#he just encapsulates a lot of the themes of the series and really shows them in the books

[triptychgrip]

Yuuri’s love of Viktor’s extraness

Something that I've seen a lot of in Yuri!!! on Ice post-canon fanfic is a tendency to write Yuuri exhibiting a certain amount of chagrin around Viktor's extra-ness.

Perhaps I've misinterpreted intent and simplified instances that in actuality were meant to convey something completely different, but at times, I've noted this implicit (or explicit) weariness attributed to Yuuri when it comes to his reactions to Viktor's behavior.

Specifically, his excitability and charisma.

To reiterate: I'm talking about post-canon content, meaning that Yuuri and Viktor have already bridged that initial gap between them and are in a committed relationship. I say this b/c a certain amound of overwhelm/wariness in response to larger-than-life Viktor is very understandable in the beginning, when Yuuri is not only struggling to understand why the hell his idol has come to Hasetsu, but is also realizing that the public persona that Viktor exudes doesn't match up with the flesh-and-blood being that is the real him.

This "God, why in the hell am I engaged to an excitable child?!" characterization of Yuuri confuses me, because one of the most endearing parts of the show is the fact that Yuuri is capable of 1) being just as extra as Viktor (but in different ways) and/or 2) matching Viktor's extra-ness in the way of the whole "meeting him where he is" theme.

I think there are plenty of examples of #1 (that quad flip at the Cup of China!!), and the Chihoko incident is a perfect encapsulation of number 2. With the latter, note that Yuuri doesn't minimize Viktor's insecurities by being all "you're being ridiculous, Viktor, why is THIS your way of trying to get my attention?"; instead, he tells Viktor that he could search the entire world and still find no one better. Oh, and then at Viktor's request, he strips down and joins him on the top of Hasetsu Castle.

Writing him as only being tolerant of Viktor's extra-ness (rather than celebrating it) also confuses me because as they get to know one another, I would imagine that Yuuri is able to see more clearly than most how Viktor was at a breaking point before coming to Hasetsu. You don't get to be a 5-time World Champion without being somewhat of a workaholic with extreme discipline, and there is more than enough evidence to support the idea that prior to coming to Hasetsu, Viktor hadn't really allowed himself to let loose, have fun, and do something entirely for just himself in a very long time (aside from that Sochi banquet night, of course).

So then, after coming to understand just how much Viktor might have been suppressing his true nature prior to their coming into each other' lives, why would Yuuri make Viktor feel bad about this intrinsic part of his personality? I've always gotten the impression that Yuuri would adore Viktor's innature curiosity and excitability, especially when he comes to realize that Viktor is keeping true to his episode 4 request to just be himself.

I might make a part 2 to this post, because there are honestly a lot of Viktor headcanons floating around in my head, particularly with respect to the fact that he seems like a man who has been told his entire life that he is "too much". Thus, to perceive this same attitude from the love of his life (again, maybe not explicitly, but implicitly) would probably tear him up inside.

I actually explicitly addressed this in Chapter 7 of my post-canon Olympic Games series, by way of a BuzzFeed "Couples' Quiz" appearance that the Katsuki-Nikiforovs make. Their last question to one another asks them to list the things they think their partner loves about them the most, and frankly, it was healing for me to be able to write Viktor answering that he thinks his husband loves his charisma/excitability 😭🥹

[rosefires20]

The one thing that gets me about the Lord of the Rings movies is how much they fail Faramir's character but manage to really show Boromir's specifically in the extended cuts.

Faramir gets so little time in the movies compared to how much he gets in the books. He is genuinely such a good character in the books and I adore him so much. He has one of the best lines in the series as well that really captures some of the larger themes of the peace.

"I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend." - Faramir in The Two Towers

He is genuinely such a kind man, and in the books, you see that through his actions but also the actions and words of everyone around him. In the books, you get Beregond and Pippin's interactions and conversations where Beregond talks about how much he admires and loves Faramir as his captain and how much he trusts him. Beregond's love and dedication is part of the reason why Denethor's plan to burn him and Faramir alive gets delayed long enough for Pippin to go and get Gandalf and return with enough time to save Faramir at least.

The movie fails so hard because they have Faramir and his group take Frodo and Sam forcefully to Osgiliath and he has a moment with the ring. In the books, before even knowing for sure that Frodo had the ring, he said he would not take it. When it is revealed, he completely denies it and aids Frodo with food and shelter for a bit. The scene of him rejecting the ring especially with the knowledge that it got to his dearly beloved brother is so good and so core to Faramir's character which drives me nuts with how it went down in the movies.

In the books, you also get most of a chapter dedicated to Eowyn and Faramir and their healing journey. There, you also get to see how kind and loving Faramir is as a person with how he respects and interacts with Eowyn. Just god. He's such a good example of the series's gentle masculinity. He parallels Aragorn a lot in it especially since Aragorn is the one who is meant to be king while Faramir had the hearts of the people.

[jojotichakorn]

ARCHER'S WE ARE FANCON EXPERIENCE

i promised i would share my feelings, so here they are!

first of all, while i do still maintain that the venue was too small for how beloved the series is, even with the split into two days, and i have some gripes with merch sales, the organisation was otherwise good. it was always very clear where and when you needed to go and what you needed to do, which is always great for an anxious person like me. all the explanations were in three languages too (thai, english, and chinese), so navigating the space and the benefits was easy. the little setup of things to do before the concert starts was also great - there were merch booths for all of the boys who had merch to sell (which is everyone aside from aouboom), there were photobooths with different 'we are' themed templates, there was also, of course, gasha (or, as i like to call them, gambling machines) but hey! i got some merch off of that as well, so i'm honestly not even complaining.

now, onto the actual show! it was incredible, i can hardly imagine anything that would need to be added or changed. it honoured both the series and the artists on their own in many ways.

there were multiple performances with the entire cast, including a surprise appearance of jj, tee, and pepper (or, our mattmickbeer trio) during one song, who then also stuck around to talk about their characters and favourite scenes. friendship is a huge part of the series and they did not forget that. a lot of stage backgrounds and props were an homage to the series too (the one that felt particularly thought-out to me was the background for 'truth in the eyes', which was a lush garden - a callback to the mv's concept metaphor). the couples performed both their main songs and also one cover each, which were picked out by every cp for different reasons, but all of which were great. before every main song, there was a little video with the couple's moments that encapsulated their relationship, and they were really lovely and well-done (a great way of giving the artists a second to breathe too).

i think there was also pretty much everything each of the main eight could want to do on stage. pond and aou got to dance (together as well!), winny got to rap, phuwin and satang got to sing together. at least from what they said, they were given a lot of creative liberty in terms of choosing what they want to sing and do on stage as well, so that is also lovely. all of the performances were, of course, absolutely fantastic and even exceeded my expectations in some ways.

all the little chats between performances were also wonderful and everyone (or, almost everyone) got really emotional closer to the end. we had marc crying first, talking about how much this experience means to him and thanking poon for being his first real partner, and then the floodgates just opened. poon also teared up, winny started crying because marc started crying, then he cried some more when he actually started speaking himself, then satang started crying too, they talked about how much all of this means to them and how much they mean to each other, they held hands. then dear sweet boom almost sobbed on stage and aou cried too - they were also very thankful for everything and especially each other. pond tried very hard not to cry (and succeeded by breathing out every ten seconds and twirling around the stage), talking about how happy he is that everyone loved the series and them so much, saying that the cast became like a little family, and thanking phuwin for being a great partner, and phuwin also talked about how he was afraid of having high expectations and how grateful he is to the cast and the fans. this was definitely one of those moments, which made the whole experience so much more meaningful and emotional. i also wanted to hug all of them and tell them how amazing they are 😭

the appreciation for the audience was huge throughout. pond kept putting his hand at his forehead to try to see all the fans sitting farther away, at one point aou asked for the lights to be turned on, so they could see everyone, during the last performance (which was 'we are forever'), they all came down from the stage and walked around us, waving at everyone.

after the huge three hour concert, there were still the benefits to work through, which ended up going on for five hours (until almost 2 am). the boys were all really lovely and nice throughout and i'm genuinely impressed by their ability not to let the understandable tiredness that they were all feeling interfere with their interactions with fans and each other.

so, to conclude! this was an absolutely incredible experience and i am so happy i decided to come here for the fancon (and actually managed to get the ticket). there are multiple countries they are going to next, as you know, and there will likely be more added in the future. so if you live in any of those countries, i am definitely saying you should go. and if you don't but it is within your means to go and you just weren't sure whether the fancon is worth an entire trip abroad - i am confirming that it very much is. i am confident you would not regret going.

[evansbby]

Some of my inspirations behind Wicked Games 4🩷🩷 *SPOILERS BELOW THE CUT*

The foreboding winds on the night of the gala

Okay so those who know me know that my favourite book series is flowers in the attic. If you read just an excerpt of this series and observed how Virginia Andrews writes, you’d be able to recognise just how much my writing is inspired by hers. It’s bc sometimes her writing makes me emotional, and I can picture things so vividly. ANYWAYS, one of the big themes in flowers in the attic is how the heroine Cathy kept hearing the loud, wild winds. She was imprisoned in an attic in a mansion up in the mountains, and mountain winds are insanely loud, like roaring level of loud. And she’d always talk about how the winds were trying to warn her about something. So…yeah. That part was very very inspired from flowers in the attic 😅 Like how she described the winds, it just stuck with me.

And it really just builds up the tension of the gala night perfectly and encapsulates the sense of foreboding perfectly too AND WORDS CANNOT EXPLAIN how happy I was when so many of you noticed the wind descriptions in your feedback!!! Some of you even called it your favourite part!!! I love that 🥹🥹 Thank you! Also it really goes to show that READING is the best way to get good at writing. I would be nowhere if I hadn’t read all the books that I did in my childhood! I cannot stress it enough: reading really impacts the way you write your own stuff. Anyways, I added a quote from FITA below. I couldn’t find any wind ones (despite the fact that she mentions in ALL FOUR BOOKS the foreboding whistling winds) but yeah, can y’all see how her writing has inspired my writing?? I really think it has.

Steve’s personal problems

A lot of it was inspired by… well… me. BUT JUST HEAR ME OUT. The parts where Steve talks about having too many responsibilities, how all of it just piles up inside his head and it feels like his thoughts are screaming. I get that! Not to such an extreme extent as Steve, but I am someone who panics easily when I have too much on my plate. And it’s like I can physically feel my thoughts racing (it just sounds like me screaming lol) so that’s where I got inspiration for that! Obviously it was exaggerated to fit Steve’s much bigger problems (I’ve never had absentee parents or a younger sibling who I solely worry about all the time nor have I been kicked off the basketball team nor am I an alcoholic). But yeah! That’s how I knew how to write that overwhelmed feeling that he was feeling.

The chapter title “comfortably numb”

Okay so MAJOR SPOILERS for the tv show the sopranos ahead. Basically the song “comfortably numb” plays during a scene where something not so great happens to the character of Christopher. iykyk. And I found the character of Christopher very interesting. He was by all accounts a shitty person. But he was so sensitive, and he was dealing with a lot, and he’d try to escape it by doing drugs, essentially “numbing” himself to the pain. So the title does refer to Steve, who’s problems are piling up so high on his head and he KNOWS he’s fucked everything up for himself, so he just gives up and numbs himself with drugs and alcohol. I’m sure this was pretty self explanatory and didn’t need an explanation but yeah!

Wanda’s drunken tirade 😂

Okay so the part where Wanda only selectively hears what Curtis is saying and latches on to “reader slept with Curtis” and ignoring everything else?? I SAW THIS HAPPEN IN REAL TIME WITH TWO OF MY FRIENDS!!! Basically we were at a party, and we were young af like 16-17. And both my friends were drunk (I’m not friends with either of them anymore but this was in like 2016 bahah) anyways one friend thought the other friend had kissed the guy she liked, the other friend said she didn’t but the first friend was only selectively listening. AND I SWEAR I HAVE SEEN THIS HAPPEN A LOT. Like when someone is so drunk they just selectively listen or just believe what they want to believe. So yeah that’s how I got the inspiration for that. And for a lot of these, I don’t even think what’s inspired me. I write it down and then read it over and I’m like “wait this actually happened to me IRL that must be where I’m getting these ideas from” 😭😂😂😂

Reader’s emerald dress and the gala

Okay this one I didn’t even realise was sooo flowers in the attic inspired until I read it over. So basically Cathy’s mother Corrine wears this gorgeous emerald gown to her family’s Christmas ball. And many years later when Cathy plans revenge on her mother, she remembers this emerald gown from memory and has it remade so she can wear it and confront her mother at the Christmas ball. I remember reading long descriptions of that gown. But tbh I didn’t really remember what that gown looked like or any of the details, just the colour was significant to me. Bc the gala was going to be a night of many confirmations too. The description of reader’s emerald dress all came from my head haha. Like the ruching and the slit etc. I tried to find a dress on Pinterest that matched my vision but none of them lived up to the image I have in my head that’s my own creation LMFAOOO

Andddd my mind is blanking now but if I remember any more inspirations I’ll add them here!!!

