. He describes feeling the importance of the film as both his first substantial lead role and simultaneously a queer role, revealing that he wore some of his own clothes in the film and often phoned his parents and siblings to ask about details of his own childhood in the 80s. Whilst he tapped into his own experiences growing up as a queer person – homosexuality wasn’t decriminalised in Ireland until 1993 – in a profoundly-personal way, Scott nonetheless maintains that his process as an actor in the film was founded on an exploration which transcends his queer identity.

Scott has expressed his ambivalence at being pigeonholed into the ‘gay actor’ category in the past. Sure, he has provided our community with some of the most sensitive performances in queer cinema this century, from Welshman and owner of the Gay’s The Word bookshop Gethin Roberts in Matthew Warchus’s Pride (2014) to All of Us Strangers and now Ripley. But there is another not-so-positive side to this labelling. The BBC recently faced backlash following a BAFTA red carpet interview with Scott in which the reporter implied that Scott had seen Barry Keoghan’s genitalia and knew how big it was. Speaking about the slew of questions he incessantly faces about his sexuality in the press, Scott argues that ‘the problem is it becomes your schtick. Frankly, I feel like I’ve got just a bit more to offer than that.’

In fact, a running theme of many of Scott’s forays with the press is this sense of profound sincerity. Rather than sprinting through the Q&A format, Scott often asks back as many questions as he answers, and we can imagine the glint in his eye and half-smirk forming on his lips as he does so, feeling like he is breaking the rules of conventional stardom. He has maintained a certain boy-next-door energy; he even describes his dress sense as that of an ‘11-year-old’: scuffed trainers, colourful T-shirt, hoodie, and all. He has often expressed a desire to talk to his fans rather than be the object to their secret photos of him on the tube and in Tesco’s. Even though we must steer clear of the parasocial relationships that often plague such iconic figures as Scott, there is nonetheless an undeniable feeling that he lets us know him, just a little, and that little has become all-too-rare in the age of untouchable stardom and TikTok fame. Yes, he was GQ’s Man of the Year in 2023, and yes, he is an absolute fanboy of Taylor Swift. The two can coexist, he shows.

Scott is a lover of art in whatever form. Despite turning down the art school offer, he frequently draws strangers in the tube and attends life-drawing classes. He is also interested in philosophy, gushing about his experience attending an Alain de Botton talk on loneliness and the importance of Esther Perel’s writing about relationships in his approach to acting and life itself. Discussing in an interview the eerie atmosphere of his Ripley shoot, which occurred between Italy and America during the pandemic, he veers into a conversation on the importance of art in the midst of loneliness, grief, and love. His words dig to the core of our own love affair with him and his plethora of relatable, human performances. ‘As human beings, we tell stories’, he says. ‘Expert storytellers are really vital. No, it’s not brain surgery. But, “Hearts starve as well as bodies. Give us bread, but give us roses.” I love that quote.’ It is through his storytelling that Andrew Scott has won our hearts. Our love story with him may have been a slow burn, but it’s only just beginning.'