#i enjoyed the movie Solo enough as a movie but it was much less satisfying to me as a backstory than LPOA was

[cyberphuck]

How To Do the Writing Thing: Feeding the Story Monster

(these “how-to” posts were originally posted on my ko-fi page, and originally-originally posted on Reddit’s r/writing forum from which I am now banned which is an angry rant for another time. I thought some of the people who follow me would appreciate being able to read them here.)

[IMG ID: a black Corona typewriter.]

WHERE DO I START? The asshole answer to this question is “just start writing, hur hur!” And yeah, sure, in order to write you do have to actually write. But if you’re not in the habit of doing it, or if you’ve seldom or even never done it before, “just start writing” is about as useful as dumping someone in a river and telling them to “just start swimming.” THE STORY MONSTER: AWAKEN Before you think about your story, let’s think about other stories that you enjoy. It doesn’t have to be in a book; these days sitting down to read is getting more and more difficult with all the other data being shoved in your eyeballs every second. I like to start with movies, because everyone has a favorite movie (or two, or several) they know by heart and can dissect to figure out the story-type elements of it. (Listen, I tested out of high school and dropped out of college. I’m doing the best I can.) The best way to start doing this is to ask yourself a lot of “why” questions, starting with, “why do I like this story?” We’ll use Star Wars: A New Hope (the first one) as an example since most people have seen it and it’s a very basic story. You liked that movie well enough: why? Did you like the dialogue? The characters? Luke’s coming of age story, the dark menace of Darth Vader? Did you like how plucky Leia was, how dashing Han Solo could be? Did you just really like all the spaceships? Think about your favorite movie, and ask yourself, why do I like it? - it’s exciting. Why? What parts were most heart-pounding? - it has great characters. Why? Which ones, and what kinds of characters are they? Heroic but flawed? Determined and gritty? Deliciously evil? - the story is amazing. Why? What kinds of twists and turns are there? (and why are they so satisfying? A twist has to make sense backwards and forwards!) Pick apart two or three of your favorite movies and see if there’s a central theme there, so that you can make a statement like “I like movies where x happens” or “my favorite type of movie is x because y.” That’s getting to know yourself, and the better you know yourself, the better your own writing will be. Now that you’ve got the hang of picking apart your favorites, see if there’s a movie or TV series that you’re not that into, and ask yourself why you don’t like that one as much. This’ll be easier-- everybody likes to talk about stuff they fukken hate. There’s a prestige series on Prime called The Boys that my dad loves and I can’t stand; it’s a superhero tale that loves to make scenes as bloody and ultraviolent as possible. People’s eyes get burnt out, heads explode, guys get cut in half or blown up, etc etc. I’m not into that, so I won’t put that on my list of “story stuff I like.” (Don’t get me wrong, it’s an extremely well written and well produced show-- it’s just not For Me. A show can be really great in every way but just not your cup of tea, and that’s fine. I really like Call the Midwife. It’s a very twee British show about nuns helping women give birth. My dad fukken hates that show.) At this point you might want to get a notepad or text document to start writing down things that you saw, or read, that you really loved or really hated. Write down the name of the show, the day you watched it, and a little blurb about what it was that stood out to you and why you liked or disliked it. 50 words or less-- don’t get too carried away. Then, when it’s time to think about the story you want to tell, you can refer back to your notes. THE STORY MONSTER: FEED The more media you consume, the more feed for the story monster you’ll have, but you’ll have to keep cutting the stories up into bite size pieces (liked x about y, hated z about b) to really get a handle on the kind of story you want to tell. You’ll also start noticing how stories are structured, what type of pacing is used for different kinds of scenes, and how a character’s actions and dialogue affect how the author (or director, or whatever) wants you to feel about that character. Cut out those pieces of story and hold them up to your budding idea, and ask yourself, “how can I make this work for me?” Chopping up stories to feed the monster is something that you should keep doing even after you’re a total expert writer with nothing more to learn who makes a million dollars a second, like me. You can use stories from anywhere, too-- not just TV, movies and books, but also newspaper articles, comics and graphic novels, dance, poetry, any medium at ALL that has some sort of message to it or is designed to make you feel a certain way is something you can chop up for the monster. Dance and music are particularly good for pacing; poetry is good for interesting and varied descriptions. Listen to people tell stories out loud to learn the rhythm and cadence of the way people talk in real life to give your dialogue a boost. (Real People Talking will also be important when I get to Word Choice and Tone in writing!) TODAY’S TAKEAWAY: Watch, read and listen, take a lot of notes about what you liked. Get to know yourself, and your writing will improve for it. NEXT TIME: Getting the words down, “taking notes,” outlines and rough drafts.

[graciecatfamilyband]

Leia, Princess of Alderaaan Review*

*Really just a mixture of my thoughts/impressions/feelings. Way too long. 

Note: So, after almost a year of “defending” certain choices made in Leia, Princess of Alderaan by Claudia Gray, I decided to actually read the darn thing. It might surprise people to hear I hadn’t yet, since in some ways I was a very vocal “supporter.” The truth is, I usually don’t enjoy Star Wars books very much, and prefer whatever I or my fellow fans make up instead, so I was never particularly interested. When the “controversy” hit, I never “defended” it out of any attachment to the book or its author, but out of a belief that most of the storytelling choices that were decried as out-of-character were actually legitimate possibilities for Leia’s history either in this book or in fanfiction stories, regardless of whether or not they were a part of anyone’s personal canon. It was entirely possible that LPOA itself was out-of-character trash. Based on the excerpts and summaries and spoilers I’d read to engage with the criticisms of it, it did not seem to me that it was- but I hadn’t read it, so I couldn’t definitively say. If it were trash, though, the fact that Leia speaks to people her own age or had a boyfriend (also her own age) weren’t to me among the reasons why. And that in particular is what I was so vocal about.  

Finally, however, I figured if I was gonna go down in fandom history as one of the people who “supported” LPOA, I might as well actually read it and find out whether or not I actually liked it.

I’m so glad I did. I liked it *immensely.* Far beyond what I would have thought.

Here’s the TL;DR version, and then I’ll post a more detailed gushing review under the cut. Spoilers included. 

1. It is as much a political thriller as it was a coming of age novel. Which is exactly my jam. 🙏🏻 I knew every major plot point going into it, and it still somehow left me dying to know what would happen next. Sure, it’s written at a “young adult” level so it’s not incredibly “advanced” as a “political thriller” goes- but it got the job done much better than I thought it could have. (And for a YA political thriller, I think it is actually incredibly advanced.) I had SO MUCH FUN reading it. SO MUCH. 

2. It was practically perfect as a “prequel”. It managed to do its own thing without “stepping“ on the original trilogy at all. The backstory for Leia is good, plausible, in-character, and manages to allow her to grow (essential for a coming-of-age novel) while leaving tons of room for the character growth we see in the OT. It inevitably won’t be everyone’s personal backstory for Leia, and that’s okay. But I couldn’t find anything that wasn’t a legitimate, sensible possibility. 

3. It captured this stage of Leia’s development so well, which it turns out is something that’s really important to me. 

Leia was to me the perfect balance of intelligent/well-educated/innovative/tenacious and still learning the ropes as a political player. Navigating a tyrannical government and wrestling with how to respond in a way that is likely to be effective is something almost every character in this book wrestles with (save characters like Tarkin), and Leia engages with it on a level that is sophisticated even though it’s also age-appropriate. I knew a couple more things than the Leia of this book, but that’s understandable- I am much older than she is in this book, and if she knew everything already, there would be no development, no story, and indeed, there would have been no childhood for her. She is coming out of childhood in this book and learning as much as she can, and it’s just so…. appropriate, believable, wonderful. And she’s no fool; she knows a LOT, she was well and duly educated in her childhood, and she pieces together things very quickly. (I must say, she’s also much braver and more ballsy than I, which is also in-character.) 

I also loved the way the book handled the changing attachment/relationship to one’s parents and the anxiety and distress that comes with that (especially when one has had a close relationship to one’s parents) in adolescence. I loved how that resolves as both the young adult and their parents learn to have a new, more adult-to-adult relationship. (It also fit my headcanon of the Organas being a loving and close-knit family, which I deeply enjoyed.) 

I love how the book allowed Leia to start building much closer relationships with same-age peers, and that this was both a part of her learning to separate from her parents and define herself (not to become the same as any of her peers but to learn from them and accept certain ideas and reject others) as well as a part of her laying the foundations for the coming civil war (after all, they are going to need as many allies as they can get). 

This is probably my favorite thing about it, because I am a nerd interested in and care about adolescent development. I don’t think I’ve ever read a Star Wars book that cared as much about character, character development and growth, and psychological motivations, which is why I enjoyed it so thoroughly, especially as compared to other SW books.

5. I could not recommend it more highly. 

Spoiler-y unnecessary ramblings under the cut. 

More Things I Loved About It 

Leia loves storms. YAS.

We get to see Leia spearheading her first (legitimate) diplomatic missions!!!! And doing things on her own for the first time as an Apprentice Legislator (rather than simply as her father’s intern)!!!! And learning to exercise leadership with people who’ve known her since she was a kid! And fucking up in very understandable ways- ways that don’t infantalize her, but are normal for a young politician learning to navigate her way through this political terrain with limited information, and sometimes in ways that still trip up seasoned politicians because they are literally traps laid by the Empire. We need to see Leia make mistakes in a book like this / in any story of her adolescence, and to learn from them- and they need to be mistakes that don’t take away from her overall competence or character. This book does that very well. 

I loved reading about the ways Leia attempted to learn all her parents knew and to help them in their respective positions throughout her childhood. I love that Leia interned for her dad for several years in the Imperial Senate by this point! 😍😍😍 And all the little “her dad always told her”, “her mom always said” moments in this book are just beautiful and very in-character for both Bail and Breha. I love that as Princess of Alderaan and as a member of the Organa family, Leia has always looked to them for guidance on how to rule, who to be, what skills she needs, etc. and worked hard at those things. That all seemed very in-character to me. 

I love the familial and parent relationships, period. I’ve already said how much I adored the way this book represented the push-pull of the parent-adolescent relationship, and how much I love that this book nevertheless gives her loving familial relationships as her foundation. It was so wonderful to read these little moments of the Organa family, both when they were struggling and when they were finding more common ground. These relationships were also very “3D” to me, human, what I personally would “ideally” want for Leia without being “too” ideal or unreal. I didn’t know how much I needed to ready more of the Organa family all together until I read this book.