[fruitsofhell]

It's time for me to unleash the inner crazy Metal Sonic lover within myself and talk so so much about this mother fucking fucker Chaos Sonic!!! (image taken off a post by @/littleaipom)

Ok so what I love so much about Sonic Prime is how much mileage it's getting out of the multiverse concept. It's a good multiverse cause it's surprisingly simple compared to the sort of MCU clusterfuck we associate the term with now. It's just Sonic AUS! And I really love that cause to me if anything screams Sonic media, it's AUs and canon divergence and wacky takes. I think this series is great at that, internally and with inspiring that in fans. What also makes it so great in Sonic Prime is that it has so much confidence in that. In the entire show the only normal characters are Sonic and Shadow, everyone else Sonic makes a connection with is a whole new spin on the old cast and its GREAT. I love Nine to death especially, he's definitely one of the best shatterverse characters.

But I think I have a definitive new favorite character now in Chaos Sonic, because he is that fresh new confident take on an old character but with such an underutilized one in Metal Sonic. I adore Metal Sonic, he's my favorite Sonic character and in my opinion the absolute most slept on. Sonic's robot doppelganger should absolutely have as much love as Shadow - his more serious and hardened antihero rival - and Knuckles - the stubborn immovable object to Sonic's steadfast unstoppable force. But he doesn't!! And it's tragic!! There is so much to do with Metal, with the Sonic created by the man who hates him more than anything, one of his first true rivals who was made to be his perfect antithesis, yet we get so little. But atleast in Chaos Sonic we get an awesome fucking take on him!! It's not Metal, but like I said about Sonic Prime as a whole, I LOVE how this show plays with the characters.

I see a lot of people pitting Chaos and Metal Sonic against each other or putting down one when talking about the other, but they're really just amazingly complimentary takes on the same character. The way it would be weird as hell to say either Nine or Tails is the better version of the character or something. Chaos Sonic's personality is of course what stands out the most between him and Metal Sonic, and while for some people it makes him unbearable or insulting to the OG Metal, it's one of the things I love most about him too. It's the complete opposite of what Metal and most robo-doppelgangers in the series, and especially Metal, are known for. Metal Sonic is all of Sonic's deadliness but none of his heart - he is a Sonic stripped of everything that makes him that energetic blue hero and reduced only to his power, speed, and obedience. He's a very cold a serious take on the robo-doppelganger that encapsulates the theme of classic Eggman, which was to do what nature did but better and deadlier. He's a very dehumanizing take on what Sonic is to his enemy, a potential tool like the rest of the animals and natural resources he abuses. Chaos Sonic is less like the (classic) Sonic Eggman wishes he had, but what (modern) Sonic is to him - this annoying, vain chatterbox who still manages to trounce you no matter how little he takes the situation seriously. Metal Sonic feel like a cold and calculated project driven by nothing but Eggman's frustration that something free and alive that he should have control over him still eludes him, and Chaos Sonic like just a project of pure spiteful mockery. Which I think very well represents how the relationship between Sonic and Eggman has changed to pit them more often as equals with their back and forths. And I really love how well both of them use this assignment to bring out these different aspects of Eggman and Sonic's relationship.

I think Chaos Sonic also specifically speaks to the New Yoke universe very well more than just being Sonic but more annoying. He is absolutely annoying and talkative just to mock Sonic, but stuff like his comments about Sonic being "smelly" and how he wants to be a brand star bring to mind really fun ideas about how he's like a commercialized version of Sonic too. I would love if he was integrated into New Yoke and you could see the Egg Council using him as a brand and he just loves it because he's an equally capitalistic jerk. It's a fun twist on Sonic's ego next to the more obvious one, that if Sonic didn't have his convictions he would very easily fall in line with the vanity of Eggman's worldview. Those are the moments that kind of make me wish that normal Metal Sonic had more speaking roles where him being an anti-Sonic in ideology could show. We atleast have the funny projection of him torturing animals from Sonic CD. I do still think that through Metal's sole commitment to beating Sonic and proving himself superior he does an equally good job at being that ideological opponent though, just in a quieter way befitting his era. Chaos Sonic represents Sonic's vanity in a personality sense with his want to be in the spotlight, and Metal Sonic in purely mechanical sense - just wanting to prove nothing but the fact he is better. And that single-mindedness makes him a great foil to Sonic who is a very wild and free-spirited person and never lets his ego and need to be the best define him more than his loyalty to those ideals. Meanwhile Metal Sonic entirely defines himself by his abilities and need to be a specific identity created by others. Something that makes him really damn tragic in a way I wish for the life of me was explore more.

Chaos Sonic doesn't HAVE to be an existential tragic mess... but I mean if they're gonna bring him back, he should have moments of that on top of just being awesome to watch fight and emote. OH MAN I HAVEN'T EVEN GOTTEN INTO HOW EXPRESSIVE HE IS. Once again, something totally different from Metal Sonic that only improves both characters in my eyes. I can't get enough of either of them! Whether it's Metal Sonic's intimidating silence or Chaos Sonic's "teehee giggle ^_^" attitude towards violence, I think both have some great chilling moments to them. Chaos Sonic's voice too is so good, it's probably my favorite voice performance in the show. It just has so much energy, and makes every line sound so genuine no matter how stupid. But at the same time he has good range too! When his voice gets low and serious or angry it's effective (atleast to me)! I mean that guy managed to make "You're too slow!" sound playfully venomous, I love it. With Metal Sonic it's maybe a bit harder to pin down what makes his stoicism work so well. Every character in the classic era was silent to a degree, so it's hard to say his silence stands out. But that's actually I think where I'd say his lack of expressiveness is genius. He manages to mimic the look of Sonic in body and face so much more naturally than any of the other doppelgangers but still in this sleek and blank way that is just amazing. Like I stare in awe at the design of this beast. Classic Sonic is very good at providing character through expressive animation and sprites, and Metal Sonic's lack of any yet ability to still feel like he has the face of a character and not just some robot makes him intimidating.

Which brings me to their overall designs. Metal Sonic is such an enduring Sonic character despite the long list of robo-Sonics because as I was saying before, the design is just too good. It is beyond aesthetically pleasing, straight up gorgeous - which makes him so effective. He truly does feel like Sonic's equal and possibly even superior in mechanics and LOOK, he makes his mechanical and flesh peers look clunky and outdated by comparison. Sonic but polished to an unnaturally perfect finish, with those dead glowing red eyes that house none of his soul. Genius fucking design. I woefully cannot say that I think Chaos Sonic is an equal in that, but it might be physically impossible to make a better Metal Sonic, and he does come damn close! Specifically because he does take the cue of the more natural eyes (every other sonic-robo has some sort of distinctly robotic visor), but still does something new and catching with it in the bike helmet-like screen. It takes everything perfect about that aspect of Metal and builds on it for this version of him, the dark void of blank pixels is replaced with a very beautiful yet icy blue that contrasts the red eyes very well. I've seen many fan designs that use those red eyes for expression, but it is best a choice here than on the original Metal for the reasons I said above. It's so clear how much fun the animators are having with using them to emote without making it feel too natural by giving him a mouth or something. I also really like his chest rocket, it feels a lot more streamlined than Metal's, which helps with how energetic and mobile he is. Metal screams sleekness and speed, but in a very artificial way with how much his rocket takes up his design. Like I said, there's no beating Metal due to the sheer simple brilliance of his design that is totally a product of such a complex concept being perfected in the classic era. In general Sonic Prime tends to make designs a bit more complicated than what would pass as the peak of series design, but they still own in their own right. Chaos Sonic is a great example of this where he is noticeably more busy of a design than Metal but with very clear shapes and colors that make him fit in with the overall series style.

All this praising and blabbering to say. Metal Sonic is the most important thing to me, and Chaos Sonic is also the most important thing to me cause he and Metal just complement each other so fucking good. That's really what a good alternate take on a character should do! Feel fresh but still very flattering to the blueprint, explore different directions the original character could've taken to make you appreciate the execution of those aspects even more. Chaos Sonic is the best example of the show next to Nine. When I think deeper about it some of the other shatterverse versions don't go AS HARD with this, but they all feel like fun takes that do feel like they came from aspects of the original characters. Plus, that's why Nine is the hook, he is a very well developed "what if" for Tails that explores how much of a difference a friendship can make in someone's life. I also just in general really enjoy it when a story says, "Yeah, sometimes people react to issues by being antisocial as easily as they react by being docile when they don't have the space to be sensitive". It's not like... handled explicitly with that much nuance, but the nuance is there in my heart. Also damn, speaking of Nine I didn't even bring up how cool "Eggman (kinda) tricks Tails into making a Metal Sonic using his knowledge of the real Sonic" is. It's epic, and I actually really hope it's more explored, as well as Chaos Sonic in general. I feel like the writers, animators, and VA had way too much fun with him not to bring him back. I would love nothing more as a poor starving Metal Sonic stan-peasant...

[therevengeoffrankenstein]

@madphantom

horror recs aaww yeahhh. mostly a peter cushing, christopher lee, and vincent price show bc i tend to fixate on them and their films a lot.

note: it kinda goes without saying that some of these have problematic elements and themes. i consume media critically, which should also kinda go without saying!!

feel free to hmu me for trigger warnings, but i can't guarantee i'll remember everything in the films.

HAMMER HORROR RECS

+ 'the curse of frankenstein' (1957) and just. the whole hammer frankenstein series, especially 'the revenge of frankenstein' and 'frankenstein created woman.' ('created woman' leans more heavily into the sci-fi aspects, but is more of a revenge slasher at heart.)

you can skip 'evil' and 'horror' (unless you're a completionist) bc they are the worst and aren't super important continuity wise ('horror' is totally outside of the main continuity bc it's a reboot!!)

+ 'horror of dracula' (1958) and 'the brides of dracula' (1960) are two of my fave films ever. they perfectly encapsulate that distinctly hammer-y gothic horror atmosphere, and are full of frills (pretty women) and thrills (scared silly men.)

most of the sequels are kinda meh BUT

'dracula ad 1972' (1972) is somewhat of a cult classic. it asks the vitally important questions 'what if dracula was fucking around in modern (aka 1972) london? and what if the writers absolutely detested hippies?' johnny alucard is a #bisexualking.

'satanic rites of dracula' (1973) isn't very good, but it is funny, and a somewhat direct sequel to 'ad 1972' so it's worth it imo.

and i wouldn't recommend any of the other sequels unless you're a completionist (like me,) but 'taste the blood of dracula' is pretty good.

+ 'the mummy' (1959) more gorgeous hammer decadence set and costume wise. christopher lee is insanely good in this, acting totally through his eyes and body language (which he also does a lot in some of the weaker dracula sequels when he refused to say lines he hated in the scripts lmao.)

+ 'the hound of the baskervilles' (1959) is a thriller take on a classic sherlock holmes story. not totally book accurate (hammer usually doesn't do super accurate adaptations,) but peter cushing is absolute fire as holmes. it's one of his career-best performances imo.

+ cash on demand (1961) is a christmas movie/pseudo-scrooge tale about a bank heist. it's more of a claustrophobic psychological thriller than a horror movie, but it has a bunch of strong performances and it really makes the most of itself. one of my personal top ten movies ever.

+ captain clegg (1962) is more of a swashbuckler/mystery than a horror film, but it's so much fun and a big 'comfort' movie of mine. i love pirates and parsons and smugglers ❤

+ 'the vampire lovers' (1970) evil canon lesbian/bi vampire ladies and pretty period fashion. it's part of the karnstein trilogy, and is probably the most accurate to the source material, 'carmilla.’

i do not recommend ‘lust for a vampire’ unless you are a completionist. it doesn’t even have peter cushing in it.

'twins of evil' (1971) is the final karnstein film and is a prequel. it might be the horniest and most gruesome tbh? but it's pretty good 👍

+ 'fear in the night' (1972) is a sneaky favorite of mine. psychological thriller that handles the topic of mental illness and its mentally ill characters pretty well, imo.

