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iridiss · 1 month ago

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Aaron’s such an underrated character on Aphblr tbh. He’s become one of my favorite characters in the cast as I rewatch more and more of Mystreet. Aaron will tease you, but he’s also one of the best characters in the cast to go to for emotional support. He’ll tell you as it is, smack you upside the head when you’re being crazy and shake you back to rational normalcy, but then he’ll sigh and tell you you’re gonna be just fine and everything’s gonna be okay. He is the number one (and on occasion only) holder of brain cells in the whole neighborhood. He’s the most sensible, and often the word of wisdom/rationale, much more so than Katelyn or Lucinda or Zane or Laurance are. This can often make him come off as a serious character, but he’s still down to clown! He just does it in a different way!

He’s supposed to contrast Aphmau’s louder, more extroverted, playful, ditzy, eccentric personality, by being quieter, more rational, more responsible, more cautious and careful, more reserved, a word of wisdom to contrast her crazier, chaotic energy and pranking and punning and ponies and general whimsical tomfoolery. But that does not, by any means, mean that he is not participating in the antics. Just because he’s the only one who thought to bring a first aid kit and a safety harness doesn’t mean he’s not jumping off that cliff with everyone else in this crazy cast. You tell him to dig, he’ll bring shovels. He may sigh or say “oh god not again” when shit goes awry or the gang decides they are Dead Set on doing something insane for the 10,000th time, but by god he will commit. Aphmau kidnaps a baby and goes on a mad chase for a comedic bit, and he never complains about how “stupid” and “reckless” and “obnoxious” his girlfriend is, he just says in a completely calm tone, “Now if you’ll excuse me, I need to go save my girlfriend.” And he chases after her immediately lmao.

Aaron enables the antics and participates in them, and if you rile him up or challenge him damn well enough, he will throw himself into the group antics with an unbeatable, fiery fervor. If the boys decide they’re all gonna pretend to be Santa and his elves in order to cause prankster-variety chaos one day, Aaron would join in and go right alongside them. He’s here to make sure it all goes to plan. He’s here to make sure you don’t break any bones when you jump off that roof like a madman. He’s here to help you run away from the cops, help you break into the building. He may chide you for doing it in the first place (“do you even know what you’re doing?!”), and if needed he may drag you back home if you’re barking up the wrong tree and it’s nothing but detrimental to you, but if it’s viable for the bit, he absolutely will show you how to break a window correctly.

And he can be a little shit if he wants to, too!! He can snicker at you and tease you and make quips, and I bet if Aaron himself dedicated his energy to it, he would make the best of pranks. He’s not an asshole that’s full of himself and too serious and stoic and cool for being silly, he’s not a whiny bitch, he’s actually very incredibly supportive. At times, much more so than Garroth, Laurance, Zane, Katelyn, etc. He’s reliable, he trusts Aphmau a lot, he knows how shittily Aphmau cooks and still does his damndest to support her, and he will force himself to eat her biohazardous cooking just to make her happy. He is the chef of the household. He’s good with animals, animals love him. He’s a kind guy!!! He’s just got his own unique energy and vibe to him, that no one else in the cast really has, and I really appreciate that core trait of him. He’s a grounding character. He’s probably got his own ways that he’s weird and eccentric that are a lot more hidden than Aphmau’s. If we didn’t have Aaron, the entire neighborhood would have burned down ages ago, ten times over.

I genuinely do believe he’d make a fantastic dad, being a combination of a soft and gentle and tenderly loving man, and responsible enough to always bring safety helmets and bandaids and snacks, very supportive of his kids development, emotionally available as a great source of genuine advice and wisdom while still getting plenty of encouragement. He would probably want to make an effort to be a very different parent than his father was, and since he was emotionally neglected as a child, he would refuse to do anything similar to his own kids. He’d be a good influence (and Aphmau would be the bad influence LOL)