I love that this book was able to make me angry at Bail Organa (my bae 💚)- sometimes quite repeatedly- without making him out-of-character or an ass; that’s not easy to do. It was clear he had his own character struggle work through, and as difficult as that was for me as a Bail fan, it seemed in-character to me, came from a place of deep love, added layers to him, and made the intimate moments between him and Leia and the resolution between them that much more satisfying. 

Breha Organa!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 💜🙏🏻😍🙌🏻👑🙌🏻😍🙏🏻💛💜 What a queen, what a leader, what a mother. I loved watching her differ in her opinions from Bail, and handling some of the differences between them including how to approach the Rebellion, and their daughter. I found it interesting and unexpected that she accepted the reality that the Rebellion would eventually mean civil war sooner than Bail did, but in a way that worked very well.  

Bail and Breha’s marriage. It’s so wonderful that they have such a beautiful partnership, in which they can wrestle with difficult questions, and disagree, and even need space from each other, and yet always come back to each other and support each other in their endeavors (and enjoy a bit of romance too). It’s exactly what I’ve always wanted and headcanoned between them. 

I thought it might be distracting to me that Bail and Breha and Alderaan might vary in small ways from the ways that I have headcanoned them. For example, the pulmonodes thing is kind of aesthetically cool, and it is nice to see someone in the GFFA with some robotic/mechanical parts who is described as the opposite of evil/ the embodiment of warmth, but is a major departure from how I’ve seen Breha for years, and that kind of thing is always a struggle for me. But it turns out it’s much more difficult for me to engage with when it’s an abstract post on Tumblr. In the book, it didn’t bother me almost at all? It was subtly and well-integrated, and the character was so well-done, that it didn’t matter that’s not how I had seen Breha and is not (as of now) part of my personal headcanon. 

 Candlewick flowers 🕯🌹 are such a gorgeous addition to the GFFA.

I think it’s great that there was a process for Leia declaring her intention to pursue the throne and at minimum a very challenging ceremonial way she had to earn it, even if it’s not the way I would have chosen. 

I’m going to go ahead and say on Alderaan they have basic guaranteed income. 👌🏻

It was so good to see the Captain Antilles of the Tantive IV and spend time on Alderaan itself (sad as it is too 😪). Like so many of the characters, I liked him and I’m incredibly sorry he’s dead within the first few minutes of ANH.

Lieutenant Res Batton is a treasure. 

Queen Dalné of Naboo is a character I’d actually love to see appear in later stories (including fics) that occur during the OT or afterward. Do she and Leia meet again? In what context? What is that like??? Although her reign has probably ended by then, Dalné help with the Rebellion in any way or with the rebuilding that comes after the Empire’s fall? I like the way they connected in this book, and I’d love for her and Leia to become friends. 

I had mixed feelings about Amilyn Holdo, but I appreciate that the inclusion of a female character who could be a peer to Leia and that she ultimately ended up being an important and foundational relationship both personally and “professionally.” @otterandterrier summed the good qualities of her character up to me nicely, saying, “I do appreciate [Amilyn] becomes closer to Leia, is a person who will inform her to not be set on her first impressions of people, and by TLJ is a long-time friend her age, rather than thinking all her childhood friends died.” Agreed. 

Mon Mothma 😍 🙌🏻. This book cemented Mon as a new fave of mine. Great to see her be such a positive and wise mentor to Leia, and to see her be able to see things that her parents (especially Bail) cannot yet. 

The cameos worked beautifully without being “too much.” Threepio’s was excellent, but Artoo’s was even better. Also, I was incredibly skeptical at the fact that there was a Millennium Falcon cameo, but it worked just perfectly. They succeeded at making the reader feel clever and “in on” it, which is 👌🏻. 

Thank the Alderaanian goddess that the romance was a side-plot and not the focus! 🙌🏻 It was great to see Leia have a book that allowed her to have so many different sides, and that her romance was one of those sides but not the exclusive or even the most important focus. The book could have survived without it, but Leia’s relationship seemed to me to add to the narrative rather than take away from it. 

It was such a great first romance, from a writing and story-telling standpoint. It absolutely did not threaten to overshadow the major romance of Leia’s life that most readers are so invested in, which is essential in a prequel story like this, but it was also a good experience for Leia even if it ended so sadly. I really like that the relationship was good and meaningful at the time, but it was also clearly not a relationship with longevity. This post on why Kier works so well as first love is a very good one. I also just really genuinely liked Kier as a character, even if ultimately I disagreed with him and of course don’t want him to end up with Leia “forever.” 

The Chalhuddan storyline was 😍😍😍. I loved that they insist that Leia require something of them before accepting her mercy mission donation and calling out her “wealthy saviorism.” I love that she exercises good diplomatic judgment in how she handles that, and that it ultimately turns into the beginning of a potentially lasting political alliance between her and them. Again, I just love the political elements of this book in general, and this was 👌🏻👌🏻👌🏻. I’d love to see them again in fic or wherever. 

I had a list of things that I did not like. I’ve already spoken about some of these in other posts. But honestly, this book gets so much vitriol hurled at it, and I loved it so much, that I just don’t want to include those things at this time. 

[blueteller]

How I rate stuff (because, why not?)

I enjoy fiction a lot. While most of the time I don't strictly put things in categories (also, my tastes and opinions might change over time), I thought it would be fun to make a post about how I rate different series and works of fiction that I like – or don't like.

So here's a couple of examples, on the scale of 0-10:

(Remember this is based on my enjoyment, not objective criticism! Beside I'm a pretty lax critic, I truly start to dislike things only like, 3 and below. So have mercy on me! I'm just being honest)

10/10 - I have very few complaints, nothing more than nitpicks. Otherwise I enjoy everything about it. (Example: Avatar the Last Airbender - love everyhing about it)

9/10 - I have one major issue or a couple minor ones, but apart from that it's similar: I love it (My little Pony: Friendship is Magic - surprisingly, I love most of it)

8/10 - I have some issues which I consider visible, but still liked it a lot (Star Wars series - not all of it, but the best of it)

7/10 - I have a significant amount of issues, but still mostly liked it (Harry Potter series - my favorite bashing series, so many plot holes to tear through, it's hilarious)

6/10 - liked it, but probably wasn't a fan (Pokemon franchise - my childhood, but not nearly on the top of my list)

5/10 - I didn't dislike it, but I wasn't invested either (Star vs Forces of Evil - I liked the Eclipsa plotline at first but otherwise, ehh)

4/10 - something bugged me about this, so I dropped it (Attack on Titan - I'm like, nope, canibalism is a big no no for me, sorry)

3/10 - something bugged me and probably made me mad, definitely dropped it (the Twilight saga - the romance is GROSS, but at least it's so bad it's funny)

2/19 - I really don't like this and I have strong feelings about it! (Chronicles of Narnia: Prince Caspian the movie - it's personal, they completely ruined one of my favorite books ever, why did they make Caspian and Peter into emo jerks??)

1/10 - oh I HATE this (that one Robinson Crusoe movie adaptation I saw once in class when I was 11, where they turned the MC racist for drama: I am still full of rage because that book was pretty cool, so like, whyyyy)

0/10 - I am in denial of its existence and happier that way. (Last Airbender Live Action Movie. There's no movie in Ba Sing Se.)

Other series I enjoyed:

Fullmetal Alchemist (Manga/Brotherhood): 10/10, very well structured, engaging, funny and 100% satisfying. Never gets old.

My Hero Academia: 10/10, love the world and the characters. Can't wait for the conclusion

The Chronicles of Narnia: 10/10, the first book series that wasn't for school that I ever read by myself. Still my favorite series of all time

Lord of the Rings: 9.5/10, I only love it less than max because it's very long and Narnia is my 10/10 fantasy series. Sorry LOTR, there can only be one favorite, even if I admit that LOTR is factually better quality-wise. I'm subjective, you know?

Danny Phantom: 7/10, it has many problems but the premise is GREAT and it has killer aesthetic. It's kinda unforgettable, even.

Some recenty found series:

Trash of the Count's Family: 10/10, recently found it, fell in love pretty fast. The characters alone are enough for me, but the story is honestly great as well

Solo leveling: 8/10, interesting, fun, simple in enjoyment. Not too long either. My biggest pitpick would be that the story was a bit simple, but it's exactly what it's supposed to be.

Suicide Hunter: 7/10, interesting, very funny at places, still too brutal for me (sooo much suicide and mindbreaking stuff... but I get why people like it).

Omniscient Reader's Viewpoint: 5/10, don't kill me for this, I have reasons! It is interesting, and I like most of the characters, but I'm just not a fan of the main plot. There's just something unappealing for me about the whole "gladiator premise" (where a superior power creates the scenario where random people are forced to kill each other). Same reason why I never liked the Hunger Games (which I'd probably rate 4/10) and I'll never watch Squid Game.

The S Classes That I raised: 6/10, it is interesting, fun and hilarious in many places, but the supporting cast somehow didn't quite click for me just yet. The rating might change in the future, who knows?

[gavillain]

Top ten princesses!

*rubs hands together* Alright, let’s rank us some Disney princesses. Technically there’s only four others who aren’t gonna make the cut buuuut they’re the four I don’t really like XD

10: Pocahontas (Pocahontas)

With Pocahontas, you can very clearly see the behind the scenes "self-consciousness" of the filmmakers baked into her character writing. Pocahontas was Disney's big attempt at Oscar gold, trying to tell a Big Important portentous story while also grappling with trying to make Pocahontas as inoffensive as possible. The result is a character who is kind and likable enough, but also kind of wooden. The historical accuracy value is practically nil, and Pocahontas as a character and a movie comes off worse and worse with the passage of time. All that being said, I think Disney did the very best job they could with Pocahontas given the situation she emerged in. They created a character who is likable, free-spirited, a strong believer in justice and unity, and a character who leads with empathy and courage at the forefront. If nothing else, Pocahontas is a strong role model for little girls to look up to, and her love story with John Smith is one of Disney's most mature love stories as well, so there's plenty for older fans to enjoy as well.