+ 'captain kronos - vampire hunter' (1974) do you like swashbuckling vampire hunters and fabulous twin nobles? then you'll like this one. 'kickass' and 'badass' are the main adjectives i'd use to describe it.

AMICUS RECS

(NOTE: amicus borrowed a lot of actors from hammer, so they are kinda similar vibe-wise on occasion.)

+ 'dr. terror's house of horrors' (1965) horror anthology with tarot card readings as its framing device, which is such a whipass concept.

+ 'the house that dripped blood' (1971) horror anthology about a cursed house or smth :) and while it is pretty good over all, i'm recommending this one mainly bc the 'waxworks' segment is one of the finest pieces of cinema i've ever seen.

+ 'tales from the crypt' (1972) horror anthology based on 'tales from the crypt' comics, and it has a couple of really good ones. great primer for getting into their anthologies.

+ 'madhouse' (1974) one of my lowkey favorite movies bc i love gay old horror actors hamming it up and having fun and making fun of themselves. and i love projecting onto herbert flay and paul toombes so much <333 #lovewins

OTHER RECS

+ 'frankenstein' (1931) and 'bride of frankenstein' (1935) if u haven't seen these two you have got to fr fr. 'bride' is a perfect score in my book and just. holy fuck. one of the most insane, profound, beautiful movies ever. stg. dr pretorius is everything 2 me <33 i ❤ heart gay old men.

+ the invisible man (1933) i get the feeling you've seen this one? but it's lots of fun :) claude rains is amazing as the titular invisible man. honestly i kinda prefer this movie to the book.

+ 'psycho' (1960) a classic, one of the og slashers. i'm assuming you're seen this one just bc it's so popular? but it really is That Good.

also 'psycho ii' is fucking amazing. i haven't seen any of the other sequels yet, but 'ii' is just. so so heartbreaking. a near perfect sequel that really dives into the aftermath of the events of the first film.

+ 'corruption' (1968) absolutely not the best but it starts strong and is just damn fascinating. about a dysfunctional couple tearing each other to shreds at its core.

+ 'the abominable dr. phibes' (1971) a revenge slasher kinda considered to be a precursor to 'saw?' idk lol. but it has some fucking epic kills. vincent price really delivers here emotionally as the title character and it drives me up the wall.

'dr. phibes rises again' (1972) is also pretty good. weaker kills imo but a stronger protagonist.

also while i don't think you Have To watch 'dr. phibes' first (i didn't,) 'madhouse' is kind of an homage to it.

+ 'the wicker man' (1973) folk horror/musical masterpiece about a devoutly religious cop investigating the disappearance of a young girl on an island inhabited by pagans. if you haven't seen this just know that it is a 10/10 must watch.

+ 'house of the long shadows' (1983) about an author who's dared to spend the night in a creepy house that was once owned by a super fucked up family. doesn't really kick into gear until all the old people start showing up, but it's fun.

+ fright night (1985) epic vampire movie pastiche B) peter vincent means the world to me fr. it makes me cry sometimes. the sequel is pretty good too!! but i wouldn't really recommend the 2011 remake.

[cosmicdreamt]

OC Inspiration

[[ So I was doing a little visual meme but if course I'm someone that has to explain everything so I just decided to make a post list about it yahoo. ]]

Characters:

Chiyuki - Death Parade: Also known as Kurokami no Onna/Black Haired Woman before her name was revealed, Chiyuki was the person involved in the trials that helped Decim see the actions and words of others in another point of view. She challenged what he knew with her empathy and understanding of people. That was the biggest inspiration I took when it comes to Neff.

Megara - Disney's Hercules: Sassy and strong with a softer side. I don't think much else needs to be said there.

Chloe Price - Life is Strange: Specifically for Neff's younger years because I myself was a lot like Chloe. Fear of abandonment and rejection and becoming very aggressive and toxic in response to it. Neff actually does still have these bad habits but they're very rare now and require very specific circumstances. Borderline is a bitch lmao.

Chel - The Road to El Dorado: Another sassy type - serving as an aid with her own goals and is extremely expressive. Despite Neff's chronic resting bitch face the facial expressions she makes are so very animated that Chel is the best example to explain it.

Concepts and Series:

Magical Girls/Madoka Magica & Homura's role: I essentially wanted an adult magical girl. I wanted to play on the idea of children always being chosen to save the world by choosing someone that was older and sees the world for what it truly is, yet she's still young enough that it really makes you think on what it means to be an adult. Homura's role with her ability to manipulate/travel through time and space is something I wanted to combine with the next series.

Kingdom Hearts: Specifically the world jumping with Neff's ability to jump timelines and dreams, and the theme of light and darkness - but inverted. Light and darkness in my story are not opposites, but complimentary/foils. They are yin and yang, and a lot of the inspiration of Neff's theme is the focus on GREY AREAS - seeing the good in the bad and the bad in the good.

Yin & Yang/Chakras/Balance/Grey Areas: As mentioned before, balance and grey areas are a big theme in what inspired Neff. Black and white thinking is dangerous and I wanted to make a character that shows that because she used to be that person. I wanted a character that could. in a way, play devil's advocate in a way that makes people really think about black and white morals.

Aesthetics:

Night/Time & Space/Sky Astral Witch Dreamcatchers Ravens: I'm grouping these together because I really wanted a combination of the ideas of science, magic, and religion vs spirituality. I wanted to make a character that essentially made all three topics coexist into one entity and showing how it is indeed possible - which is why I chose to focus on Native American culture and ideals and combining them with the 'modern day' witch. The first three are self explanatory, but I wanted to play with the meaning of ravens in Neff's case. They're not a symbol of death, but a symbol of magic and creation.

Rain: Rain was always something that was very comforting to me and I wanted a character that encapsules that feeling. The drear and the gloom doesn't have to be sad. It can help you relax, get cozy, and rest. It can cleanse and be refreshing, and that's what I want people to feel when they're around Neff. Sure she often gives this rather bright energy, but I want those moments when she's raw and calm to feel like a rainy day.

[nikakistos]

The Perfect Closure of EreMika

The title is pure clickbait (as always), there will be lots of tags (as always) and this post will be huge. As always. So, let’s examine and evaluate the perfect conclusion of the most important relationship in Attack on Titan. We will analyze why this is the best conclusion they could have gotten and of course we are going to talk about what their scenes meant for their relationship, their feelings for each other and the themes of the story.

First, let’s ask the question: What was the purpose of this chapter? Ending the fight obviously, but also giving closure to the relationship between Eren and Mikasa. Now, there were 3 questions that needed to be answered in order for the two of them to have closure. 

Why did Eren say to Mikasa that he hated her?

What does Eren feel for Mikasa?

What would have happened if Mikasa had given Eren a different answer back in chapter 123?

Isayama answered all 3 of them in a spectacular way. Let’s see how he did it. The chapter literally starts with Isayama, via Mikasa, setting up the closure. This was achieved by having her wonder if this really was the end for her and Eren. Could it be that their last interaction ever ended with him saying that he hated her? 

Isayama answers that with a big, fat NO.

That’s the purpose of Mikasa’s vision. Mikasa’s vision is not there to introduce us to Alternate Universes or to portray her as a delusional fangirl that can’t cope with reality. It’s purpose is to answer the above 3 questions. And that it does.

Essentially, Mikasa’s vision is a “What if” scenario. If Mikasa had chosen the ideal for her answer back in chapter 123, Eren would have abandoned everything and lived with her. This means that Eren is also in love with her.  He said that he hated Mikasa, because he wanted her to forget him. That’s why he also asked her to throw away the scarf.

Mikasa though, being the truest representation of all major, positive themes in the series says no. She chooses to remember him. That’s essentially the meaning of life. That’s what Armin taught to Zeke back in chapter 137. Memories of everyday life. That’s the meaning of life. Back in Trost, Mikasa said that she couldn’t die, because she wouldn’t be able to remember Eren. Even back then, Mikasa always knew the true meaning of life. 

Afterall, the series heavily criticizes the usage of memory manipulation. Deleting memories or altering them have been methods empoyed by the Royal Family for years, hiding the truth from the people. One of the themes of the Survey Corps is remembering their fallen comrades and carrying on the torch. Mikasa forgetting Eren would be an insult to the themes of the story. As would be if Eren was revealed to have been sending fake memories and dreams to Mikasa out of pity for her. 

Finally, Mikasa decides to kill Eren. Not because he hated her or because he didn’t have romantic feelings for her. Because she had to save the world and because that’s exactly what Eren wanted. Back in chapter 133 Reiner foreshadowed Eren’s desires. He explained that it is very hard for Eren, mentally, to handle the murder of the entire human race. Through Reiner, Isayama reveals that Eren wants someone to end it all for him. That someone was Mikasa. That’s why Mikasa knew where to find Eren. His relieved face when he saw her swinging the blade said it all. That was Eren’s design and Mikasa delivered.

And so, the chapter that starts with Mikasa thinking that the only closure she would get with Eren was the “I’ve always hated you”, ends with the first and the last kiss between the two of them that puts all of her worries to rest.

Is Mikasa delusional?

I’ve seen this being thrown around, so i have to also tackle said point. No, Mikasa is not delusional. This wasn’t a fantasy that only she experienced. This dream of hers is the same dream that Eren had back in chapter 1. Eren experienced the exact same things she did in the dream. We even see him with his titan marks. It is clear as day that they shared these moments.

Also, i have to give credits to Isayama here for his usage of “itterasshai”. The word generally means “Go and come back safely” and is usually said to people leaving the house. For Mikasa, Eren is her home, but she is also home for him, as shown in the RtS arc:

These were the perfect parting words for the two of them. Nothing else could encapsulate their relationship better. Eren of course, won’t come back, but that’s the irony of the word here.

Moving on to the next point, Mikasa’s characterization in this final arc is about her seeing Eren for the person he truly is and stop ignoring his faults. It starts from the Marley arc and it concludes with chapter 123 where she realizes that this was simply part of Eren’s nature.

He always had it in him to become the monster that he became. However, he always had a different side to him. A side that had been shown to her a few times. At first, when he wrapped the scarf around her and later when he asked her “What am i to you”. Finally, it manifested as a desire to live quietly with her in their shared dream. It would contradict her development and characterization in the final arc, to have Mikasa start seeing an incomplete Eren again, after realizing earlier who he really was. Mikasa understood who Eren truly is and she accepted him and continued to love him anyway, even though she didn’t agree with his genocide. 

It is not out of character for Eren to run away with her either. At least not in that instance. The series highlights the moment that he asked Mikasa “What am i to you” as a pivotal one. Sure, under normal circumstances, Eren would have chosen to fight, but we saw him breaking down just moments earlier. The only person that could have saved him was Mikasa. Alas, that wasn’t meant to happen.

In any instance, the biggest indicator that Mikasa is not just a delusional girl who kissed the decapitated head of the man she loved, when he never really loved her in the same way, is Ymir’s face at the end of the chapter.

Ymir, as i have mentioned in previous posts, is a girl who never knew real love during her lifetime. She didn’t understand what she was looking at, when she first say a couple kissing with their friends cheering them on. And after that she was sentenced to a cruel life, with a man who never loved her and only viewed her as a tool. This girl, remembers longinly that scene of the couple kissing for 2000 years. She was waiting for 2000 years to see real love again.

She witnessed that through Eren and Mikasa. In a scene that would have otherwise been painted in a negative light, Ymir’s warm smile at the sight of the final act of love between two people who never got to be together the way they wanted to, clears any and all doubts regarding Eren’s feelings for Mikasa and the latter’s sanity. Eren reciprocates Mikasa’s feelings and he was alive for enough time to kiss her back, before completely fading away. Eren and Mikasa replaced the married couple and Ymir replaced the crowd that was cheering at them from 2000 years ago.

Of course, one might ask, could Eren really kiss her? Didn’t she just take advantage of him? No, he did kiss her. The way the scene was directed, it shows us that the events, which take place in their dream, mirror the events in real life. Just look at Eren’s lips one moment before Mikasa kissed him and compare them to the picture above, where they kiss. They are different.

 Also, you have to remeber that decapitation doesn’t kill immediately and does not immobilize facial muscles. That was the entire reason that Eren and Zeke managed to get the Coordinate. Eren survived long enough from Gabi’s shot to make contact with Zeke. Even his facial expression changes as you can see below:

More importantly, was there really any chance that Ymir would look at Mikasa beheading and kissing Eren, while also smiling in approval, if Mikasa was a delusional girl who was unable to understand Eren’s feelings for her up to the very end? Most of all, do you think she would have allowed him to die, without experiencing real love? She died in such a way and she stayed for 2000 years in the Paths waiting for someone to show her real love. Eren was her benefactor. Would she ever allow him to die in such a way, when she was being mistreated (sexually and in many other ways) by King Fritz? I doubt it. Actually no. I don’t doubt it. I’m sure this is not the way we are meant to interprete the scene.