He’s kind of a teddy bear of a man <3 If he weren’t so heavily wolf-themed, I’d say a bear would be the best animal that’d fit his personality and energy. He’d protect you like a bear, he can be really fucking terrifying if he wants to, but he’d only use that power to make sure Aphmau gets what she wants and needs to make her happy. He’d never use that terrifying intimidation factor of his on his friends and loved ones, never as anything more than a single look that has a derailing Garroth/Laurance/Travis/Dante/Gene/etc. get right the fuck back on track and start backpedaling, like if they started saying or doing something careless or stupid that made Aphmau feel worse. He’s quiet and reserved with that tired, grounded, solid energy of a bear. He’s a big guy. But he can also be really soft and supportive and sweet. He takes more time to come out of his shell and let down his walls, but when he does, he really dedicates his life to the few people he manages to trust. And it’s that thick outer shell that makes Aphmau a good match for him, because she’s kinda the only character in the cast who’s able to bring him out of his shell so easily.

She’s kind and extremely friendly, unstoppably and unendingly so. She’s sweet and naive and selfless in the way that proves to Aaron that she’s not trying to get anything out of him, she’s not lying to him, and she would never neglect him or just…abandon him like a discarded toy once she’s through with him. She’s not scared of him. She sees the best in everybody, and sees that there’s something more underneath that scary, prickly outer shell of defenses that’s managed to push everyone else away and keep the likes of Laurance and Garroth and Katelyn on their toes. She sees what no one else does, she sees the true beauty and the kind heart he has underneath. Even in MCD, when he’s literally held a sword to her throat and threatened her life multiple times, she can still sense that he’s full of shit and there’s a kind heart underneath, and if she does a little cultivating, extends a hand of gentle kindness and genuine affection, a kind of love and affection he’s never really seen before and been starved of all his life… it works wonders, and he steps out to meet her. He changes, drastically, because she sees the best in him, and that makes him want to become the best version of himself that he can be, for her. Where he might hate himself and grapple with feeling unloveable, Aphmau is there to remind him none of its true. And so he tries to keep her nightmares away in return, sticking by her side, taking care of her, cooking for her, encouraging her to keep doing everything she does best, defends her against the bullies that make her feel like she’s not good enough, and takes her by the shoulders to remind her that she is good enough, and all the voices out there and in her head that tell her she’s not are full of shit. Because he knows first-hand, better than most, the good things she brings to those around her and the wonderful presence she is in others lives, and how wonderful she is as a person. He trusts her. He’s here to guide her along in her path to becoming her fullest self, to give her that last big nudge to boost her along the way. Likely on a cosmic level, mainly, with her becoming Irene.

He’s very sweet, he’s sweet to Aphmau, Aphmau’s even sweeter to him, and genuinely I’ve learned to love the big, fluffy guy and I really appreciate him and his impact on the other characters the more and more I see of him. I don’t really know how I would enjoy Mystreet or MCD or the Aphverse without him. If he were real, I would love to give him one big hug, I bet his hugs would be amazing (topped only by Garroth’s rib-crushing bear hugs)

#aphmau #aphblr #mystreet #aphverse #aaron lycan #aphmau aaron #mystreet aaron #aarons a wonderful character and a great guy #dude id trust him with anything. mans fuckin reliable #my dog. my stuff. my life #…my wife #lmao #and also honestly like. as someone whose so proudly against cringe culture and tries their best to encourage others to embrace their weird #and the fun parts of life and creativity #no matter how silly or stupid or weird it is #I really have ZERO place criticizing aaron or Aphmau for being self-insert characters #ohh wow yea look he’s a self insert of the directors husband. wow look she put her husband in her story #yea every time i come across a new show or comic or book that I like the nm 1 first thing I do is make sonas for me and my partner #in those shows and their worldbuilding.#‘he’s a self insert’ as if you didn’t make five of those when you were younger. and are still doing it now to this day #I have like four or more self insert ocs. cringe culture is bullshit and we uphold cringe culture mean careless bullshit way too much on #aphblr. free the Mary sues and the self inserts. be cringe be free be weird. write that werewolf omegaverse twilight fanfiction #never grow out of your werewolf x vampire phase #and play some motherfucking minecraft #embrace the Aphmau. live that good life. I’m happy and I’m cringe and I am free #and I’m giving aaron a little kiss on his head #and pats and scritches #give scritches to your local bear today #rambling

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nitrateglow · 1 year ago

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Favorite films discovered in 2023

2023 kind of sucked, but it was a fruitful year for me as a movie geek. I finally got around to seeing films that have been on my TBW pile for years now. I also gave myself a challenge that I actually completed: watch at least one film from every year between 1900 and 2023.