9: Mulan (Mulan)

Mulan is counted as a Disney princess because they don't have any other Asian princesses and they wanted a more diverse lineup. That's the reason. Y'all can stop pretending not to know now. But with that strange categorizing, Mulan is weird fixture of the princess lineup any way you look at her. Mulan, for me, both as a princess and a movie, has always been just kind of there. A lot of people passionately love it, and I get that completely. A lot of people tear it apart, and I get that too. Mulan is a great girl power character, and her resourcefulness and cleverness being her defining trait is excellent. Her internal turmoil over her identity is perhaps more poignant here than with any other princess, and Reflection still stands as one of the greatest Disney songs ever written. That said, Mulan's defining character flaw being clumsiness and awkwardness and this being why she has such internal turmoil about fitting in just makes her come off as a bit hollow to me, and I feel like there was a better route to take her. After how surprisingly good an LGBT take on her worked over in Once Upon a Time and how much better that informed her feeling like an outsider, it just made the animated version come off as weaker on the internal side to me. Good character overall, though, and I do really like Mulan.

8: Moana (Moana)

Moana has a similar situation to Mulan where she's not really a princess but she gets shoehorned into the princess mold because they have nowhere else to put her. She and Mulan are Disney heroes, and they have different expectations for that reason. All that being said, Moana is easily the best of the Revival era CGI princesses. For one thing, while she has a bit of the Revival trend of modernizing the princesses too much, they don't make her overly adorkable to make her relatable (... “overly” being the key word; she’s not exempt). On the contrary, Moana is written very much like a person. We see Moana grapple with the weight of duty both to her people and to the world as a whole. Her story is one of trying figure out whether it is better to chase the unknown or to follow the tried and true. And I like that. I also really appreciate how Moana wins the final battle with empathy for the monster, and that's what makes her unique. The whole "Know Who You Are" musical number is legitimately one of the most powerful moments ever put into a Disney film too. My biggest issue with her actually comes from Maui whose constant meta quips and spotlight stealing tends to undermine Moana's character a lot and takes away from some of her moments that I wish hit harder than they do.

7: Jasmine (Aladdin)

Jasmine is the only princess in the lineup who is not the main character of her movie. On the contrary, she's the love interest of the main character and more of a supporting player in her film. She doesn't even get a solo, something every other princess, save Merida who isn't in a musical, gets. As a result of this, Jasmine isn't really as strong in her own right as several of the other princesses. But she's still awesome. She has a strong internal life and vibrancy, and the way her character revolves around a longing for freedom and the way that compares to Aladdin and the Genie makes her really come alive and work well within the context of the film. She's also clever, resourceful, a self proclaimed fast-learner, and someone who never allows her voice to be silenced. Yet even with all her strength, she's allowed tender moments of kindness and gentleness to show that there's another side to her. Also the TV series and sequels expanded on her character in a wonderful way.

6: Tiana (The Princess and the Frog)

Okay, yes, Disney's first black princess being a frog for more than half the movie was a bad creative decision on their part that wasn't a good look. But for Disney's first black princess, considering the company's history with race issues in particular and how self-conscious a lot of their princesses of color have come off, I think a lot of people underestimate just how good Tiana is. Tiana is vibrant and full of personality without every coming off as a stereotype or as anything less than dignified and admirable. She's hard worker, but she never comes off to me as trying to be "look how much better I am than the other princesses." She lets her actions and her character speak for themselves. I like that her arc is actually about finding a healthy balance between storybook love and wishing and hard work and determination. She's a woman with ambition, but she also learns to make time for a bit of fairytale fantasy and the things that really count like love and friendship. Also, just major props to Anika Noni Rose for making Tiana so damn likable and fun to follow.

5: Aurora (Sleeping Beauty)

And now that we're in the top five, we start getting into the classics. Aurora gets an unfair reputation as a basic boring princess who needs a man to save her and has no value of her own. But with Sleeping Beauty being an adaptation of ballet in particular, that's really missing the forest for the trees. Sleeping Beauty was envisioned by Walt as the pinnacle of animation, an animated film that would stand tall in an art gallery, and you can see that very much at play in Aurora. From Marc Davis's absolutely stunning animation on her to Mary Costa's beautiful vocal work in blending with the musical stylings of Tchaikovsky, Aurora is, more than any other princess in the Disney lineup, a piece of high art. She's written deceptively simply to allow for the animation and the music to convey the brunt of her character. And, when you get right down to it, Aurora is, like art, designed around the emotions of the piece more than specific character quirks. Yet the essence of her kindness, of her grace, and of her sly looks and shrewd coyness is all right there in the character. She also pretty perfectly encapsulates the emotions and feelings of young love, and I think there's a lot of value in that portrayal as well.

4: Ariel (The Little Mermaid)

I used to give Ariel a hard time in the recent past, and I fully regret allowing certain sects of discourse to color my view of her. Ariel is an amazing character, and an excellent princess. One of the things that has struck me, revisiting the movie as a gay adult, is just how queer of a story Ariel's is. Hans Christian Anderson wrote the original in response to male lover of his, openly gay Howard Ashman was a major creative driving force behind the story, and openly gay animator Andreas Deja brought to life the visceral Grotto scene based on his falling out with his own father. There's queerness baked into the fabric of this film, and it shows itself clearly with the narrative of a princess who is unhappy with her home life and has a forbidden love that she must hide away from her own family and then must undergo the process of evolving into the version of herself that she wants to be in order to satisfy the love within herself. She gets dismissed as being just a rebellious teenager, but there's so much more to her than that and she hits home to so many people for that reason. Also, Jodi Benson's incredible voice work and the writing for her makes Ariel constantly a vibrant and interesting character who I feel like we get to know better and more intimately than almost any other princess.

3: Cinderella (Cinderella)

Though, much like Aurora and Ariel, Cinderella gets an unfair reputation as weak and needing a man, that couldn't be further from the truth. Cinderella is an abuse survivor who keeps her dreams, optimism, and kindness alive even in the face of crippling despair and misery. She's a woman who fought a daily battle just for the right to keep existing, and while the Fairy Godmother gave her magical assistance, Cinderella earned her happy ending herself. I just have to admire how she embodies patience and kindness while also still being strong in her own way. She's not a masculine warrior action figure; she's very feminine. Yet she finds strength in her femininity without relying on sex, and I just think that's wonderful. I also really love how much personality and humanity they filled Cinderella with without going overboard or making her into a parody of herself. Cinderella maintains the grace, poise, and beauty of a princess all while having so many little quirks and traits that make her feel like a real woman. Also, it must be said, Cinderella III is still the best Disney sequel, and I love how it expands upon her and gives her new opportunities to prove herself all while maintaining the core kindness and strength of her character.

2: Snow White (Snow White and the Seven Dwarfs)

The one that started it all and still a radiant joy of beauty and kindness, Snow White is everything a princess should be. Like Cinderella, Snow White shows that you can survive abusive situations with your positivity in tact. In fact, Snow White goes one step further. She shows that "there's no use in grumbling when raindrops come tumbling; remember you're the one who can fill the world with sunshine." She's a beacon of hope and positivity who shows that compassion and kindness are the true virtues that deserve to be held as the most precious. She also shows the importance of found family and finding a loving support system that is right for you even if that's not your actual family members. In addition to all that, Snow White is great for being full of personality and having a vibrancy to her. She meets the dwarfs and immediately begins to take charge and to hold them to the standards she expects. She's never afraid to make her voice or opinion heard, and she's also got a playful teasing side to her that shines through. While her film is a heightened reality, she still has a core realness to her that makes her plight and her adventure feel all the more immersive for a viewer.

1: Belle (Beauty and the Beast)

But my favorite princess is always plain to see. While I love many of the other princesses, none quite hit that same sweet spot for me that Belle does. Belle is an outcast. She's a well read and intelligent woman more concerned with books and ideas of adventure than she is with the types of things she's expected to be concerned with by her small town. According to the townsfolk, she should be only concerned with getting married to a handsome man and being his doting little wife. However, Belle has absolutely no interest in taking part in any of that nonsense, and because of that, the people of her hometown write her off as odd or crazy. Many of us have been in a similar situation and felt excluded from society because we were somehow "not normal." Whether it was for our sexualities, our weight, our skin color, our religious beliefs, our over abundant love of comic books, or what have you, many people out there feel alone and ostracized. Yet Belle is that shining beacon of someone who lives her authentic life no matter what the world around her thinks, and that can give courage to others who relate to those feelings. Belle inspires the Beast to change to be better for her, not because she can break a spell, but because she sees the true beauty inside of him that no one else ever had. Some of my favorite types of heroes are those individuals who see the good inside of everyone. Those who give everyone a fair chance, especially to those who were never given a chance by anyone before, are the type of heroes we need more of in real life. No she can't fight off villains or complete daring feats of physical prowess, but she doesn't have to do those things to make a difference. She can save an entire castle by goodness and compassion alone. Paige O'Hara really does a fantastic job filling Belle with personality as well. I love that her voice work conveys confidence and strength, but also has moments of gentleness and vulnerability. She's allowed to have a range of emotions and certain spunk that is nothing short of endearing. Special mention must go to how excited and energized O'Hara plays Belle as getting when she talks about her books and stories. You really get the sense that reading is Belle's passion, not just something she enjoys. There's a real sense that Belle experiences the world around her fully and vigorously, and that adds to the charm of her character that makes her, for me, the most likable and best of the Disney princesses.

[phantomofthepairofdice]

Double Features 2: Splatter, Splicer, Slander, Slasher

Considering the fact that we’re locked down and most folks aren’t going out much, why not settle in on a weekend with double feature. As part of a series of articles, I’ve decided to suggest some titles that would make for an interesting pair. It’s a time commitment like binging a few episodes of a TV show, and hopefully these double features are linked in interesting enough ways that it has a similar sense of cohesion. They also can be watched on separate occasions, but the lesser the distance between them, the more the similarities show. Do it however you want, really. I’m merely a guy on the internet, and that qualifies me for absolutely nothing! Enjoy at your own risk.