Eren’s relationship with Mikasa, from the very start, is an allegory for the world of AoT. The world is cruel, but is also very beautiful. Eren’s story with Mikasa starts with him murdering in cold blood her kidnappers (cruelty) and then warmly and gently welcoming her to his family by wrapping a scarf around her (beauty). Their story ends with Mikasa decapitating him (cruelty) and kissing him (beauty).

Eren’s tendency for violence has always been portrayed as going hand in hand with his better side. That side has always been represented by Mikasa. It is only fitting for them to have their most beautiful moment happening almost at the same time as their most cruel one. This is how Isayama juxtaposes this duality:

If we interprete this scene as Mikasa being delusional and Eren not being in love with her we get a very disturbing and creepy scene, between an obsessed, psychosis-suffering girl who can’t understand the feelings of Eren, a genocidal maniac who never had any chance or willingness to live a normal life, even though there are hints of that, and a 2000 year old ghost who just happily smiled at the decapitation and forceful kissing of her emancipator. I am pretty sure this is not the message Isayama wants to send. Not simply, because it is a disservice to Mikasa as a character and to her relationship with Eren, which has been one of the most prominent and consistent part of the series from the very first chapter, but because it is also a huge disrespect to Eren as a character as well. Does anyone really think that Isayama would choose to write Eren’s death like that? Not a single important person in the entire story has gotten such an exit. Not even Floch. Even Zeke, who thought that his father never loved him and only used him as a tool, got to see that his father truly did love him, before finally dying. Of course Eren and Mikasa would get the same treatment.

What i mean to say is that Eren and Mikasa’s closure won’t be recontextualized in a way that will paint their feelings for one another and their relationship in a negative light. If anyone’s expecting that, he/she will be disappointed. Eren and Mikasa were confirmed as a canonical couple in chapter 138.

On the other hand, if anyone’s expecting that this wasn’t their real closure and that they will get an even happier ending, he/she is also coping hard. Eren died here in this chapter. There won’t be a scarf rewrap (i’m here to eat my words if it happens), because Isayama gave the couple a kiss. A kiss that was in the makings ever since chapter 50 dropped. And of course, there is not going to be a baby born to Eren and Mikasa. Like, no way it’s happening. Eren is not coming back to life as that would turnish the series and it’s ending.

In conclusion, Eren’s relationship with Mikasa ended in the same way it started. Violently and Beautifully. Tragically and Happily. They acted on their romantic feelings for each other the very moment they had to part ways forever. This is how Isayama hurts us. The essence of a bittersweet conclusion.

EDIT: EATING MY WORDS AS PROMISED. EREN DID REWRAP MIKASA’S SCARF. HE KEPT HIS PROMISE.

[pynkhues]

Excuse me pls rank the yellowjackets from most favorite to least favorite

Oh my gosh, yes, okay okay okay, in reverse order:

13 & 12. Akilah & Mari

It's not that they're my least favourites exactly, they're just the least fleshed out as characters. I hope they both get more to do in s2, because I especially liked the little bit more we got of them during Taissa's failed expedition to find a town. Would love to see them fight off more wolves.

11. Travis

This boy has i s s u e s, which should be fun (I love issues!) but he just falls a little flat for me. I wish we'd gotten more meaningful interactions between him and Javi in particular, as I felt the few we got were so brief we didn't really get to feel their connection or their distance as brothers. Plus he really does treat Natalie like shit.

10. Lottie

I think this is probably a controversial opinion, and I'm delighted for this ranking to change in s2, but she didn't do a lot for me this season. I thought her visions were really well portrayed and I liked seeing her uncertain of where the lines were between reality, spirituality and insanity, but I didn't feel grounded in her character really, or like I could tell you much about her beyond her spirituality.

9. Van

A cutie patootie! I loved her being pissed at Jackie for abandoning her on the plane, and her relationship with Taissa's cute as hell. I'm curious about her burgeoning faith, and even more curious to know if she makes it out.

8. Javi

Baby boy. Him taking the knife to make a little beastie for Shauna got me right in the heart.

7. Jackie

Her arc didn't go the way I was expecting at all, and I was glad the show humanised her by making her leadership in town completely deteriorate in the wild. Coach was right, her power was in her influence, but she doesn't have any influence out there, especially when she won't hunt or learn the survival skills like the others. It made her so frustrating, but also really interesting and unexpected too.

6. Laura Lee

The first real hero of the series, and I love that we got to know her so well in the brief amount of screentime she had. Her taking her teddy bear with her on what amounted to a suicide mission just really beautifully encapsulated that these girls are still children, and idek, I just liked her a lot. She really did just want to get everyone out, and the fact that what propelled her forwards was Van's injury and Shauna's pregnancy when she wasn't especially close with either of them was a little magic.

Also I laughed a lot in this show, but her thinking she'd doomed them all because she'd called her piano teacher a cunt in her head killed me.

5. Natalie

Her flashback ep was one of my faves. I love the way the show circles themes of responsibility and accountability, and I thought it was handled best with the death of Natalie's father. She's been backed into a corner her entire life and the fact that the show let her be mean and ugly and self-sabotaging as a result of that and didn't ever try to make her likeable was magic to me. She's a scrappy little dumpster dog who's been kicked too many times, and I love her.

4. Misty

Honestly no words.

She's an absolute psycho, and I love her too.

3. Coach Ben

Genuinely was not expecting to love him to the extent that I do at the start of the series. I love love love that the show didn't go the route of making him a creep, and instead decided to make him a closeted gay dad suddenly dumped with one million children in the middle of the wilderness. He's trying his best, okay!!

2. Taissa

Tough to a fault and a survivor because she has no other choice but to be is 10000% one of my favourite character tropes, and Taissa embodies it SO WELL, both as kid and as an adult. I love the way she hides herself and her needs behind so many layers that it's just leaking out the sides of her in ways that are increasingly ugly and raw and I have no idea where her arc is going, but I can't wait to find out.

1. Shauna

*Marie Kondo gif* I love mess.

My number one disaster girl (at least on this show, haha), I just love everything about her, and I especially love Melanie Lynskey.

[crusherthedoctor]

Narcissistic evil lairs, huh? Which of Eggman's bases is your favorite? (Or favorites, plural, if you have strong feelings on more than one!)

We'd be here forever if I listed all of them, so I'll keep it to the biggest ones. :P

Death Egg: Iconic for a reason, and not just because of the plagiarism. It was the central focus of an ongoing saga, and since one of the games of that saga was S3&K, it was also the focus of arguably the greatest non-dialogue story in the series. You get a little taste of it in Sonic 2, but when you actually explore the full thing in S3&K? Worth the build-up, without question. The Act 1 background not moving an inch the entire time you go through the level really highlights just how gargantuan it is, and it all culminates with one of the best Sonic VS Eggman final battles of all time.

I believe that the best Eggman bases should say something about Eggman's character. In the Death Egg's case, it shows off his persistence, since not even crashing down to the same island twice could stop his determination to get it back up and running.

Egg Carrier: I used to be somewhat indifferent to this one because it felt like an anti-climax when coming after the Death Egg, but I've really grown to appreciate it over time, much like SA1 in general. A lot of that is because just like with the other stages in the game, there's a whole lot of set pieces that make it very memorable. The monorail system, the beach room... the bathroom...?

Although, I do wonder how it would have looked if it had more purples, like in the concept art...

Pyramid Base: I love Eggman, and I always had a childhood fascination with Ancient Egypt, so it's a win-win for me. This one encapsulates the sheer ruthlessness of his narcissism: He can't leave it at building his own monuments, oh no, he has to go and reface other monuments as well, history and culture be damned. Despicable and hilarious at the same time. That's our Eggman!

Also, the night time backdrop for Sand Ocean, with the moon and the illumination of the torches? So pretty, and makes the pyramid itself all the more striking.

Circus Park: For a game that shat on Eggman narrative-wise, it was generous enough to give him a bunch of cool and varied bases. Cryptic Castle is great, as is Lava Shelter, but I think my favourite one from the game has to be Circus Park because of how colorful it is, and because of the hilarity of seeing a level like this in Shadow's game of all places.

What's that, you want to find out about your traumatic past, using guns and swearing to do so? WELL FUCK YOU, Eggman wants to show you his theme park. ~DA-DA DA-DA-DA-DA DA-DA DA-DA, DA-DAAAAAA~

Seeing Eggman get excited over his own stuff is weirdly adorable too. :D And isn't it hilarious that THIS is the level where Shadow says his most infamous line?

The line is funny, but the background makes it funnier.

Eggmanland: Some criticisms with the actual gameplay aside (which are mostly Werehog-related), it can't be denied that it was awesome to see Eggman's dream come to life. After going back and forth on what he wanted Eggmanland to actually be, it seems he decided to combine all his ideas together, making for a part-theme park, part-city, part-volcano, all-business extravaganza. I also appreciate how it gets more straight-up industrial and hellish the further you go on.

I won't deny that I would have taken the concept an extra step further (I'd like to give examples, but that'd be spoiling a certain fic), and Dark Gaia stealing the limelight at the end is a downer. But for a first attempt at Eggmanland's vision, it's a good one.

Incredible Interstellar Amusement Park: And for a second attempt at Eggmanland's vision, this one is great too! It's so fun to see the different attractions, and Eggman's comments on them throughout the game are undeniably a highlight. So much personality, so much character, so much Eggman.

Which attraction is my favourite? Probably Aquarium Park. The red and blue contrast is beautiful.

Titanic Monarch: For the longest time, I wanted a giant Eggman robot so massive that it counted as its own level (aside from Panic Puppet, I guess). This zone fulfilled that dream, and gloriously so. Whether it's the outside or the inside, I LOVE that it manages to be dark and ominous, while boasting nearly every colour of the rainbow at the same time. And stained glass windows? Inside a giant robot? Absolute mad(egg)man.

Honorable mentions: - Scrap Brain for being the original Eggman lair, and thus worthy of respect. - Crystal Egg for the unique concept alone. - Egg Fleet for being just as iconic as the Death Egg at this point. - Pirates' Island for being an interesting take on a Not-Soleanna for Captain Whisker. - Press Garden for making a fun level out of a newspaper factory of all things, and because it's neat to see all the little ways Eggman apparently tries to undermine Sonic, like creating anti-Sonic propaganda in this case. - The Eggmanland/Robotropolis from the OVA because although we don't see much of it, the giant neon Eggman is a brilliant stylistic touch.

[psychic-waffles]

Wait what is 72 floors of mystery and who is in it? I see it pop up on my dash a couple times as a gifset or video or that one meme thanks to you and now I'm curious XD

i am so glad you asked! welcome to the wonderful world of:

✨ the daomu biji spin off variety show ✨

so some time in ~2017 someone decided that actually what nanpai sanshu needed was even more power, and from the looks of things just gave him free reign to make a variety show.

so the ""plot"" is that npss is stuck in this magical tower and cannot escape until our team of heroes make it to the top of 72 floors, solving puzzles along the way. but there's a twist! nanpai sanshu seems to have an ulterior motive and is trying to stop our brave heroes from progressing in the tower using all of the powers at his disposal.

our core team of heroes is made up of 6 presumably blackmailed carefully picked individuals including dmbj actors wu lei (li cu) and zhao liying (yin xinyue) although she doesn't show up til episode 3 (?) presumably because of scheduling conflicts as well as other well known chinese celebs.

then each episode also has a couple of guests to help our main team in their quest aka anyone npss could get his hands on at short notice on any given day by the looks of things. these include other dmbj actors like william chan (fo ye) and hou minghao (wu xie).

plus! to help nanpai sanshu with his endeavors we have liu chang and waer as his hostages henchmen, sporting some truly spectacular outfits.

there's 12 episodes, and you can watch them all here. and they range in themes from tomb raiding, pirate ships, and chinese mythology, to running round a shopping mall because the show ran out of money

✨ highlights include: ✨

william chan nearly setting himself on fire:

wu lei re-enacting sha hai:

and waer being irl kanjian:

i would fully recommend it if you're a fan of literally any of the actors involved, it's complete and utter nonsense, and i think the whole vibe of the show can really be perfectly encapsulated by this:

there is a whole episode halfway through the series where they're all dressed up and running round the desert for some reason. it was obviously filmed at a different time to a lot of the rest of the series as liu chang is sporting his beautiful long hair look (rather than the cropped haircut he had for the rest of the series). this would obviously break the suspension of disbelief (in a way that inflatable planets falling from the sky, half the cast disappearing for no reason, and general lack of any kind of consistent rules or aims of the show definitely didn't), so obviously to save the show's continuity... they decided to blur out half of his head (i wish i was making this up i really do).

good luck

[sepublic]

Kraid!