Anyway, I'll stop beating around the bush. Here are my top 20 favorite film discoveries in 2023. (The order is very, very loose from 5 on down. I genuinely had a hard time narrowing the list down to 20, let alone ranking everything.)

When a Woman Ascends the Stairs (dir. Mikio Naruse, 1960)

This well-regarded drama follows Keiko, a bar hostess who's just turned 30 years old. She has limited options as an unmarried woman in postwar Japan. Considered "old," she has to marry soon or scrape enough money to buy her own bar. With its jazzy score and first-person narration, When a Woman Ascends the Stairs has a noirish vibe but it certainly isn't noir at all. Though the film is tragic, what moved me so much was Keiko's character. She has a tough lot and her story is ultimately tragic, yet she is determined to keep going, even if life won't give her a break.

The Boy and the Heron (dir. Hayao Miyazaki, 2023)

Miyazaki's current "last film" is certainly his most abstract and puzzling. I imagine it'll be one of his more divisive titles in the years to come, but count me among its fans. While being "in the know" regarding the current state of Studio Ghibli and Miyazaki's 60+ year-long career in animation allows one to better appreciate the many allusions and themes within the film, it stands just fine on its own as a surrealistic adventure about grief and the power of art. Also, damn, I LOVE hand-drawn animation so much.

Black Cat (dir. Kaneto Shindo, 1968)

Kaneto Shindo's Black Cat is yet another confirmation of my feeling that horror pairs best with humor or heartbreak. While there are some morbidly funny moments, Black Cat is largely a devastating supernatural horror story about a young samurai who encounters two mysterious women in the woods, not realizing they are the ghosts of his murdered wife and mother. Even worse, they've sworn to kill any and all samurai they encounter, since their deaths were the result of raping, pillaging samurai-- but they remain human enough to desire an exception. I was creeped out thoroughly by the chilly atmosphere and imagery of this film. I liked it even better than Shindo's Onibaba and that was one of my favorites from 2022!

Malcolm X (dir. Spike Lee, 1992)

I usually dislike big movie biopics for being stuffy and formulaic. Malcolm X avoids both of these issues. Directed to the hilt by Spike Lee, this film is passionate and compelling, about as far from a stuffy Oscarbait biopic as you could imagine. Also, Denzel Washington is AMAZING in the titular role. Like, we're talking one of the best performances I have ever seen because not only is Washington convincing as Malcolm X, he also perfectly portrays his arc from zoot-suited young criminal to uncompromising activist leader. I was absolutely mesmerized the entire time-- it's a long movie that never feels its length and I'll definitely be revisiting it in the future.

The Kiss Before the Mirror (dir. James Whale, 1933)

James Whale’s horror movies are listed among the finest 1930s cinema had to offer, but his other works remain woefully overlooked. The Kiss Before the Mirror is a strange marital drama set in a dreamlike interwar Vienna. A lawyer defending a murderer who shot down his cheating wife comes to discover his own wife in the midst of a casual affair. Will this discovery lead to another killing? Despite the lurid plot elements, Kiss is closer to Kubrick’s introspective Eyes Wide Shut than a typical 1930s melodrama. Both husband and wife are complex characters struggling with destroyed illusions, making the story a hell of a lot more complex than you'd expect.

Five Miles to Midnight (dir. Anatole Litvak, 1962)

I am so glad I ignored the meh reviews on this one because I would have missed out on one of the best thrillers I've seen in years. Sophia Loren is a woman desperate to shake off her narcissistic, abusive husband played by Tony Perkins. When Perkins is wrongly believed dead in a plane crash, he hides out in Loren's apartment so they can collect the life insurance money, split the funds, then part amicably. This being a Hitchcock-style thriller, it doesn't work out that way. What sells the film is the psychological cat-and-mouse game between Loren and Perkins's miserable, mismatched married couple, and a noirish sense of doom lends a great deal of atmosphere.