This template is back! I wanted to suggest a few more double features, but this time keep them in a specific genre: horror. I love horror movies, and I realized that I hadn’t really given them their due on this here blog, so I wanted to remedy that by showing a lot of love across a lot of different movies. I’ve put together some international movies, some classics, some that are silly, some that are serious, and even a bonus suggestion hidden in one of these blurbs. So without any more ramble in the preamble, here are four new suggested double features.

Note: The pairs are listed in the order I think best serves them being seen.

Hausu & Evil Dead II:

Hausu aka House (not to be confused with 1985 American horror film of the same name) has sort of transcended cult movie status to become a staple of off-center horror-comedy. Directed by recently deceased Nobuhiko Obayashi, the film shows his roots in advertisements with every shot designed for maximum effect, a (still) cutting edge approach in the edit, and a joyous, playful approach to special effects. It’s a gauzy and dreamy romp about a group of schoolgirls who head to the countryside on vacation. While staying at one of their aunts’ house, the supernatural hauntings begin, and heads start to roll (as well as bite people on the butt). It’s the type of movie where the main cast of characters are named Gorgeous, Kung Fu, Melody, Prof, Mac, Sweet, and Fantasy and they each have corresponding character traits. I was lucky enough to catch this at a rep screening at the Museum of Fine Arts a few years ago (further proof that this has gone beyond the cult curio status), and this is absolutely a movie that benefits from having a crowd cheer and laugh along - but it’s fairly easy to find and still has lots of pleasures to be enjoyed on solo watch. I’m pretty much willing to guarantee that if you enjoy it on first watch, you’ll want to share it with others. Now, where does one start when talking about Evil Dead II? Sam Raimi is rightfully as well known for his start in the hair-brained splatter genre fare as he is for his genre-defining Spider-man films. The influence of the Evil Dead movies is nearly unquantifiable, apparent in the work of directors like Edgar Wright, Peter Jackson, Quentin Tarantino, and the Korean New Wave filmmakers like Bong Joon-ho and Park Chan-wook. There’s a reason that the second film of his Evil Dead odyssey is the one that people hold in highest esteem, though. There is an overwhelming gleeful creativity, anything goes, Looney Tunes approach to it that makes the blood geysers, laughing moose heads, and chainsaw hands extend beyond gore and shock into pleasure. It’s been noted over and over by critics and Raimi himself that the Three Stooges are probably the biggest influence on the film, and by golly, it shows. Evil Dead II and Hausu are pure in a way that few other movies can be. Both of these movies are an absolute delight of knowing camp, innovative special effects, and a general attitude of excitement from the filmmakers permeating through every frame. They’re a total blast and, in my mind, stand as the standard-bearers for horror-comedy and haunted house movies.

Total Runtime: 88 minutes + 84 minutes = 172 minutes aka 2 hours and 52 minutes

The Thing (1982) & The Fly (1986):

Feel free to roll your eyes as I explain the plots of two very famous movies. The Thing is John Carpenter’s body horror reimagining of Howard Hawks’ The Thing from Another World and the story that was adapted from, “Who Goes There?” by John W. Campbell Jr. The film is centered around a group of men in an arctic outpost who welcome in a cosmic force of shape-shifting annihilation. What ensues is a terrifically scary, nihilistic, paranoid attempt to find who isn’t who they say they are before everyone is replaced with the alien’s version of them. The film is a masterpiece of tone in no small part due to Dean Cundey’s photography and Ennio Morricone’s uncharacteristically restrained score. The real showstopper here, though, is the creature effects designed by Rob Bottin with an assist from Stan Winston – two titans of their industry. There may not be a more mind-blowing practical effects sequence in all of movies than Norris’ defibrillation – which I won’t dare spoil for anyone who hasn’t seen it. The story is so much about human nature and behaviors, that it’s good news that the cast is all top-notch – anchored by Kurt Russell, Keith David, and Wilford Brimley. While The Thing is shocking and certainly not for anyone opposed to viscera, David Cronenberg’s The Fly is the best example of a movie not to watch while eating. Quite frankly, it’s got some of the most disgusting things I’ve ever seen on film. Chris Walas and Stephen Dupuis’ makeup effects are shocking, but the terror is amplified because this builds such a strong foundation of romance in its opening stretch between Jeff Goldblum and Geena Davis in what might be their career-best work. The story is simple: a scientist creates a teleportation device that he tries out himself, but unknowingly does so with a fly in the chamber with him. When he reatomizes on the other end, his DNA has been integrated with the fly. Slowly his body begins to deteriorate, and he transforms into a human-fly hybrid. While this is first and foremost a science-fiction horror film, it’s truly one of the most potent love stories at its center. The tragedy is that the love, like the flesh, is mutated and disintegrated by the hubris of Goldblum’s Seth Brundle. Here are two remakes that – clutch your pearls – outdo the original. They both serve as great examples of what a great artist can bring by reinterpreting the source material to tell their version of that story. The critical respect for Carpenter and Cronenberg is undeniable now, but both of these movies make the case that there are real artists working with allegory and stunning craft in less respected genre fare. It doesn’t take a lot of effort to transpose the thematic weight of the then-new AIDS crisis onto both films, but they both have a hefty anti-authority streak running through them in a time where American Exceptionalism was at an all-time high. If you want to get a real roll going, fire up the ’78 Invasion of the Body Snatchers first to get a triple dose of auteur remakes that reflect the social anxieties of the time and chart from generalized anxiety to individualistic dread to romantic fatalism.

Total Runtime: 109 minutes + 96 minutes = 205 minutes aka 3 hours and 25 minutes

Theatre of Blood & The Abominable Dr. Phibes

That old Klingon proverb that Khan tells Kirk about revenge being a dish best served cold is challenged by these two Vincent Price tales of the macabre. They posit that revenge is best served in extremely convoluted and thematically appropriate predecessors to the Saw franchise. Where Saw trades in shock and extremity, though, these classic horror tales offer an air of panache and self-satisfied literacy. In Theatre of Blood, Price plays a disgraced and thought-dead stage actor who gets revenge on the critics who gave him negative reviews with Shakespeare-themed murder. There’s good fun in seeing how inventive the vengeful killings are (and in some cases how far the writers bend over backwards to explain and make sense of them). It’s a little rumpled and ragged in moments, but Price is, of course, a tremendous pleasure to see in action as he chews through the Shakespeare monologues. Imagine the Queen’s corgis with a chainsaw and you’re on track. Phibes came first and, frankly, is the better of the two. The story is about a musician who seeks to kill the doctors who he believes were responsible for his wife’s death during a botched surgery. The elaborate angle he takes here is to inflict the ten plagues from the Old Testament. I hesitate to use a word that will probably make me come across as an over-eager schmuck, but it really feels best described as phantasmagorical. It’s got this bright, art deco, pop art sensibility to it that’s intoxicating. It also has a terrifically dark sense of drollery - it knows that you can see the strings on the bat as it flies toward the camera. Aesthetically, it feels adjacent to the ’66 Batman show. The music is great and the indelible image of his tinker toy robot band, The Clockwork Wizards, is a personal obsession of mine. Both Theatre of Blood and The Abominable Dr. Phibes feature great supporting turns from Diana Rigg and Joseph Cotton, respectively. Settle in for a devilishly good time and enjoy one of cinema’s greatest vicarious pleasures: getting back at those of criticized or hurt you.

Total Runtime: 104 minutes + 94 minutes = 198 minutes aka 3 hours and 18 minutes

Blood and Black Lace  & The Bird with the Crystal Plumage

The final pairing comes from beyond American borders and, to some, beyond the borders of good taste. Mario Bava and Dario Argento are likely the two biggest names in Italian horror, and that’s for very good reason. Bava, who started as a cinematographer, has made loads of movies (even the film which gave Ozzy Osbourne and crew the name their band name) that have tremendous visuals and terrific sense of mood. Argento, probably most famous now for Suspiria, emerged onto the Italian film scene a handful of years later and picked up that baton from Bava to crystallize the dreamy logic puzzles cloaked in hyper-saturated colors. These two films are regarded as quintessential in the giallo genre – named for the yellow covers of the pulp crime fictions that inspired them. As someone who loves the flair that can be applied to make a slasher film stand out amongst their formulaic brethren, I found that the giallo made for a smooth transition into international horror. Blood and Black Lace is a murder mystery that’s as tawdry and titillating as its title suggests. Set in an insular world of a fashion house in Rome, models are being murdered. The plot feels like a necessity in order to create a delivery system for the stunning set pieces that revolve around a secret diary. Bava puts sex right next to violence and cranks up the saturation to create something thrillingly lurid. Six years later, Argento made his first film which has often been credited for popularizing the giallo genre and already is playing around with some of his pet themes like voyeurism and reinterpretation. Built around an early set piece (that stacks up as one of the best in thrillers) in which a man is trapped but witnesses a murder, the film sees said man trying to find the piece of evidence that will make the traumatic killing make sense. Like Bava, it blends sex and violence with tons of flair, including a score by the aforementioned Ennio Morricone. The film is absolutely on a continuum between Hitchcock and De Palma. If you’re looking for a pair of exciting horror/thrillers, or even an entry point to foreign genre cinema, this is an accessible and enjoyable place to start.

88 minutes + 96 minutes = 184 minutes aka 3 hours and 4 minutes

Well, there you have it. Eight movies, and hours of entertainment curated by some guy with no real qualifications. If you’re interested in some more suggestions (in horror and other genres), stay tuned for the next entry in this Double Features series. And if you’re looking for a way to watch these movies, I highly recommend the app/website JustWatch where you can search a title and see where it’s available for streaming or rental. Happy viewing.

Thanks for reading.

[heizuha-queen]

Hey, I really enjoyed your KPOP headcanons (the Gosho Girls desperately need more content like this since everyone just focuses on the boys)! I came up with some myself for Kazuha (because I love her) and you said you were fine with other people adding on so here they are. This is... kind a lot so it might be super long... Maybe you could copy paste this into a post if publishing the ask is too hard? I'm not sure if you'll agree, but I hope at least some of them are good enough for you to add to your headcanons haha

- Kazuha seems like someone who greatly values authenticity and honesty (she says what she means and honestly thinks after all). So I think she would be the type to always sing live and refuse to lip sync, even if her singing is not 100% perfect. She would rather make mistakes and have flaws than to not actually sing/fake it. To her, this is what makes it a true live - something where anything can happen and something can potentially go wrong

- Despite this, she is still upset at herself if she makes mistakes and will try to train harder to overcome them

- As a main vocalist, her technique is amazing, obviously, but she is a performance > technique (or performer > technician) type of person and she would sacrifice technique for performance value if need be (though obviously she would try for both)

- Similarly, I don't think she would like her voice to be over-edited (or with many effects) and she would prefer to keep it mostly raw, since that is more authentic and conveys her emotions and passion more (so keeping in things like breaths)

- Which leads me to the next thing. Kazuha would never become an idol if she wasn't completely serious, enthusiastic and passionate about music and performing (mostly singing). So her performances are always full of passion and rawness and you can tell she really enjoys performing and doesn't view it as a chore.