KKKKKRRRRAAAAAIIIIIIDDDDD

I was trying to avoid as much of Metroid Dread as possible to be surprised... But then I learned KRAID is back, in glorious HD as part of a mainline game and...

Oh, he’s beautiful!

Seriously, I’ve always wanted to see more of Kraid! Dude was one of the OG Space Pirates alongside Mother Brain and Ridley, who are present throughout the series; And as someone who is apparently Ridley’s Brother-in-Arms, I’m just really curious on what he could be like?

I doubt we’ll get much if anything in terms of personality, but that’s how Metroid games work anyway! Hopefully we get more lore on Kraid, how is he still alive? Does he have regenerative abilities, is he just really incredibly durable? An X-parasite imitation? Fake Kraid has grown up and this is Sclayd? Did the Chozo clone him, maybe even somehow resurrect him from a dead body, or even the afterlife considering their borderline mystical abilities???

Either way, that’s clever of the designers to have Kraid be restrained, as a meta explanation as to why he doesn’t just charge forward- Thus allowing the developers to start off with a traditional take on the Kraid fight... But since he manages to break an arm free in the trailer, the fight might progress and get more deadly, as Kraid becomes more free.

His neck brace will probably be the last to go, to show a sort of natural transition from the traditional style of Kraid fights, to a more modernized take and I am all FOR it! Everyone’s wondering if Ridley will return, but Kraid alone would MORE than make up for his absence, especially since Ridley is already so prevalent while Kraid has only gotten bread crumbs and the Brinstar Depths stage in recent years!

This is like a dream come true... And obviously Kraid is set up to fight Samus, but it’d be kind of neat to see an arc where him and Samus recognize a mutual enemy in the Chozo, and work with each other over it? Probably not, but I feel this would be more plausible than Samus and Ridley working together; A fun thought exercise I’d always entertained, but there really isn’t that personal vitriol between Samus and Kraid.

...I mean, there COULD be if Kraid takes Ridley’s death personally, but who knows, he might hold off on revenge just long enough for a practical escape! Regardless, I utterly adore just how gnarly and twisted this guy looks, it reminds me of Ridley’s Smash Ultimate renders that really modernize his look, breathe a new and alien life to it while still being the same! And the added, slimy body horror, borderline insectoid, like Smash Ridley!

But yes, I appreciate Metroid Dread taking the opportunity to be new, instead of trying to cater to the mainstream audience as an official return to pull them back, especially since we already had Samus Returns do that, especially with Proteus Ridley being thrown in! And with how Proteus was by far the best Ridley fight in the series, I can’t WAIT to see how Mercury Steam gives a new action to a Kraid boss battle!

And it looks like there might be a passageway behind Kraid that he’s guarding... Kind of like his previous appearances, I love Kraid being a giant guard dog- His girth and weight alone makes him an impenetrable wall! Plus he gives immovable object vibes, VS Ridley as an Unstoppable Force.

Ridley moves fast and aggressively leads the charge, while Kraid is less mobile, can’t even fit through most passageways; But holds down the fort and line of defense, tanking damage and shrugging it off compared to someone who heals from it!

Seriously, this is great seeing this under appreciated Space Pirate represented! I’ve always been salty about Meta Kraid being left out of Metroid Prime... And Kraid’s got a distinct identity of his own as one of the biggest bosses in the entire series by a long shot!

His big, colossal, green and chunky frame, that brutishness to Kraid, the size and brawn- It’s a nice contrast and foil to Ridley’ who is memetically huge in general, but from a relative standpoint averagely-sized as a boss, and MUCH scrawnier than the Awakened Behemoth; But he makes up for it wit speed and agility, flight, etc.!

Plus the concept of taking on a full-on Kaiju of the series, Metroid’s Godzilla... I always felt like there was a wasted potential to Kraid and how he stood out as a counterpart to Ridley’ more of the lumbering mountain to scale compared to the acrobatic Cunning God of Death! His Kaiju size, the way the ground could easily tremble from each footstep like Jurassic Park...

If Ridley is a Xenomorph, make Kraid into Godzilla and Rexy and every giant monster whose sheer scale inspires a horror based in awe, one that is huge and grandiose and demands attention and seizes all of it, gloriously basking in full view, in contrast to the more stealthy and subtle Ridley!

They’re both reptilian Space Pirates who debuted with the franchise, serve Mother Brain alongside one another as the two guardians to Tourian. And just like Ridley taking one of the recurring boss themes from Super Metroid and adopting it as HIS theme, Kraid seems to have done the same by Zero Mission!

Plus, Brinstar Depths, AKA Kraid’s Lair, is SUCH a metal soundtrack! It doesn’t necessarily apply to Kraid himself, but I feel like there’s an enigmatic personality hinted with the eerie, melodic tune of this theme... So as someone who’s tried to write him, mostly in my head;

What kind of person is Kraid? What archetypes and roles would he fit? As a more casual type of arch-nemesis, compared to the personal intensity of Ridley? A dumb brute, or smart in his own way? What personality and vibes would make Kraid’s Lair fit as a theme for him?

At the very least, I wonder if we’ll get Space Pirate lore, maybe even origins as to Kraid and Ridley’s species? They’re both huge dragons who took over Zebes... Could there be a connection between Ridley’s species and the Chozo? Will we get a bit of sympathy for Kraid, seeing him captured like an animal by the Chozo, perhaps to test experiments upon and clone?

Will Dread encapsulate the realization of just how much of a bigger scope villain the True Chozo are, experimenting on Kraid the way the Galactic Federation did with Ridley’s clone, another parallel between them? Will we explore the dark past of the Chozo, and a potential tragic look into Kraid’s species- So Samus has a better understanding of how her people have been terrible in many ways, even if that doesn’t at all justify Kraid the person’s actions?

Just... Imagine a storyline where Samus realizes that Kraid was made by the Chozo, or his species was, or they were genetically augmented or massacred, or something like that. Just a twisted moment of realization that explains but doesn’t justify. Which could lead to Samus and Kraid teaming up for a prison breakout at a pivotal moment, Kraid’s girth would make him a helpful ally.

Perhaps Samus could weaponize Kraid in the background to take the brunt of the True Chozo’s attacks, while she takes on the leader? Could he help with environmental terrain, blind to the background as a colossal feature of the environment, a kaiju briefly on your side?

Could we get a Kraid fight where he attacks from the background, instead of to the right? Will he ultimately die helping Samus- More for his own gain and revenge, but still? Maybe even leading to a reluctant salute from Samus as she recognizes them both as people captured, as experimented upon by the Chozo? Apologies for all of the fanon conjecture, my mind is racing...!

I think there’s SO much potential with Kraid and seeing him full, unadulterated HD glory... It’s glorious. It’s magnificent! This is a dream come true, and I hope Kraid finally starts to get the recognition he deserves! Even if he’s just A boss fight, I’m already sated and content here- And I can only imagine the new wave of fan content that will spawn for Kraid, as he’s recognized a defining moment of Dread!

Plus, I’d love to see people characterize and give lore to Kraid... All in all I am LIVING and in triumph here!!! I know I keep using this meme but

Literally this alone, just these shots... Are ALL I really want and need, in the end! Bless you Mercury Steam for this food, for breathing new life into this franchise while renovating what really needs it! I don’t even care if Kraid’s return is never really explained, I’m incredibly happy here!

This new design... It just FITS and works as a new, evergreen design for Kraid honestly! Compared to Ridley who is a lot more varied and arguably inconsistent, even with his Smash render... THIS is the new and definitive Kraid for me, now! I am having the time of my LIFE here!

Ridley the Cunning God has cheated death... is Kraid the Behemoth has reawakened!

(With the idea of Prime Kraid being reused for Metroid Prime 4... I’m wondering if we’ll begin to see an all new Kraid renaissance? 👀 More frequent content as Nintendo starts giving him and more appearances and attention, including in other media and advertising, alongside Ridley???)

[miyacchis]

Notes from a Con Man - Musical Great Pretender Stage Report Act 1

This is a bit extremely rambly, but I want to give some description of the distinguishing features of the staged version of Great Pretender as compared to the anime, although my plan is not to give a complete recap of the plot, as I’m sure anyone who is choosing to read this has watched the anime - or so I assume, but you know you do you. I try to control myself and keep it just to what is relevant, but I’m also a wordy bitch and that will never change, so, reader beware, I guess.

 The stage is set up with three levels (the stage level, the second floor, and the third floor where the band is). Both the stage level and second floor have a couple of rooms that can be pulled out or opened, and backgrounds are projected onto the set to create different settings. With the exception of the opening theme, which is taken from the anime, all of the music is live, and there’s very good interplay between the band and the performers, and I don’t know if I’d ever been to another show that felt so vibrant/alive/idk?

First, the biggest change made for the sake of clear storytelling on the stage is the addition of a framing device: the plot is conveyed to the audience through Edamura’s (Miyata Toshiya) narration as he tells his story to a prosecutor after the events of LA Connection. The play opens where LA Connection ends with Edamura being questioned at a police station, where it’s clear that he has been attempting for hours to convince detectives to believe the team-confidence-wild-and-wacky-adventures ™  explanation as to how he came to be in possession of a bag stuffed with foreign currency. Detectives are fed up with him and ready to go berniewiththesteelchair.jpeg on his ass. Enter Kitaoji (Kato Ryo), an elite prosecutor who seems to be on track to become attorney general, although it is unclear to those at the police station why he would take interest in Edamura’s case. 

Edamura is initially reluctant to open up to Kitaoji (Kato Ryo), certain that he won’t be believed, but after Kitaoji quotes from Shakunetsu (side note: I had no idea that in English Shakunetsu was turned into Die Hot which is an absolutely incredible pun and I really commend the translator), Edamura thinks Kitaoji might be just the person to believe him and help him to make amends to all those he had harmed through his life of fraud. Kitaoji encourages Edamura to start at the beginning and goes to eat a piece of candy, prompting Edamura to question, “What would you do if this simple piece of candy was sold for $5 million?” at which point he begins telling his story, transporting us first to a club in Hollywood where we are introduced to the plot with Sakura Magic and, more importantly, Laurent (Miya Rurika, goddess, dressed devastatingly in green), who is identified in quick succession as a French trader, an arrogant Don Juan, and the “bastard who got me into this mess.” 

Edamura bumbles through Laurent’s plot to build hype and clinch a deal with Cassano (Otani Ryosuke) by having Abby (Yamamoto Chihiro) “test” the “drug,” while giving small asides to Kitaoji to explain the main players and reveal to him that this is all a con job, but when Edamura is called to sign the contract to supply Cassano with the drug for $5 million, he flips out, pulls Salazar’s (Mikami Ichiro) gun, and flees the club, without the excuse of believing that he had taken drugs as he did in the anime. It is also not at this point that Edamura makes the connection between Laurent and Kudo and realizes that he’s been set up (Miyata!Edamura is overall a bit less perceptive than Kobayashi!Edamura, as we shall see, although I think this was a function of simplifying aspects of the characters’ interactions for the sake of clarity for the stage). 

Kitaoji pops in and out of the story from this point, donning different costumes (an unhoused person, Toyotomi Hideyoshi, Razzie from the Shakunetsu series, etc.) to illustrate different aspects of the main characters’ conversations, and he serves as a way to get into Edamame’s head, allowing him to express what he is thinking and feeling as events in the story play out. It is in the metanarrative that we get some of these more comedic scenes, as well as additional insight into Edamura’s character as he grapples with his own identity as a scam artist and the son of a child trafficker.

After escaping Cassano’s henchmen outside the club, Edamura rejoins Kitaoji to ask if he’s following the story so far, which of course he is not (lol), so Edamura dives into how he met Laurent and came to be in LA. From here we flashback three days, joining Edamura and Kudo (Fukumoto Shinichi) in Asakusa as they spy Laurent as a potential mark. Edamura pulls the wallet-switch trick, and this scene generally follows the anime, although parts, such as the scenes showing Edamura selling water filters and Edamura and Kudo being raided by what seems to be the police, have been cut. After realizing that Laurent pickpocketed him and saw through his grift, Edamura quickly follows and catches him as he is about to depart in a cab to the airport. Just a moment to talk about this cab because it was such a cute, clever idea; it was really just a little push car driven by one of the supporting cast, and it can be disconnected in the middle, so as the driver pulls off, the back seat can be left behind, allowing the audience to watch Laurent and Edamura’s conversation as they are taken to the airport. 