Shoes (dir. Lois Weber, 1916)

Shoes is the best Lois Weber film I have yet seen and it still packs a wallop a century-plus since its initial release. Mary MacLaren plays a young woman single-handedly supporting her family on a five dollar a week salary. She wears shoes that are falling apart but can never seem to save enough for a new pair-- that is, until an unsavory way of getting the cash presents itself, much to her horror and temptation. This is a heartbreaking little film that showcases a lot of what I love about 1910s American cinema. There's less glamor in the settings and nothing at all genteel or cleaned up about the poverty on display. MacLaren is wonderful in the lead too, her performance a quietly compelling portrait of quiet desperation.

Jeopardy (dir. John Sturges, 1953)

Barbara Stanwyck was in such a wealth of films that I can forgive myself for not realizing this one even existed. After seeing it, it's easily in my top five favorite films of hers. On the surface, the plot sounds like fodder for sleazy sex fantasy: a housewife on vacation is kidnapped by a hot escaped convict. She's racing against time to save her husband from drowning after the tide comes in at the beach where he's trapped; the convict has a very specific price for any aid he's willing to offer. Stanwyck's characterization complicates the situation and the direction amps the tension to a breaking point. Great, great stuff!

Girlfriends (dir. Claudia Weill, 1978)

This film came across my path in a weirdly personal way. One of my sisters got engaged this year. We've been close all of our lives and shared an apartment for years, so this is going to be a big change for both of us. Girlfriends is about a young woman whose best friend is getting married, meaning she'll be on her own for the first time. In addition to making this adjustment, she's a photographer currently hired for weddings and bar mitzvahs, but dreaming of entering the larger world of art galleries. I guess you could say it's a 70s version of a quarter-life crisis film (Noah Baumbach's Frances Ha takes A LOT from it). The performances and direction are exceptional, having that unglamorous, lived-in vibe I love about the films of this period. It also just happened to come into my life at the most resonant time, so there's that.

Ivan the Terrible, Parts One and Two (dir. Sergei Eisenstein, 1945 and 1958)

As a person who hates the idea that realism is the only valid form for cinematic drama, Eisenstein's hyper-stylized Ivan the Terrible movies are a joy. The compositions are like something out of a painting, the acting is operatic, the writing mythic and sweeping. The dance number in Part II is one of my favorite scenes in any movie ever. Best of all, the films rise above their propagandist origins, becoming a fascinating study of institutional power set against individual charisma.

The Red Queen Kills Seven Times (dir. Emilio Miraglia, 1972)

I've been getting more into giallo lately and The Red Queen Kills Seven Times is among the more memorable titles. You have the fashion world setting, a disguised murderer running around in a red cloak, over the top kills, a villainous junkie who looks like Bucky Barnes, a spooky castle with death traps, the works. It's a movie where I don't really care too much about the plot. It's the off-kilter, sinister atmosphere that draws me in, as with most giallo movies.

Little Miss Sunshine (dir. Jonathan Dayton and Valerie Faris, 2006)

It took Alan Arkin dying for me to finally get around to seeing this much beloved 2000s gem. I expected to only be interested in Arkin as the drug-addled, foul-mouthed grandpa, but the entire movie is so warm-hearted and hilarious that I fell in love with it whole hog. The characters are all quirky without being Quriky (tm), if you know what I mean. And I love the final message about just living your life and not worrying about whether or not you're "successful" in the eyes of society. An old theme to be sure, but done so, so well here. (Also, the mercilessly satirical jab at child beauty pageants is pure gold.)