- Kazuha is an amazing performer with lots of stage presence. She's super expressive (and emotional) on stage and that shows in her dancing, singing and expressions. Although she's good at synchronising with people (aikido requires harmony after all), she adds a lot of little flairs that show her individuality (and slight improvisation rather than always completely following all the choreography), and sometimes she does this too much that it may slightly clash with/disrupt the synchronisation or overall harmony of the performance

- Despite this, I think she is still overall serious on stage/when performing, and doesn't give out too much fanservice since she's completely invested in the performance and focused on putting her absolute all into it.

- In fact, sometimes she can get too into it and be a bit too intense about performing that she can exhaust herself when practising. She has probably fainted from practising too much and losing track of time (see movie 21 with karuta). This is especially the case if she does not think she is good enough at a particular thing. She will keep practising that nonstop until she's satisfied, and will tend to start panicking if she doesn't improve to the level she wants. She tends to do less well when stressed like this.

- Japanese idols tend to have more of an emphasis on stage presence and interacting with the audience, and I think it's the same with Kazuha. She really enjoys concerts (over music/award shows) because she gets to interact more with the audience, and perform more /for/ the audience. She likes seeing the impact her singing has on people.

- I think her brand of beauty would be more natural (like in canon) so her stylists usually don't do /too/ much and she usually looks similar between performances and comebacks (eg, she usually doesn't drastically cut or dye her hair)

- She almost always wears her hair in a ponytail (with a ribbon) because it's an iconic look for her.

- When she doesn't have her hair in a ponytail, she always still manages to incorporate a ribbon somewhere because ribbons are /special/ to Kazuha ok (and are probably all treasured gifts from people

- I would say her singing style focuses on good emotional execution (she makes people Feel things ok) and high belting/power vocals while still maintaining good technique.

- Dancing? Pretty good but not as good as Ran, obviously. She seems to be the type to make up for any flaws in technique and strength (like how aikido's less strength-based) using passion. And she's the main vocalist so she usually doesn't get hard dance parts so that she can sing (esp since she sings live). And she'll sacrifice her dancing for her singing if need be.

- She's a fast learner though, so she learns lyrics and choreography pretty fast.

- In livestreams, she sings a lot and will allow people to request songs for her to sing acapella

- Probably one of the first to make a solo debut (if she wants) because her singing abilities allows her to carry entire songs by herself. Her songs will be very vocals-focused rather than dance-focused. Does a bunch of collabs as a solo artist too

- Covers a lot of Japanese songs, including traditional Japanese songs because her family is pretty traditional (and she fits that theme). In fact, she may be skilled in enka and traditional Japanese folk singing (kind of like the caller in karuta - like if you remember in movie 21, there's someone that kind of sings out the poems)

- Kazuha acts really authentically. She doesn't put on a stage persona or act differently just because she's a celebrity (she can't anyway, even if she tried. She would probably break character really easily)

- Probably cries at concerts all the time

- Probably best at cuter and fresher concepts, but she can also be powerful

- Puts so much emotion into her singing (especially with emotional songs) that sometimes she herself can become overwhelmed with them. She has probably broken down or started crying while performing a particular emotional song.

- A theatre (takarazuka) fan! So you better believe that she incorporates musical theatre techniques into her singing and performing.

YES YES YES AND YES! I honestly had all these headcanons as well, but I didn’t post them because I didn’t have more headcanons for the other girls and it wouldn’t be fair to give Kazuha more.

But omgggggg I agree with you with EVERYTHING! Love this

[suntrastar]

abstract: chapter 3

 chapter 2!! you can also read it on ao3 :)

Pairing: Bucky Barnes x Artist!Reader

Summary: Wait- Bucky Barnes attends your art class? And you didn’t even recognize him?

Word Count: 9520. i am deranged. someone euthanize me i beg you.

Author’s note: jesus fucking christ. this is so long for no reason. probably kind of poorly written. that is okay though. i really really appreciate the support you guys have given me for the last 2 chapters!! i was a bit iffy about joining tumblr but i’m glad to be here now :) please comment and reblog!! i appreciate it so much!!! ily all ok now enjoy this mess!!!

“You want to paint me?”

Rina looks at you, shocked, mouth agape, lone cherry tomato speared on her fork.

“Yeah,” you say, and smile with your straw still in between your teeth. “You in a field of flowers.”

“You want to paint me in a field of flowers?”

“Yes- that’s literally what I just said.”

The bustle of the restaurant is loud enough to drown out the rising volume of her voice. Thankfully. She’s being excessive, again- as if this is the first time she’s ever been the center of attention- but you’re fine with it today. You almost like it.

Today, her enthusiasm is almost contagious.

“I know,” Rina says “Duh. But, like, it’s just so crazy to me that you want to put me in your second solo show ever- I mean, why me?”

“Because,” you say, and almost leave it at that, just to mess with her. “Because you’re my best friend, and the whole thing is focused on people I know. And your hair would look so good with poppies, and-”

“I’m your best friend?”

“Obviously,” you say, even though to her, it might not be that obvious. “Who else?”

“That is so sweet,” she says, and leans back in her seat, dramatically clutching her hands over her heart. Rings sit on each of her fingers, gold and heavy stone. “You are too nice to me.”

She’s really milking it. But you’ll let it slide.

Rina gives you a self-satisfied smile, which you return without too much trouble. She’s so overwrought and showy with how she sits, limbs sprawled all over, like they’ve been blown into disarray by the wind. Her hair, still glossy red, is parted down the middle and made up in two French braids, tips just barely brushing her shoulders. The hair ties don’t match.

She has no best friend. She probably has, like, five other people just like you, who she calls on when she feels like it, whenever she wants company, when she feels like humoring someone. Or when she wants someone to listen to her talk.

It comes as part of the lifestyle- can you really blame her?

“I know,” you say, veering back on topic. “Bucky gave me the idea.”

You do it on purpose.

Her eyes go wide.

“Bucky?” She says, incredulously. Like she doesn’t believe you.

The feeling of being incompetent comes quick in a flash, and it takes too much to put it away.

You’re not incompetent- his number is in your phone, after all, isn’t it?

“The Winter Soldier, I mean,” you say, and the words feel all wrong in your mouth.

“No . Shut up. You are not on first-name basis with the fucking Winter Soldier.”

“Oops,” you say.

Her jaw drops.

You’re grinning too hard. She didn’t expect this from you- you didn’t expect this from you! You take a bite of your food, some garlicky chicken thing you can’t pronounce the name of, to delay your response. It gives you time to think of what to say next.

Rina waits, stunned into silence.

“We’re… talking, I think,” you say. “I asked him for his number.”

“And he gave it to you?”

“Yep.”

There’s a story there, that you won’t tell her.

You texted him a day after class, on Tuesday. Was that too soon? You didn’t care, your mind was too muddled with so many other things- icy blue eyes and different techniques for drawing wrinkles and this week’s shopping list and the best color that went with orange-red, and the laundry that you still hadn’t done.

You were too giddy to get smart with it- all you sent was a simple Hey.

All he sent back was a simple Hi.

Then, once you had read over his message too many times, you turned your phone off and pretended it never happened.

It’s too nerve-wracking. And pointless. You’re going to see him on Monday again, anyway! There’s plenty of time to text him- everything doesn’t have to be so immediate- you’ll get around to it before then, for sure.

You just have to stop thinking so much.

“I cannot believe you,” Rina gushes, and from her expression, you believe her. “You’re all grown up! I am so proud of you. That man is delicious, I cannot-”

“Do not describe him as delicious, oh my god.”

You burst out laughing as Rina raises one eyebrow, filled in dark. Her eye makeup always kills. “Am I wrong?”

“Well… no, but…”

***

Steve leaves, but Bucky stays back at the end of class to help you clean up. Acrylics again, and it’s the second-to-last class, so you had finally brought out the canvas.

Canvas means more fun, but more mess. More paint splatters on the tables, more brushes with clogged-up bristles.

Bucky doesn’t smile as he says bye to Steve, and it makes you feel a certain type of way , but you stick to business. Cleaning supplies are pulled out, paper towels are ripped from the dispenser. Bucky starts on the tables while you roll up your sleeves and start the sink, preparing to start on the brushes.

God- these brushes.

If these brushes were washed incorrectly, you would cry. They’re new, and high-quality, and the bristles are still soft and not yet frayed or discolored, and the handles are made of thick, clear plastic, and they come in different sizes and styles, and you can barely believe it, but they all even have rubber grips.

They’re really nice brushes.

“You didn’t text me back,” Bucky says.

You wish the sink was loud enough to swallow all sound, swallow you up within it.

Still, you look over your shoulder, giving him a pained smile while he scrubs at a spot of dried paint. He looks back at you, but you can’t tell what he’s thinking.

Of course you didn’t text back- thinking less is way harder than it seems.

“I wanted to,” you say, “but I got nervous. Sorry.”

You turn back to the sink. It’s a little easier to breathe without having to look at him.

“You got nervous,” he repeats, voice still so unreadable.

Is he mad? He always looks mad, always sounds mad- you can’t ever tell if there’s anything behind it.

“Yeah,” you say, and shrug, like it’s no big deal at all, like you chicken out of things all the time, like texting is always such a cause for concern. “I didn’t know what to say. What was I supposed to say?”

“I don’t know.”

Ugh.

The sink water slowly circles the drain. You don’t look past it, only keeping your eyes on the sink and the remaining brushes- it helps calm your heart, a little. Bucky is probably on the last few tables. All of the paintings have been neatly propped up on the drying racks.