Similarly to the anime, the successive scenes are nominally delivered in English, so Edamura switches to a dialect of Japanese to represent his accented English, which I mention only because Miyata discussed Edamura’s code switching with Kobayashi (Edamura’s Japanese voice actor) in an interview in vol. 51 of Stage Square and how he was concerned that he might confuse Standard Japanese and the dialect during scenes where he has to go back and forth quickly. Kobayashi reassured him that as he got into the character of Edamura Miyata would naturally fall into dialect whenever speaking to Laurent and Abby, and I’m very biased, buuuttttt throughout the run of the show, Miyata performed this beautifully, and as someone who for several years lived in the Tohoku region, the dialect of which Edamura’s accent reminded me of, his accent made me really nostalgic. 

Anywayyyyyy

After Laurent and Edamura bet on the outcome of Laurent’s upcoming “business negotiations” and it’s agreed that they will travel to LA together, the opening theme plays, the main cast is introduced, with Edamura running up and down the set to give a sense of action, the title in massive letters is lowered onto the stage, and we rejoin the main plot with Edamura trying to elude Cassano’s gang on the streets of LA by hiding behind the title. The supporting cast gives us some great background color as like random people in LA, like we’ve got some girls with Starbucks cups, some people breakdancing while simultaneously mugging a Dodgers fan, a skateboarder shouting “STREET”...for some reason. Perfect encapsulation of America *chef’s kiss*

Laurent finds Edamura and tells him to come home because he’s a good boy (😳), and Edamura is then introduced to Abby who, just as in the anime, kicks and knocks him out, after which they collect him and take him to an upscale hotel where Cynthia/Paula Dickens (Senna Ayase) is performing as a jazz singer. Laurent greets her briefly, but we don’t properly get introduced to her character until a later, very frustrating scene, but I’m not going to get started on that yet (it’s not her that’s frustrating, but it’s how they chose to have her and Edamura meet, but anyway we’ll get there). She sings “Summertime,” and it’s a lovely performance; all of her acting choices are very clearly informed by her experience in Takarazuka - she has these really dynamic, almost over-the-top movements and she uses that to her advantage to be one of the more comedic actors - and it’s really entertaining to watch.

Laurent orders them drinks; Edamura has something pink in a little martini glass, and he splutters when he tries to take a sip because he can’t handle his alcohol, which makes Laurent laugh, giving a lot of credence to Laurent’s statement soon after that he derives a lot of pleasure out of toying with naive boys like Edamura who pretend to be tougher than they really are. There’s also some funny adlib with Abby at this point where she gets brought different plates of food like fake fruit on one day and a tower of donuts on another. Laurent explains who Cassano is and the plan to defraud him and gives Edamura a notebook with a fabricated recipe for Sakura Magic, so the notebook is not part of what Edamura prepares himself when he goes later to get himself captured by Cassano to negotiate with him. Edamura has a couple of outbursts accusing Laurent and Abby of putting on airs, pretending to be carrying out justice, repeatedly interrupting the band who give him dirty looks and Shi-won, dressed as one of the saxophonists, loudly blows the saxophone back at him, and this prompts Laurent to be like nah we’re getting too much attention here let’s continue this back at the hotel. 

The hotel scene is fairly similar to the anime, but once Edamura is left alone, we get the first instance of him thinking about his family as he reflect on what Laurent had to say about how people don’t always believe the truth that is in front of them as they would rather believe whatever is most convenient. He flashes back to his family going home together after his father finished a case (the hotel room is on the second floor with his mom and dad entering on the stage level; the younger version of Edamura is done in voice over), and of course they seem like a happy family, although it’s interesting that what his dad has to say about ethics was cut from the script. The scene focuses more on Edamura idolizing his father as a great lawyer.

Okay, so we’ve finally come to the scene I absolutely hated and did not think was necessary, after Edamura leaves the hotel room. He is approached by three unhoused persons, one of whom he at first thinks is Kitaoji coming to interrupt the narrative again, but he soon realizes that they are “real homeless.” It was really just a disgusting, cruel stereotype; one of them is playing with a rat they found, another is acting like a junkie, and the ringleader is trying to get money off of him because they haven’t eaten in three days and then they steal his little Toyotomi Hideyoshi figurine and play keepaway with it and don’t stop until Cynthia/Paula Dickens (at this point she’s Paula tho so I’m going to refer to her that way) enters and is like knock it off. So that’s how they meet. Cool. They could easily have come up with something else and they just didn’t.

But, anyway, since he got his figurine back, he explains to Paula that his hobby is collecting capsule toys, and during his explanation, a gacha machine is projected up on the stage, out of which comes Kitaoji dressed as Toyotomi, followed by a bunch of other figures from Japanese history. This part always got a pretty good laugh out of the audience, and I think it was a pretty cute way to stage it. Paula insists they go to dinner together, so she can hear more about Toyotomi, and the capsule toy figurines all follow to a diner (serving “breadfast” 24hrs lol) where Shi-won is dressed as someone named Ricardo. The figurines all start to get drunk, while “Ricardo” fixes Edamura and Paula some tacos; meanwhile Edamura explains that Toyotomi began as a simple peasant, but because of his hard work and study, he was able to climb all the way to the top and unite all of Japan as a powerful lord. 

Edamura asks why she decided to help him before and he despairs that he must seem like a beaten dog, but she explains that while she might seem confident, she faces tremendous anxiety getting on stage every day, particularly as she wants to make it big as a performer but can’t expect to get the attention of a label just because she can sing a bit. (In the background, Francis Xavier is completely sloshed and ends up drinking with Ricardo) Edamura suggests that she take inspiration from Toyotomi as someone who was able to trick even his enemies into working with him and represent herself as someone more important than she is to get music producers onto her side. She seems fired up by this proposal, and she says that she’ll follow the example of Toyotomi, “Japan’s best confidence man,” which gives Edamura his own motivation to get back to trying to win the bet with Laurent. He asks Paula to wish him good luck and runs off, and we get the first dance scene with Edamura and a number of samurai as he builds up to confronting Cassano. The scene ends with him running into a video shop, presumably to rent Cassano’s movies.

Laurent and Abby are called to Cassano’s mansion - they argue if Edamura is capable of pulling off a job like this, although Laurent insists that he has a natural talent - but they are certain that he must be dead when they hear from Salazar that Edamura was taken into their custody at the airport trying to run. However, Edamura bursts onto the scene, dressed in a new Hawaiian shirt, and at this point, Miyata looks as though he has been in a swimming pool, but it’s just sweat lmao. Cassano informs them that he’s made a new deal with Edamura for $10 million, and when they ask how, we get a flashback showing how he got onto Cassano’s good side by praising Shakunetsu with Kitaoji, as Razzie, acting out scenes from the Shakunetsu movies on the second floor of the stage. Whenever Cassano hugs Edamura in these scenes, it was really funny because his jacket would get just absolutely covered in Miyata’s sweat just ugh gross lol 

Cassano’s accountant joins them and they play out the whole bit about confirming Edamura’s credentials as a pharmaceutical scientist, at which point Edamura finally realizes that Kudo is working with Laurent, when he calls Kudo to thank him for deceiving Cassano’s attorneys. After Cassano has confirmed Edamura’s identity, he takes the crew to his factory and insists that Edamura make Sakura Magic for them right there and then so that they can be sure to properly replicate his recipe. She does this the whole play, but particularly during this scene, you can really see how well Miya Rurika portrays Laurent as always calm and and in control before Edamura but as quietly losing his shit whenever he feels like they’ve been backed into a corner, and we also get some very cute like Laurent clearly being exasperated with Edamura but the two of them starting to be able to play off one another as they convince Cassano that the factory isn’t up to snuff for making Sakura Magic. 

They have to clear out because they hear someone coming, but Cassano promises that he will build a new laboratory for Edamura and entrusts his care to Salazar. The police bust in after everyone has left; Anderson does the absolute most to show off to everyone that he’s properly securing the scene, but he’s clearly relieved that Cassano slipped through their fingers once again oh my how does this keep happening oh well better luck next time. We get a proper introduction to Paula and Shi-won as members of the FBI who have come to investigate Laurent and his organization (Paula has changed into this beautifully tailored brown tweed pantsuit and she pulls it off so well), and Paula threatens to expose Anderson’s connections to Cassano if he doesn’t follow her lead.

After the scene in the factory, we return to the present in the interrogation room with Kitaoji and Edamura. Detectives bring Kitaoji additional files on Edamura, asking if the prosecutor has heard of the attorney Ozaki. They inform him that Edamura is Ozaki’s son, and Kitaoji is a bit shocked; he leaves, saying that he will review the files. The detectives collect the money before exiting the room, but not without getting in a dig at Edamura, telling him that he clearly takes after his father. Edamura is stricken by this statement, and the act ends with Edamura battling with this internal conflict. 

I don’t think anyone would want to read all of this, but if you have, thank you so much. I hope some of it at least was interesting or informative. I’m going to end there for now, as I’ve already gone on for too long, and I’ll finish writing up the second act in another post.

[jj-lynn21]

Stellan interview

"Stellan Skarsgard Is Finally Seizing the Spotlight"

https://www.thedailybeast.com/stellan-skarsgard-is-finally-seizing-the-spotlight

With roles in “Dune,” the Star Wars series “Andor,” and “Hope,” the character actor par excellence has never been more popular. He talks to Marlow Stern about his stellar career.

Few if any actors have built a resume as impressive as that of Stellan Skarsgård.

After achieving teen-idol status in his native Sweden—even releasing a pop single—due to the TV series Bombi Bitt, Skarsgård transitioned to film acting. It was in the mid-’90s, with roles as a sadistic oil rig worker in Breaking the Waves, a fiery abolitionist in Amistad, and a haughty mathematician in Good Will Hunting, that the towering, stone-faced Swede would cross over into America, and establish himself as one of the finest character actors alive.

He’s since maintained a healthy diet of what he calls “experimental films,” including a total of six with Danish auteur Lars von Trier, and Hollywood studio fare, such as the Pirates of the Caribbean and Mamma Mia! films, the Thor and Avengers superhero extravaganzas, The Girl with the Dragon Tattoo, and Cinderella. And right now, at the age of 69, Skarsgård is at his most prolific. There was his Golden Globe-winning turn in HBO’s Chernobyl, the upcoming villain in Denis Villeneuve’s Dune, and a main role in the Disney+ Star Wars series Andor, which he’s filming right now in London. Oh, and he’s fathered eight children, including the actors Alexander, Gustaf, Bill, Sam, and Valter.

“There’s no competition, really,” the elder Skarsgård tells me of his talented brood. “There’s some joking competition at the dinner table, but I know they’re better than me, so I’ve given up.”

Skarsgård’s latest is the Norwegian drama Hope. Directed by Maria Sødahl, the wife of his frequent collaborator Hans Petter Moland, it is a heartrending autobiographical film about a long-married couple, Anja (Andrea Bræin Hovig) and her theater-director husband Tomas (Skarsgård), whose atrophying bond is put to the test when Anja develops terminal brain cancer. As they fight for Anja’s survival, the two reevaluate how their relationship went off-course, and why they fell in love in the first place. (The U.S. remake rights were quickly snapped up by Nicole Kidman and Amazon Studios.)

Anne Frank’s Stepsister: How Trump Reminds Me of HitlerNEVER AGAINMarlow Stern

In a wide-ranging conversation, Skarsgård opened up to The Daily Beast about his many great films, the controversy surrounding pal Lars von Trier, being a nudist, and much more.

How have you been passing the time during the pandemic?

In different ways. The first half of the year I was at our summer house on an island outside of Stockholm, and all my kids—who were also actors, most of them, and they weren’t working either—were all out there in two houses eating dinners together, having a good time, and seeing the spring inch-by-inch, everything grew, which you never get time to do otherwise. But this job I’m doing here now [in London], I was supposed to fly back and forth from Stockholm because I’m shooting this Star Wars series called Andor, and it would have been very convenient because it’s only a two-hour flight, but because of the quarantine I’ve been stuck here. For more than a month I’ve been alone in a hotel room staring into the wall.

Speaking of the Skarsgård household, I read a quote from your son Alexander who said that when he was a teenager, “Dad was always walking around [without clothes] with a glass of red wine in his hand.” Was that your vibe during the pandemic?