Pom Poko (dir. Isao Takahata, 1994)

I feel like a lot of western anime fans only see Pom Poko as "lol that movie where the tanuki have comically oversized testicles." And yeah, that is indeed something in this movie but there's so much more. It's one of the boldest films I've ever seen, an "animated documentary" (to use Takahata's words) about a village of tanuki waging war against humankind's encroachment upon the natural world. It's such a genre grab-bag, critic Daniel Thomas' description fits it best: "The story weaves through slapstick comedy, social commentary, satire, surrealism, and tragedy. It changes moods much the way the tanuki change form, bending and molding into a new shape, and relentlessly moving forward." I still think Only Yesterday is Takahata's best film, but Pom Poko is strong competition and yet another film I can see myself rewatching many times to come.

Bullet Train (dir. David Leitch, 2022)

I still kick myself for not seeing this in the theater when it came out. Bullet Train is a wonderful lark of an action film. On first watch, I recall thinking it was like a live-action anime shot in a very Tarantino-esque style. I've seen it a few times now and I enjoy the hell out of it every time. And if you don't like it, well, you just might be a Diesel.

That Cold Day in the Park (dir. Robert Altman, 1969)

Another film with a so-so reputation that I really enjoyed. Sandy Dennis (who's gradually becoming one of my favorites with every performance I see from her) plays a virginal rich woman who takes in a handsome young guy one cold day. Her initial kindness quickly curdles into erotic obsession and her house guest has his own secrets. It's an early Robert Altman film and not his most polished work, but that makes it all the more fascinating to me. It's a creepy psychological thriller with a haunting ending, as well as an interesting time capsule of the late 1960s.

Faster, Pussycat! Kill! Kill! (dir. Russ Meyer, 1965)

Where has this movie been all my life?? It's a bizarre campfest about three criminally minded go-go dancers who romp across the California desert, strewing all kinds of havoc in their wake. It's such a strange movie that I don't know how to describe it properly: it's got a New Wave sensibility to it all the while indulging in exploitation B-movie nonsense. Definitely a fun film to watch with a group.

Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (dir. Chantal Akermann, 1975)

I finally bit the bullet to watch this one after it topped the 2022 Sight & Sound list. Do I think it's the greatest film of all time? No, but I don't like singling out any work of art for such a designation. Putting aside all the drama that ensued when this was granted GOAT status, Jeanne Dielman is a striking film. It's definitely not something you just throw on casually-- you need to set aside the time to watch it and be in the right headspace. My initial mild interest morphed into a sense of anxious dread as the film ground along its three hour runtime, its protagonist struggling to retain her total sense of self-possession and control as she's thrown off her groove by unexpected events.

The Wicked Lady (dir. Leslie Arliss, 1945)

This is not high art by any means. It's melodrama with a capital M, laying the cheese on thick. Margaret Lockwood plays a devious, scheming femme fatale in 18th century England who's a gold-digging noblewoman by day and a highwaywoman cavorting with bad boy James Mason by night. This is easily the most entertaining of the Gainsborough melodramas I've yet seen, dripping with soap opera antics, sumptuous costumes, and camp-a-plenty.

War and Peace (dir. Sergei Bondarchuk, 1966-1967)

There is no substitute for reading Tolstoy's massive novel, but this 1966 Soviet version is definitely a fine work in its own right. Filmed in three parts, it's about nine hours long and it does a good job capturing the interior lives of the characters in the source material. Everything about it is just breathtaking: the costumes, the sets, the massive numbers of extras during those battle scenes. It's the kind of intellectually and emotionally stirring epic that makes all those hours fly by.

The Sweet Smell of Success (dir. Alexander Mackendrick, 1957)

I often chafe when people act as though all 1950s American cinema were Leave it to Beaver wholesomeness and buttoned up repression. Some of the nastiest Hollywood movies I've ever seen came out of the 1950s and The Sweet Smell of Success is prime among them. Among the best of the late classic noir period, it follows Burt Lancaster as a popular but monstrous newspaper columnist who uses his power to control the lives of everyone around him, particularly his sister, to whom he has a borderline perverse attachment. The dialogue is as sharp ("You're dead, son. Get yourself buried." "I'd hate to take a bite out of you. You're a cookie full of arsenic.") and the cynicism as thick as the best of Billy Wilder. If you love noir, you can't miss out on this one.

What were your favorite film discoveries of 2023?

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