Bucky painted his entire canvas yellow.

You are so dumb.

“Um, okay” you say, shutting off the sink. The really nice brushes are all neatly piled up on the counter on top of a folded paper towel, washed and drying. “What if I was like, ‘hey, Bucky, after this class ends and I’m not your art instructor anymore, would you want to meet up sometime?’”

You turn back around and lean against the sink. It’s an effort that deserves applause- you look so collected, while your heart is beating way too fast, and Bucky, its forever opposite, just stands behind a table, spray bottle in hand.

Your hands are sweaty.

He nods slowly, and it’s a victory in and of itself- the action nearly has you weak at the knees.

“Meet up,” he repeats, voice low, like a halfhearted growl. Disdainful, kind of. “Like a date.”

You wipe your hands on your apron. It’s a totally normal, totally relaxed movement. But then you’re wishing that you wore something cuter- was this sweatshirt really the only thing you had? Do you not own, like, a blouse, or something? Didn’t you just do your laundry?

Fuck, you’re being annoying.

“We don’t have to call it that,” you say. “We can just… hang out. Eat something. Go on a walk.”

You say it casually, but honestly, you like nice dates. Dates at art museums, dates at fusion restaurants, dates at movie theaters showing indie films in foreign languages. Anything eccentric, haphazard. Spontaneous.

But you also like seeing him smile, and you like to talk, and you like to be listened to- and he is giving you that.

This is a different type of everything. It’s all upside down, inside out, twisted over in itself. You have to approach it all differently, maybe it’s because he’s too quiet or too famous or too dangerous or whatever the hell, but none of it matters.

What matters is that you want it.

You’ll realign your compass.

“Okay,” he says. “I like walks.”

“Great,” you say, and go on without hesitating, because long nights have you tired and hesitation is for the weak, “I like you.”

Bucky Barnes, real, unfitting name James, clutching dirty paper towels and a spray bottle, smiles at you.

It’s wrong, but you could just bite him.

A sudden, unprompted thought hurls through your mind- you want to paint him.

***

The last art class.

It was once long-awaited, but now, you’re actually sad to see everyone go.

You buy a tray of cookies. It’s the least you can do- everyone has been so nice to you, so respectful and cooperative. Everyone has made things fun. You don’t know if you were doing anything right, but it sure as hell has been enjoyable.

Crumbs might get in the paint, but’s a small price to pay.

“Knock yourself out,” you announce.

The tray is set out on the middle table. You forgot the package of napkins back at your studio, so you gesture to the paper towel dispenser.

Then you long for the kids in your Wednesday and Thursday classes, because unlike these people, they wouldn’t be looking so dead at the prospect of free cookies.

You shake your head and return to your perch, tucking your feet behind the legs of the stool.

Eventually the conversations trickle out, slowly turning the room warm and lovely and bright. You listen in, a little, savor it, and hop back up. There’s nothing to do- might as well make some idle chitchat, one last time.

Shonna uses a small brush to add purple highlights to the feathers of a pigeon. It’s gorgeous- and you don’t even like pigeons- but you like her painting style and the jewel tones she’s adding amidst the grey, and the orange beak, and the washed-out yellow background she’s painting over.

“Wow,” you say, and she adds another purple highlight with a flick of her hand. “I cannot stop looking at this pigeon.”

“Thank you, honey,” she says, without looking up.

She’s too focused for you to stay for too long- you have to leave the pigeon for others. Marcie waves you down and gives you the latest update about her son, abandoning her half-painted rose while she launches into a bit of a tirade- her son wants to pierce his nose, isn’t that ridiculous?

“Hey, I wanted to pierce my nose when I was his age, too,” you say, and spout something about self-expression that makes her frown.

Ahmed chimes in. You have no idea what the blob he’s painting is supposed to be, but you like it. “I’ve been trying to tell her the same thing! These kids are modern now- these are just the things they do!”

“These are just the things we do,” you echo.

Marcie heaves a heavy sigh.

***

You head over to a few more tables, and it goes by too fast and too slow, but then you’re suddenly there in the back, with your star student, and your…

With Bucky.

“I really like how this is turning out,” Steve says proudly, as you approach them.

Then, he adds, almost childishly, “Don’t look until I’m done.”

He has a half-eaten sugar cookie sitting by his paint water.

“I won’t look” you promise, and all at once, you’re almost emotional- he is such a nice guy. He’s like the human embodiment of a golden retriever. “Don’t worry.”

Steve nods, pleased and nervous at the same time. You pointedly look away from the painting as you slide into a seat, across from Bucky and his yellow canvas.

Yellow and black canvas. He’s hunched over with a fat-bristled paintbrush in hand, adding black stripes, blobby and unevenly spaced, but still unbelievably straight.  

It is all so cute.

“Very bumblebee-esque,” you say, and his forehead creases. “I like it.”

Steve smiles.

Bucky adds another line. He didn’t take a cookie. He should’ve- the chocolate-chip is so good.

“Thanks,” he says.

And Steve just smiles wider, and you almost kick him under the table, and Bucky gives you an unsmiling look that turns you to jelly.

Hat aside, he is looking exceptionally pretty today. All hair and eyes and bone structure- it makes you want to do something, like reaching out and grabbing him by the collar of his jacket. Like running a hand over his jaw. Catching his stubble under your fingertips.

Parting his hair down the middle and French braiding it.

Taking a picture- it'll last longer.

“I'm going to miss seeing you guys around.”

Steve gives you a surprised look and shakes his head. He has one arm protectively curled around his canvas, even though you’re still not looking.

“Oh, I’m sure one of us will be seeing you around,” he says, and grins.

You glare at him.

Bucky laughs.

***

The goodbyes aren’t as bad as you thought they would be.

People leave with a simple goodbye and a brief thank you, shrugging on their coats and gingerly clinging to their still-damp artwork. Marcie makes you promise her that you won’t pierce your nose. One woman who would always come to the class with a huge coffee cup sets her painting aside to sweep you into a hug.

It’s very gratifying.

Steve and Bucky linger.

Shonna does, too, but for a completely different reason.

You want to give her Rina’s contact. She probably has some painting class available, if Shonna’s interested in that sort of thing, if she’s okay with being around so much personality.

And you also want to give her your contact- so she can keep on sending you pictures of those  birds.

“One sec,” you tell her, and reach for your purse, sitting on the counter.

Bucky is standing closeby, remarkably closeby, and you accidentally brush against him.

He goes rigid.

But you’re busy pulling out a pen and a scrap piece of paper, and then you’re using the counter as a hard surface to write against, shoulders angled away from him, and you’re talking all the while- you don’t have the spare second to be concerned.

“This is my email,” you say, adding a smiley face after the address. “Send me your art. And, like, talk to me. Send me your grocery lists, if you want- I don’t care. Here.”

Shonna takes it and gives you a smile. There’s a glimmer of something in it, a knowing.

“Thank you,” she says, and laughs a little, and you suddenly fiercely miss your mother. “I’ll keep the last bit in mind.”

She looks past you. Steve, standing a few feet away, holding the canvas he still hasn’t shown you, nods respectfully. And Bucky, standing near the counter, still near you, even though he’s looking at you like you’ve scalded him.

“I’ll leave you to it,” she says.

You almost ask, “to what?” But she’s already left- Shonna and her pigeons are gone.

Steve steps up fast to take her place.

You still have no time to think.

“So, this is the finished product,” Steve says with no preamble, and with a great flourish that makes you laugh in delight, he turns the canvas around.

Oh.

Wow.

You’re not dizzy.

But you will be, if you keep on looking at this- a tangle of vines on a wall, with blooming flowers in what should be the wrong colors, dappled in light from a window you can’t see, drawn from a strange perspective. The leaves are really big and the vines are really small, and then it’s flip-flopped, and he has a hot-pink underpainting that he didn’t fully cover, so there’s pink in the leaves, pink on the wall. Pink in the un-pink flowers.

“Fuck,” you say, and then go quiet.

Steve tenses.

Now you have two very strong men looking at you weird.

You should probably fix that.

“I don’t- I don’t know what to say,” you say, stumbling over your words, feeling cotton-mouthed. “There are no coherent thoughts going on in my head right now. I’m just- where did this even- how did you even come up with this?”

“I tried to do that thing you said,” Steve says, sounding uncertain. He shifts and the painting moves with him, sending pink flickering over your eyesight. “No empty space. Because it’s boring.”

What is this called, again? Artists supporting artists?

“It is boring,” you say in agreement, and your voice comes back to you, all at once. “And holy shit, you pulled it off so well. I’m obsessed with the pink underpainting- it’s everything. You literally invented pink. And can we talk about these vines? How long did it take you to draw them all tangled up like that? And the flowers- you even gave them little stems, ugh.  And all the colors! And this lighting- I’m sorry, I have too much to say.”

Like watching a flower bloom, Steve unfurls at your praise, blush deepening with each compliment. It’s so wonderfully endearing, and internally, you sigh in relief.

“Thank you,” he says, and bursts into the brightest smile you’ve ever seen. “Also, we have one more question.”

“We?” You ask, and Bucky clears his throat.

You turn to him.

Already, you have a whole slew of problems- you have to sketch out an emerging idea and place an order for new brushes, ones with rubber grips, and you have to cook dinner when you get home because lately you’ve been ordering too much takeout, and you have to organize your closet, and you have to give an adequate and peppy response to whatever Steve is about to say-

You’re bursting at the seams.

There isn’t much room for anything else. Any concern.

“You have something to say, Bucky?” You ask, and waggle your eyebrows.

He doesn’t crack a smile- just how you like it.

“I do,” he says, smugly, and then says your name in a way that ties your stomach up in knots, that has you thinking of flowers and chiffon.

“We were wondering if you’re free tomorrow,” Steve says, and then invites you out for drinks, for tomorrow evening.

So you’ve passed the initial threshold of friendship, and now you’re onto group drinking! That’s exciting- and you’ll get to see Bucky, and you’ll get to postpone that tedious process of planning out a date- a hang-out, and you’ll have an opportunity to show up in something besides jeans and sad sweatshirts.

There hasn’t been a chance to show it off to him, yet, but you can dress.

Steve mentions another friend named Sam, who might join, too, if that’s okay with you.

“I’m cool with it,” you say. “The more the merrier, right?”