Not this time! Is it the wine that worries you? [Laughs]

Did the stress of the pandemic make you feel less… free?

No, I’m still taking off my clothes when I get home very often—and my kids also, some of them do. It’s not a big thing. We’re Swedes! And we have no God that says we can’t show our body parts.

What about it do you just find so liberating? I don’t go the full monty but when I go home, I do tend to take off my pants and let loose a little bit, because it is constricting.

If it’s warm enough you don’t need clothes, right? Unless you’re ashamed of your body—or taught to be ashamed of certain body parts. For me, it’s all upbringing. It’s cultural. Some cultures don’t care about what part of the body you show, and some cultures are very precious, and some cultures the women can’t show their faces.  

I’m curious what life was like in the Skarsgård household, because you’ve helped produce so many talented kids. Alexander described it as “bohemian,” similar to what you described during the pandemic, filled with dinner parties and a free-flowing atmosphere.

It’s always been a very open house, and the kids’ friends, it’s been easier to sometimes be in our house than their houses—especially during puberty, when conflicts arise—because we’re very relaxed and non-judgmental in our family. It’s really, truly pleasant. And my kids are more like pals to me. There’s no hierarchical relationship at all. It’s very nice. We just have fun!

It’s a very talented—and frankly, attractive—family. How did this happen?  

How did I make kids that look so good? [Laughs]

Is that something you’re particularly proud of?  

[Laughs] Well, the looks I don’t care so much about, but I’ve had two beautiful wives—and very smart wives—and that’s helped a lot. I’m not going to take much credit for anything. But what I’m proud of is, when I hear from other people in the business about Gustaf or Sam or Bill or Valter or Alexander, I hear that somebody worked with them and they were really nice on the set and totally cool with everybody, and how no matter what menial job anyone had on the set they were nice to them, then I’m proud. If they win awards it’s secondary to that, because that is a lottery anyway. Awards are sort of like reality shows.

They really are a popularity contest. Let’s talk about Hope. It could have very well been called Grief.

I thought it sounded bland to begin with, but in fact the film is about hope—and about love. It’s not a normal cancer film where it’s all about beating the cancer or fighting against it, but it’s about someone who gets a death sentence in a family situation with a lot of kids, like I have, and everything that was petrified in the relationship floats up again. It’s about how they rejuvenate their relationship, and through those horrible circumstances, find love again.

There’s one very powerful scene in the film that really encapsulates many elements and themes that it explores, and it’s the sex scene between you and your wife. It manages to capture the joy of reconnecting as well as the grief you’re experiencing.

I think it’s a great scene, because it starts beautifully—very gently—and it looks like it’s going to be really nice for both of them, and then her anxiety sets in, and things start to bad. And it does go bad pretty fast.

On another level, I’m an American and we don’t see sex very often in movies. And when we do, we don’t see it in the service of such complicated emotions.

With sex in film, it’s difficult, because sex is something that feels fantastic when you do it, and it looks ridiculous when you watch. Those humping movements like a dog? It’s not sexy at all! So, you can’t do a sex scene that looks like it feels, so they always have to be about something else. The sex scenes I had with Emily Watson in Breaking the Waves, it was about her curiosity, because she discovered her first penis, she discovered sexuality, and it was totally about the relationship. The sex was just there. And in this film, the scene is not really about sex but about something else. I don’t think I’ve ever seen a sex scene that looks like it feels, and that can convey that beautiful thing that sex can be.

Really, in America, we get almost no sex scenes in movies. And it’s 2021.

It’s very strange. It’s not as bad as during the Hays Code, when you couldn’t let the lips meet for more than one second.

You just had a train going into a tunnel.

[Laughs] Yes, that very subtle image. But in America, you have a strong, strong tradition of bigotry or fear of sexuality. Only two years ago, in nine states in America, it was still illegal to have sex outside of marriage, and my American friends have told me that when they were growing up, it was even regulated how they could have sex—you couldn’t have oral sex or anal sex—so it is so ingrained in American culture that people’s sexuality is not a private thing, but something that everybody should interfere with.

Hope is also an exploration of mortality. Is that something you think about often? 

I’ve never been that interested in it. I’ve always been aware of it. It’s the only thing you know in life—you’re gonna fucking die. But already many years ago, I thought I’d had such a fantastic life that it would only be fair that I died, because I’ve already lived more than most people. So, I don’t feel any injustice in death. And I’m not afraid of death because I’m not religious, so I don’t have to worry about whether I’m going to end up in hell or heaven. But I have small children still, my youngest is 8, and I’m no spring chicken anymore, so I think about how I should stick around for at least another ten years until everything is set.

I read that you’d studied a bunch of religions in the wake of 9/11 and reached the conclusion that it was all sort of bunk.

I grew up with total freedom of religion—my parents weren’t religious, though my grandmother was very religious. It was taught to me without judgment, and it was a very tolerant upbringing I had. But I hadn’t read the Bible. And after 9/11, when I saw George W. Bush standing in front of TV cameras and claiming that God had put him there, I thought maybe it was time to read what they actually believed in. So, I read the Quran and I read the Bible. There are some fantastic stories—as fiction, it’s sometimes brilliant and sometimes boring—but the God in both the Quran and the Bible, there’s only one reason to really worship them, and that is fear. It’s a power that says, “If you don’t worship, you’re going to die—and not only die, but burn in eternity.” It’s a bit autocratic and dictatorial, I would say. It’s very hard for me to worship something under threat.

And if God put George W. Bush in the White House, then God has a very cruel sense of humor.

[Laughs] Yeah, he does. And the latest president said the same thing.

But he doesn’t believe in God. He only believes in himself.

Yeah. I think that if he had more appreciation from the liberals in America, he would have just as well gone populist-liberal.

I think so too. You know, I read that your Dogville co-star Nicole Kidman already picked up the remake rights to Hope for Amazon.

She’s picked up the remake rights, yeah.

Both you and your son Alexander have shared some pretty intense scenes with Nicole. There’s that dramatic scene in Big Little Lies where Nicole hits your son in the dick, and it almost seemed to me like payback for what you put her through in Dogville.

[Laughs] Yeah, I’ve done two films with her and Alexander just finished doing The Northman with her. But she’s lovely. I really like her. She’s so cool.

At least it was a prosthetic and not Alexander’s real thing.

Yeah… coward! [Laughs]

I gotta say, between Chernobyl, Hope, Dune, a Star Wars series, and even a Simpsons cameo as yourself, how does it feel to be at your most prolific at 69?

I’m just working! I’m doing my job and having fun doing it. I’ve been lucky and a lot of good projects have emerged. It goes up and down, you know, throughout life. And I don’t think I could have a better life than I’ve had. I don’t have any regrets. And I don’t have to be the star or be in something very successful, I just have to have fun.

Nice. Do you feel you’re underrated? I think you’re someone who’s so consistently great in everything that it can almost be taken for granted how great you are. I know you won a Golden Globe recently, and that was long overdue, even if it’s mostly bullshit.

I don’t know! I can tell you: it’s much better to be underrated than overrated. So, I’m very comfortable if I am underrated. But I’m a Swede with an accent—or most of the time I have an accent—and for being a Swede with an accent, I have been extremely successful internationally, so I can’t complain. When it comes to the big studio movies, and I’ve been in four or five gigantic franchises that have paid a lot of bills for me, their concerns are financial, and I’m not a ticket-seller. I’m a solid fucking actor, and I’d rather be an actor than a star.  

It gives you the mobility.

Exactly. The freedom I have. I can easily do small, experimental films and strange stuff—films that could ruin another actor’s career—so I’m in a good position.

I wanted to ask you about Breaking the Waves, because it’s the 25th anniversary this year and I consider it a masterful film. And it was Emily Watson’s first film, which is just extraordinary. How did you two establish such strong chemistry?

She’s British, which means she comes from a rather prudish society too, and to take on a role with an obscure Danish director—who wasn’t that famous at the time—and to take on a role with such explicit sex and nudity took enormous courage, but she was fantastic. My job was to love her, and that felt easy, but I think that she felt loved, and I think that she felt secure, which is essential for being able to do anything courageous. But she’s such a brilliant, talented, wonderful woman. I finally got to work with her again in Chernobyl. I mean, you just have to look at her and everything comes.

There’s this longstanding debate over whether Breaking the Waves is misogynistic or not, and I personally find it to be a misreading of the film. I’ve always thought of it as a biblical allegory of sorts about a desperate woman navigating a deeply sexist world.

Absolutely. Lars doesn’t have that in him. Those fantastic female roles that he has written, if you want to defend women in film, you’ve really got to take care of him because he writes the best roles for them. Those roles are very much him, and he definitely doesn’t have a negative attitude toward women. He loves them. There’s a plague of labeling people—not for what they’re really saying, but for what they appear to say. He was stamped as a misogynist and then he made a bad joke about Hitler at Cannes, and everyone stamped him as a Nazi, which is the furthest thing from what he is.  

Stellan Skarsgard and Emily Watson in Breaking the Waves

You stamp people as a “racist,” a “fascist,” a “communist,” I mean this fucking stamping is as smart as QAnon. It’s frightening. The fantastic thing about mankind is that we’re not one thing. We’re all capable of the most brutal and horrible crimes and we’re all capable of love. We do good things and we do bad things. There are nuances. The way of seeing people as “good” or “bad” guys is forcing something upon humanity that is really dangerous, because when you say someone is the “bad” guy then you’re saying you are the “good” guy, and it’s forcing you to not look at your own flaws.

I’m a huge fan of Lars’ films but I think one thing that’s really colored people’s opinion of him are the allegations that Bjork made against him on Dancer in the Dark. You didn’t have the biggest role in that film, but is it something you witnessed?

I’ve never seen him do anything like that. It’s not him. And if you talk to any of the other women who have worked with him over and over again, you will not get those kinds of accusations. But the Bjork and Lars conflict was enormous during the shoot, and it had very little to do with #MeToo. Lars, like all directors, in the end is a control freak, and Bjork has controlled everything in her career—from the music, to the costumes, to the way she sounds—and if two control freaks try to make a film, there will be conflicts. I got phone calls from Lars during the shoot where he was in tears. She left the set several times, and it had nothing to do with sexuality. She tore up her clothes. They had a very difficult relationship. But you’ve gotta pick your toxic males. You can’t put a “toxic male” label on everybody, otherwise it will be watered down, that label.

I’m so excited for Dune. What can you tell me about it? Denis Villeneuve said that your Baron Vladimir Harkonnen is different from the comics or the David Lynch film in that he’s not as much of a caricature but a calmer, more sinister presence.

The thing about it, and why I’m looking forward to this film as well, is because it’s Denis Villeneuve. Whatever he does, he creates an atmosphere that is dense, that you can touch, and you’re just sucked into it. You’re never bored—even if he does long, slow takes. The atmosphere builds up, and you’re in his universe. I think it will be the same with this one. He’s lovely to work with, and a beautiful man. I did eight or ten days on the movie, so my character doesn’t show up for too much, but his presence will be felt. He’s such a frightening presence where even if he doesn’t say anything, I think you’ll be afraid of him. And I’m extremely fat. I had eight hours in the makeup chair every day. And in some scenes, I look very tall because I levitate. You’re going to have a lot of fun with it.

The whole HBO Max day-and-date thing is weird, and I hope as many people as possible get to see the film on the big screen.  

Oh, definitely. I think they made a deal with AT&T—which owns Time Warner, which owns HBO, which owns my phone—that they cut a four-week deal where it’ll be just for the theaters, but I’m not sure. That could change.

I also feel culturally obligated to ask you about Andor, the upcoming Star Wars series you’re in. What’s that about, and who do you play in it?

As you know, they’ll shoot me if I say anything! I can’t even get a proper script. It’s printed on red paper so I can’t make any copies of it, it’s ridiculous! Of course I’ve seen all the Star Wars films, because I’ve had children in the ‘80s, and the ‘90s, and the 2000s, and the 2010s. I’ve had children in five decades, which means you’ve seen all the Star Wars films—and seen all the toys as well. But when I saw Rogue One, it had much more atmosphere and seemed a little more mature—and that was Tony Gilroy, who’s the showrunner on this one. So, hopefully this one will be a little more than little plastic people falling over.

Was a part of the motivation to do Andor to look really cool to your kids?

I do think like that sometimes! I’ll go and do a children’s movie for that reason. But also, I’m not the most mature person myself, so who doesn’t want to go and fly a spaceship?

Plus, now you can give your kids action figures of yourself and say, “Play with me.”