He has to be a decent guy, if Steve associates with him, and you like new people.

But doesn’t Steve also associate with, like, Tony Stark?

That man is oh-so problematic. He rolls out with a new scandal every month. He’s had enough scandals that he could release a line of red-and-gold-themed calendars- with the dates of each scandal marked in. Each month could have its own photo, too, coinciding with the dates.

Tony Stark, making peace signs at a court hearing. Tony Stark, wasted on a yacht. Tony Stark, in the middle of an interview where he bashes people who have absolutely nothing to do with him.

“That sounds like fun,” you say, and Steve lets out a breath of relief, “but I have to ask, about Sam? Is he, like, a…”

An Avenger? A genetically-altered individual? A prominent public figure with a stupid amount of money?

“He’s a really nice guy,” Steve quickly says.

“He’s a pain in the ass,” Bucky says, immediately after him.

***

As it turns out, Sam Wilson is not a pain in the ass.

He is really nice, but more importantly, he is funny.

Bucky texted you the address a few hours ago. You walk into the bar and at once, you’re assaulted by an excess of dark- dark floors, dark lighting, dark accents on the decor. None of it is dingy, just low-lit. It’s a nice place.

It might be a little too nice- nothing like the sticky-floored, rowdy sports-themed bars you usually hit when you’re in the mood to get hammered.

You catch the back of a head, wavy brown hair and thick shoulders, in a booth tucked into the corner. Steve, sitting opposite him, against the wall, catches your eye and waves you over.

Next to Bucky is a guy you’ve never seen before, Sam. Black skin, close-cropped hair, looking over his shoulder to flash a grin at you. Even in a simple shirt, you can tell that he is built.

He’s an Avenger, then. Maybe.

You’ve just barely slid in beside Steve, and you’re grinning and making some dumb comment about the disaster that is the New York subway system, when Sam fixes you with a gleeful look and leans forward.

“It’s nice to finally meet you,” he says, casting a side-eye at Bucky. “I’m not joking when I say this- I was starting to think that Barnes made you up. He’s always doing crazy shit like that. Anyways, you will not believe why I’m actually here.”

You humor him, because why the hell not? “Why are you actually here?”

Already, you can tell that he has that vaguely-ironic, purposely-stupid sense of humor, which you always find absolutely hilarious. And you want to know what he means by crazy shit.

Bucky looks up at you for a few charged seconds, telling you something you can’t decipher, and then ducks his hand back down to stare intensely at his drink. Something amber, with ice cubes.

“I’m here to make sure that you don’t feel bad. Because these two fossils,” Sam says, and Steve winces, “can’t get drunk. But I can! So if you wanna get trashed, I’m game.”

Under the dimmed lights, Sam’s teeth shine perfectly white. All of Steve’s friends seem to have perfectly white teeth.

“It’s because of the serum,” Steve says, and you just gawk.

They both can’t get drunk?  

Because of their fucking superhero vaccine?

“What the hell,” you say, and rest your elbows on the tabletop. Bucky’s gaze follows your arms, starting at the hems of the sleeves, trailing up to your shoulders. “That’s so… Steve, if you can’t get drunk, then why are you torturing yourself with that beer?”

“It’s for the feeling,” Steve says quietly, blushing pink, and Bucky is still quiet, and you have a feeling that this has something to do with nostalgia, or World War II, or something. The good old days.

Sam catches it too, so he buts in, quickly bringing the conversation back to something less layered, less wired.

He’s a man with nothing to hide. He tells you who he is with no hesitation, without trying to skip over or disguise anything- he’s open. He’s a war vet, too, and now an Avenger- he’s the Falcon. He has, he says, a pair of fancy-ass wings. And the coolest outfit.

“Wait,” you say, and you’re suddenly dying to know, “what does it feel like to fly?”

His eyes light up.

“You know when you’re trying to sleep, and then you randomly get that feeling that you’re falling, and your stomach does that thing?”

“Yeah.”

“It’s like that, but you can control it. It’s fucking amazing.”

He launches into a whole spiel, talking your ear off about the feeling of high-altitude wind on his skin and aerodynamics and some science-y things you don’t understand, and you get your own beer and enjoy the sweet feeling of getting buzzed on a weeknight, and as the edge you constantly have on yourself shifts, the seats shift, too.

You don’t know how, but you end up next to Bucky, in between him and the wall. Not touching, but close. Sam is across from you and Steve is next to him, and all of a sudden they’re talking about Chex Mix.

“If the Avengers were Chex Mix pieces,” Sam says, throwing the word Avenger around casually enough to make Steve’s hesitations seem horrendously uptight, “I would be the garlic chip. The best part of the whole damn bag. Do you know what I’m talking about?”

“Yeah, those chips are definitely the best part,” you say, adopting a mock-seriousness. “And Tony Stark would be one of those knobby-ass, crunchy little mini breadsticks.”

Sam mirrors your expression, nodding gravely, like what you’re both evaluating is a highly intellectual subject. “I completely agree. And for Rogers- man, you’re a pretzel.”

You narrow your eyes. “Square or circle?”

“Uh,” Sam says, turning to survey poor, unprepared Steve, looking equal parts bewildered and embarrassed. “Square.”

“Great choice. And Bucky?”

“Bucky…” Sam hesitates, and the briefest smile flashes over his face before he schools his expression back into objectivity, “Bucky is one of those original Chex squares. Sorry.”

“That’s cold,” you say, and Sam smiles again, and leans all the way back in his seat, bringing his hands behind his head.

“He’s not one of the yellow squares, though- those are actually good,” Sam starts, grin growing wider by the second, and you can’t tell if it would be rude to laugh. “He’s not one of those squares with extra seasoning, either. Bucky is just one of the plain brown squares. The wheat squares, or whatever the hell. Have you ever, like- have you ever wondered what the sole of a shoe tastes like? Or the eraser on top of a pencil? That’s what those taste like- that’s what he is. Just one of the plain Chex squares.”

Your jaw drops.

A roast like that from a halfway drunk man is absolutely scathing.

Bucky just levels a glare.

He’s used to this, you think. Is that his crazy shit? That he never reacts to anything?

You’re definitely a little tipsy- this is obviously no time to get wasted, but the edge has certainly been taken off, the corners of your world having gone hazy. In a lull, you watch a well-dressed man standing by the vestibule doors lean past your field of vision and receive what you think is a kiss on the cheek.

Without thinking, you lean close to Bucky and cup a hand over his ear.

Maybe he won’t react, maybe he will, but you’re not going to give him the time for either.

“I think that you’re the garlic chip,” you whisper loudly, and you’ll probably cringe yourself into oblivion over it when you're sober, but you think he shivers- and then he snorts.

“Thank you,” he says, and Sam putters out, giving you an amazed look.

***

“Heyyy,” you say later, turning to Bucky, when time has passed and you’re no longer on the subject of Chex Mix and he’s still a little too quiet. “What’s up?”

He’s quiet and troubled, drinking what might be whiskey like it’s water. Is it whiskey? You didn’t think that people actually drank whiskey- just kept it around in crystal decanters and silver flasks to look cool, like they’re main characters in a movie.

“The sky,” he says dryly, like you didn’t say that same exact shit when you were in middle school, hopelessly thinking that it was the slickest comeback.

“Very funny, James,” you say, and he huffs, and you feel a brief flash of panic, and then you’re almost apologizing, when he grins.

You know maybe three whole things about him, but you’ll press yourself up against him right here and now, under the low light of a fancy bar, with rain sliding down outside the window panes, with his friends right across the table. You don’t care.

His friends can tell.

“We’ll be right back,” Steve says suddenly, making a very showy display of getting up with Sam. Both of them send you obnoxious grins and suggestively raised eyebrows.

Bucky glares. You can’t stop smiling.

“You kids have fun,” Sam calls, and you laugh.

Just you and him, then. The mood shifts fast, turning from one thing to… another. Bucky’s eyes reflect the window outside, falling dark and darker, and you’re slipping, too.

“You look really nice,” Bucky says, and his eyes dip down in the slyest fucking move- you’re almost proud of him for it, for having such game.

A spark of heat flashes through you, as he takes you in slowly, like he’s trying to savor it.

You opted for a slightly tighter shirt, and a pair of jeans, but they’re your nice jeans. The ones without any weird streaks of paint on the thighs. And you wear a beaded necklace, and in your ears, a pair of fun, delicate hoop earrings, dangling with charms in the shape of crescent moons.

“Thanks,” you  lean back, into the wall, letting your voice drop to match the tone of his. “You do, too.”

He just stares at you, unamused. Still dark, and dangerous.

Purple chiffon, you think, and marigolds. The flower was meant for another friend, but she’ll have to manage, because now, you can only see Bucky with marigolds, with no room for anyone else.

“So,” you say, before the silence carries on and makes you do something stupid, “Done anything fun lately?”

He tenses. Again.

There’s all these things that you know you can’t ask him, things about his job and his hobbies and his metal fucking arm, which you still haven’t seen- which you’re fine with, but, like. It’s the fact that he has a metal arm in the first place- he is so detached from everything you know, and you aren’t sure if you know how to navigate it all. You don’t think he knows how to navigate it, either.

He’s hesitant, you think. But not unwilling.

You’re just going to roll with it.

”I watched a movie today,” he says, sounding so smooth that your clutch on your drink wavers. His eyes are raking you over, cold.

Red marigolds. Not the orange ones. Red marigolds with the little golden borders on the edges of each petal.

“Which movie?”

He shakes his head. “I forgot the name”

“Okay, well, what was it about?”

“Talking dogs.”

You laugh and he smiles, and then you feel light enough to float. “Talking dogs?”

“Yeah,” Bucky says, and he takes a sip. His mouth is very pink. Layers, you think, layers and overlapping, to make the fabric look hazy. Washed-out. “They talk when their owners aren’t home.”

“That sounds right up your alley,” you say, and you’re giggly and he’s all smiley and maybe you’re being embarrassing, but whatever, because he’s looking at you like he’s never been smiley with anyone else before, and you really, really want to lean in.

You’ll wait.

***

Sam comes back with Steve a little bit later, but it isn't until you’re getting ready to leave when he brings it up.