Fuck yeah. Go play with dad. Don’t disturb him! Go play with him! [Laughs]    

I’m not the most mature person myself, so who doesn’t want to go and fly a spaceship?

OK, this is kind of a silly question, but do you have a favorite movie death of yours? My favorite has to be in Deep Blue Sea, because in that one you get your arm ripped off by a shark, and then the shark uses your body as a battering ram to destroy this underwater facility.

I would say that is probably, in terms of inventiveness, my favorite one too. It was Renny Harlin. Yeah. I like it! Fortunately, I didn’t have to spend that much time on that stretcher—it was a doll. But it looked really cool! And the sharks weren’t CGI back then. It was mechanical sharks, and they were pretty dangerous. The little boy in me was very excited.

Another movie of yours that I love, for entirely different reasons than some of these other ones we’ve discussed, is Mamma Mia! Is it basically a vacation filming these? I imagine the cast parties are a lot of fun, because it seems like you all are having a ball.

Well, it is. I’m not a singer and I’m not a dancer so I was scared stiff, but the only way to make it work—because it’s not much of a story—is that we had fun doing it, because that joy is contagious to the audience. And we really had fun. It was very relaxed in Greece there on the beaches, and the parties we had there were very good too. It was a nice bunch of people to hang with.

When the cast of Mamma Mia! goes wild in Greece, who is the one that parties the hardest? Who’s the VIP?

It depends what you mean by partying! I usually get pretty drunk. Down there, Colin [Firth] and I were pretty good at it. And at those parties, we also had 50 dancers in their twenties, and they had much more stamina.

I have to ask: Will the gang get back together for a third one?

I don’t know! It took 10 years between number one and number two, so if it takes another ten years, I don’t know. Some of us may just be there in urns, with our ashes!

You released a pop single in the ‘60s, right?

Yes. When I was 16, I became extremely famous in Sweden. We had one TV channel back then and I did this TV series, and it was like being a rock star. But it meant also that all kinds of shady people thought they could make money off me. So, this guy calls me from Stockholm and says, “Stellan, can you sing?” And I said, “No.” And he said, “Well, try it!” And then I hear this guitar on the other end of the line, I go, “Ahh!” and then he goes, “Perfect! Come over to Stockholm.” I went to this very shady studio in the suburbs and we recorded it, and then the guy who was running the project said, “I listened to the tape now, and I think it’s better if I sing and you speak on the record.” So, I don’t sing on the record. But there were very cruel headlines in Sweden. One paper had a headline that read, “Stellan Skarsgård, who we loved on this TV series, we don’t like anymore.”

That’s so mean! In addition to Breaking the Waves, another film that really raised your profile in the United States was Good Will Hunting—which holds up remarkably well. Some of my favorite scenes in that film are the ones where you and Robin Williams are jousting. And I know he’s a wild card, so what was it like shooting those?

He really is a wild card because anything can come out of him, and he can say anything and do anything, and he has this urge to do it because he has these three parallel brains that are constantly working on finding something funny or interesting. Sometimes, even when we would do ten takes and everybody would be happy with them, he’d say, “I have to get something out of my body,” so we would do one extra for that. You didn’t know what you’d experience when the camera would start rolling—you just had to dance with it. And it was fantastic. He was such a lovely man and had no ego. He was just a volcano of creativity and ideas.

Do you ever think about your legacy? You not only have a bunch of talented children but also have amassed such a strong body of work.

The thing is with legacy: you won’t be able to enjoy it, so just forget it. No, I don’t. And it doesn’t matter. If you’re extremely successful, it takes a decade and you’re gone from people’s minds. You can only hope that your children remember you for a couple of years, at least!

Well, they’ll have the Star Wars toys, at least.

They’ll have the toys! That’s right. [Laughs]

[k-reviews]

MID YEAR ROUNDUP: ALBUMS & EPS

‘As always, I’m finding less and less time to write reviews but I just wanted to get some thoughts out on a couple of albums I’ve been really loving now that we’re just coming up on the halfway mark this year. In no particular order below, are five of my favorite albums so far in 2022.

TAEYEON - INVU

Continually shaping herself as one of the industry’s most compelling idol soloists, Taeyeon’s full-length effort in 2022 came in swinging with gorgeous production and as expected, killer vocal performances. Curating from prevailing pop trends but never feeling contrived, Taeyeon and her team understand how to bend and shift these sonic influences in a way that allows Taeyeon to really feel natural over the array of tasteful production found on the record. ‘INVU’ plays like a comprehensive summary of Taeyeon as a solo artist, and it just so happens to be an extremely entertaining and compelling summary at that.

YOUNHA - END THEORY: FINAL EDITION

Now repackaged with new additions, 2021′s album of the year continues to shine through 2022. Younha’s most narrative-driven record yet, the songstress graces her way through a series of tracks that all deal with the concept of endings and goodbyes. Through the lenses of love, friendship, time and beyond, Younha’s deconstruction and dissertation on how it feels, and what it means for things to come to an end feel so intimate, but also universally relatable. From the heart-shattering ‘How You Doing’, which can be interpreted in so many different ways, to the much more optimistic ‘Oort Cloud’ which is one of a handful of space-themed references as a symbol of looking towards the unknown, Younha appropriately covers a lot of ground over an idea as sprawling, but also as simple as ‘the end’.

‘End Theory’ is best encapsulated by a series of lines from the aforementioned ‘How You Doing’ which read: “I’ve grown enough to embrace them, The kids going through the same things, I’m proud of myself.”

Lil Moshpit - AAA

Hwimin of Groovyroom’s solo debut as a lead artist not only comes in strong, it may well be 2022′s rap album of the year. The producer-artist assembles an all star set of features that are carefully placed on some of the most inspired and immaculately produced beats of the year. There’s not a single weak performance found on ‘AAA’, with standout showings from Big Naughty and SAAY on the filthy ‘BO$$’, to Leellamarz closer on the mesmerizing ‘On The Block’ and even Sik-K of all people on his solo feature on ‘Slatty Slut’. Hwimin aka Lil Moshpit fully distinguishes himself from his work with Groovyroom, the grimy and often trippy production is vividly realized and he demonstrates a fantastic ear for feature placements as well.

FANA - Fanatiic

Partnering up with DAYTONA who have definitely taken a different approach to establishing a label, FANA makes a long overdue full-length return with ‘Fanatiic’. One of the most technically proficient emcees in the game, FANA sounds better than ever through ‘Fanatiic’, which features some of the best beats he’s ever rapped on. The production is infectiously groovy with all kinds of catchy instrumental rhythms being thrown in, which serves to further color FANA’s unique brand of rap. FANA at this point has nothing to prove to those well-vetted in Korean hip-hop, but on ‘Fanatiic’ he still raps like he’s the new kid on the block and shows that when it comes to albums, far and few have the ear for production and consistency that he does.

VIVIZ - Beam of Prism

VIVIZ’s debut EP is a pretty spectacular little package that definitely feels like a spiritual successor to GFRIEND’s work, though not in a way that detracts from VIVIZ’s identity, more so in a way that feels like carrying on the baton in their own way. Sonically, ‘Beam of Prism’ is a little bit scattered, one part GFRIEND tribute, one part synthpop and one part just taking swings in the park - but all of these moments really do work; ‘Love You Like’ is a pretty unique take on the acoustic pop ballad, with its very subtle hyper-pop sensibilities that add so much character. The spacey ‘Tweet Tweet’ is heavy on atmosphere, with its deep mix and lighter-than-air vocals. Lead single, ‘BOP BOP!’ is aptly titled, the grooves and hard hitting production are absolutely killer. VIVIZ radiate charm over their excellently crafted debut EP, and it feels like they’re now free to carry on the mantle of GFRIEND to wherever they see fit now.

[queerofthedagger]

I haven't done any of my usual weekly recs in ages, so all the more reason to let myself be tempted by the @merlinbingo bonus badge for this month and spread some love! And what better theme for that than marriage?

That being said, some of these fics stretch the trope the tiniest bit. They do all have a wedding, a proposal, or a intended proposal though. Apart from picking my faves, I tried to vary it a bit, so only three out of these five are merthur.

This Dance of Days by kianspo

Pairing: Arthur/Merlin

Rating: Mature || Warnings: none || Word count: 8,090

Tags: Modern AU, Romance, Marriage Proposal, Established Relationship, flangst

Summary:

In which people get married, Arthur is confused a lot, Uther gives relationship advice, and Merlin isn’t scared, except when he is, but only a little bit. Also Merlin steals things, and Gwaine is up to no good.

Why I rec this: I love this fic so much because while Merlin and Arthur are, indeed, in an established relationship and clearly very much in love, there's still so much pining on both sides. There's such a well-handled undercurrent of realistic insecurity and hesitance to it, and it makes the eventual resolution so, so satisfying. I also just love how both Arthur and Merlin, as well as the rest of the cast, are handled, and the writing is absolutely fantastic.

A Happy Mistake by Polomonkey

Pairing: Morgana/Vivian

Rating: Teen || Warnings: none || Word count: 2,812

Tags: Modern AU, Humor, Weddings, Sharing a Bed, Banter, Enemies to Lovers

Summary:

“I don’t suppose you've considered the possibility of ceasing this farce and attending Gwen’s wedding alone like a mature, self-actualised adult?” “Shut up, Arthur,” Morgana and Merlin said in sync, which was a party trick they’d been perfecting for a while. Morgana absolutely refuses to show up without a date to her ex's wedding. Surely taking Vivian can't be so bad?

Why I rec this: I have such a soft spot for this pairing, even though I can't for the life of me remember how I got into it. This fic encapsulates perfectly why I love it; both Morgana and Vivian are their awesome, snarky selves, the tension is off the charts, and I laughed through half the fic. The wedding isn't Morgana's and Vivians, yes, but it's what gets them together and also, Gwen and Elena get married which is also pretty awesome.

Coffee and Cherries by FutureAlien

Pairing: Merlin/Arthur

Rating: Teen || Warnings: Chose not to use Archive Warnings || Word count: 4,542

Tags: Modern AU, Established Relationship, Banter, Fluff, Marriage Proposal

Summary:

Arthur knows for a fact, in that tiny kitchen at a quarter to three, after who knows how many cups of coffee, that he will never love another human so much as this.

Why I rec this: In fact, I've recced this fic before, but I cannot make a marriage (proposal) rec list and not put this on it. It might just be my favourite proposal fic ever; it's so, so tender from start to finish, the atmosphere is beautiful, Merlin and Arthur's banter and characters are spot on, and it never fails to put a huge, sappy grin on my face. I've re-read it so many times and it's fantastic every single time.

Like This by Monbanart

Pairing: Leon/Merlin

Rating: Mature || Warnings: none || Word count: 2,090

Tags: Immortal Merlin, Immortal Leon, Marriage Proposal, Fluff, Sexual Content

Summary:

No magic before coffee. Unless it's super duper important.

Why I rec this: Listen. I have such a huge, huge soft spot for this pairing, even if there exist like, 30 fics of them on ao3. And this one? This one is so, so soft (also, pretty hot tbh, especially the other parts of the series it belongs to.) I just utterly adore the idea of Merlin and Leon spending their immortality together, not to mention that this fic does brush upon Arthur too. They're just... so damn soft, and both idiots, and there's a small, brilliant twist to it to top it off.

After The Fire by Clea2011

Pairing: Arthur/Merlin

Rating: Teen || Warnings: none || Word count: 21,660

Tags: Modern with Magic AU, Breaking Up & Making Up, False Accusations, Apparent Infidelity, Mutual Pining, Angst with a Happy Ending, Sex Tapes

Summary:

“Well,” Arthur said as he stood at the end of the aisle beside Merlin. “Look at this. Never thought we’d be here.” Merlin didn’t answer. It was too hard to stop himself from saying that he’d always thought that they would. Be there. In a church, in front of a minister. Together. Just not like this. In which Arthur and Merlin have a horrible break up. A year later they're best man and man of honour respectively at Lance and Gwen's wedding. And they can deal with that, they really can.

Why I rec this: Okay yes, yes I know this one seems to be a bit out of place on this list, but also, it's not. Marriage is a central theme and overall vital to the story, and not only Lance's and Gwen's, and I just love this fic to pieces. The angst is delicious, the pining is off the charts, the resolution super satisfying, and it all ends happily. The angst tag is serious though, so if you've come to this marriage rec list looking for heaps of fluff and nothing else (which... yeah. One would expect, I'm aware, but I'm a sucker for angst I don't know what you expected) then maybe this isn't the right fic. If you like to see them work for it though, it absolutely is. Just don't forget the tissues.