“You’re good for him,” Sam says, while Bucky and Steve have gone to pay. Your drinks are on him- how chivalrous. “Honestly, you’re probably too good for him.”

You laugh as you shrug on your jacket. “Doubt it.”

“No, I’m serious,” he says, voice dropping to an urgent whisper. You realize at once that he’s about to say something heavy, something concerning. “He has been through some fucked-up shit. It’s not his fault, obviously, but it’s always there. He’s never going to get over it. Sometimes he doesn’t sleep. He just stays awake, for like, three whole days at a time. Sometimes he just disappears. He never tells anyone where he goes. Sometimes he does this thing where he-”

“I get it,” you say quickly, and he must be able to see your sudden dread, because his face softens.

“I’m not trying to scare you. I just want you to know- that that’s what you’re getting yourself into.”

“Thanks,” you say, and zip up your coat, and then pat your pockets even though you know you have everything, just so you have an excuse to not say anything. Sam gives you a long look, before sighing and pulling out his phone.

Obviously, Sam is trying to tell you that Bucky is damaged.

You’re not in the business of fixing things, but you’ll take him as he is anyway, because...

“Sam?” you say, and he looks up from his phone.

“Sometimes,” you start, and swallow down whatever anxiety is starting to surface, “Sometimes he’s being all quiet and moody and angsty and whatever, I get that same feeling that you’re telling me. But then, like, he just does something. Like, he’ll make a joke, or say something, and then it’s like-”

You struggle with your words- it’s like everything you want to say is there, but you can’t reach it. Sam slides his phone into his pocket, and Bucky is coming back, with Steve in tow, moon and sun, peas in a pod. You wonder if Sam makes their duo a trio, if he’s the third invitee to their slumber party, or if he’s just on the fringes.

“It’s like- It’s like, okay. Like, I know who he is and it’s all okay.”

He nods, and smiles at you, and you sincerely hope that he isn’t just on the fringes.

***

The paintings of your parents are finished- and they are good. So good. Every detail is there, every color. Every line. The wrinkles and the flowers and the lace neckline of your mother’s dress. Looking at them makes you feel so proud- it’s been forever since you were able to properly convey your thoughts onto canvas.

They’re big, too. Larger than life. You’ll have to rent one of those orange U-Haul trailers to transport them.

On a new canvas is Rina, only halfway painted. She looks good too, even though right now she’s just a head and a torso and two floating feet, because getting the colors on her legs right is harder than you thought. It’s tricky to paint the shadows and contours without her legs just looking bruised- there’s so many flower stems overlapping with the skin, so you don’t have a lot of room to work with.

You’ll figure it out.

You might be a little in over your head, actually. Confident- a little too confident. You don’t even have this painting done, and you’re itching to start on another. A possible recipe for disaster, but every time you have a spare second, in the shower or on the subway or when you’re trying to fall asleep, you find yourself thinking about it.

Not in bits and pieces the way most of your thoughts are, but a fully formed concept; a real, true image brimming with fullness, already starting to spill over into everything you do.

You have it all figured out. You know what techniques you’ll use. What composition, what colors.

You text Bucky.

Nothing crazy. You know you could scare him off, or maybe not, not anymore- by the end of the night at the bar last week, you sat next to him and bumped up against him and whispered in his ear, and right before you left he flicked the charm on your earring, watched it sway, and then he smirked- and you almost died.

You text him Hey, and then set your phone on the farthest surface you can find, pointedly avoiding it. Rina’s calves need attention- you have paint to mix.

Ten minutes later, your phone rings.

You can’t help it, you’re weak-hearted- you drop everything and dash to your phone, dodging your carts of supplies and hopping over a stack of toppled canvases that you never bothered to pick up, and pick up on the third ring.

“Hi,” you say into the receiver, slightly out of breath.

“Hi,” he says, and he sounds slightly out of breath, too.

“Um,” you say, and laugh a little, with the heady rush of nerves flooding in, “I wasn’t expecting you to call.”

“I called because I’m a slow texter,” Bucky says.

You feel so fluttery. When was the last time you felt this fluttery?

“Oh. That’s okay. I was just wondering if you... wanted to meet up sometime soon? Tomorrow, maybe?”

Tomorrow is Saturday, a day off. For you, at least- do Avengers get days off?

“Okay,” he says, and you swear he sounds pleased. You want to cut straight to something else. Skip, jump, leap over all of these steps, so you can get to what you really want to tell him. “I think I can do that. Where are we meeting?”

“There’s this little cafe we can… we can head there first, I’ll text you the address, but I have this idea,” you say, and wait for his invitation to continue, with your heart beating dangerously fast, thrumming like it might just burst through your ribs.

“What’s your idea?”

Thank you, you almost say, but don’t.

The steps are skipped, formalities disregarded- you just tell him.

It’s the perfect time- there’s that currently rare, pretty daylight that grows with each passing day streaming in through your windows unfiltered, blocked by no blinds or curtains. You pace a little, at first, right in the sun, and then sit down on a stool, toeing the smooth wood floors beneath, cradling the phone.

You start it off simple, with the marigolds.

Red marigolds, you specify, because you feel like you have to. Then you delve deeper, into chiffon and lighting and this thing you want to try out with layering, where two elements that overlap go by a completely different color scheme. Like, you say, like the flowers are red and the clothes are black, but the places where they meet are electric pink or orange or blue or something else unusual and distracting.

Save for the sound of his breathing, Bucky is quiet. You can tell that he’s really listening, probably sitting down somewhere and focusing on you, not doing some other task with your voice as background noise. He doesn’t interrupt when you go off on a tangent about the importance of natural lighting or contradict yourself with opposing statements on color choice, or when your words start to deteriorate, when they start pouring out so fast that they slur together and become less than coherent.

Your mind is going even faster- you can see the image even when you blink.

Something at the back of your thoughts tells you to stop, to slow down. You need to chill out.  

But the idea is so vivid, so you can’t- you don’t, not until the idea is totally exhausted and you give a final sigh and go quiet, not until after giving what could count as an entire fucking speech.

When Bucky speaks again, he sounds tentative.

“I… like it,” he says, and maybe he’s holding his phone at a bad angle, because his voice is quiet.

“You do?” You say, instead of asking something else, with a sudden bad feeling in your gut.

“Yeah. But…”

You know what he says without him having to say it.

It feels like you’ve been punched.

The picture behind your eyelids burns brighter.

“That’s okay,” you say in response to his unsaid words, speaking too late, so that it's obvious that it’s not okay.

Your heart is sinking, as if it has any right to, as if he’s in the wrong. How did you go from high to low so fast?

You scared him. You put too much pressure on him too fast- it’s exactly what Sam said, that he’s all levels of wary and weird, and little things can set him off, because of everything that he’s been through-

Even if he was someone else, though, even if he was normal, he would still say no- anyone would say no to being given such a request out of nowhere.

Well, Rina didn’t, but she doesn’t count in this situation, does she?

“Sorry,” he says.

That hurts worse.

“Don’t apologize,” you say quickly. “It’s not like it’s not going to work now- I mean, it’ll be fine. Are you still down to meet, though?”

“Sure,” he says, too late.

***

Bucky Barnes does not like anything in his coffee.

He takes it black, black like his clothes, black like his soul, black like whatever other emo shit you can come up with.

It’s not that funny anymore.

Still, you keep up with it- you’re funny and talkative and charming and everything else, because you don’t know what else to do. The subject will be broached, it’s inevitable- you’ll broach it, even, but you still have to figure out how.

He’s subdued. And wearing his stupid hat, again, and you would give anything to knock it off so you could really see him, and he’s cautiously cradling his mug in a way that makes you ache everywhere.

The cafe is busy and decorated with a specific aesthetic, one that you would call manufactured bohemian. Potted plants and quirky photographs and drinks that all have fancy and ridiculous names. The baristas wear yellow aprons, and if you have a membership card, every tenth purchase gets you a free sugar cookie iced with a smiling sun.

Your cappuccino foam is dissolving. Sometimes, even though it’s mostly tasteless, you swipe it up and eat it with a spoon. Today, it seems like a bad idea- frivolous in the face of his silence and your unmotivated charisma and this stupid idea lingering between you two, like a friend that’s overstayed their welcome.

“I’m sorry,” you blurt out, and wonder why you feel so jumpy for saying it. “For bringing that thing up yesterday.”

To your own credit, you still sound confident.

He looks at you so darkly that you wonder if you should be afraid. Have there ever been others in your seat, afraid?

You’re not afraid.

“It’s fine,” he says, and continues staring at you like it’s not fine.

“I’m just- I was just thinking out loud,” you say. You feel like you have to explain yourself, prove something to him, so that you won’t wilt. “It was just an idea that I thought could be cool. I told you because, no , wait. I mean, I know that I- fuck. I’m sorry that it made you uncomfortable. That was really dumb of me.”

He tilts his head, eyes sliding over, and you shiver.

He looks bored.

Which is unnerving and terrifying as hell, because you have this carefully hand-crafted, precisely-cut image of who you are supposed to be, and it is not meant to be boring in the slightest, but he's bored, and you’re going to lose it.

“I said it’s fine,” he says, monotonously, giving the sudden impression that he’s about to leave. But he’s just sitting in his seat, unwrapping his hands from his mug and setting them on the table, while your hands are on the verge of shaking. “It didn't make me uncomfortable.”

If that was true, then you wouldn’t be having this conversation in the first place. You wouldn’t be stumbling over yourself to say something so simple.

It takes considerable effort to keep your gaze steady. “Okay. But I still- I just want to say a thing really quick.”

“Say it.”

He’s being mean.

But this thing has been eating at you for a while now, so you don’t care.

“Um, so, we’re really different people,” you start, and before you second-guess it, you adopt your speaker voice, the teaching voice, the smart one. He has to know this about you- you’re smart. “And you obviously have all of your own things going on in your life that I can’t even imagine, and if you ever want to, like, talk about it, I’m here, but I also don’t care.”

He raises an eyebrow.

You push on.

“Like, it’s not important to me. If you want it to be, then it’ll be, but if not, then it’s whatever. I'm not- when I see you, I just see you. Does that make sense? Like, I don’t really think of any of that other stuff? If I’m supposed to, though, I’m sorry. I… I don’t even know what I’m saying.”

You don’t get nervous often, but you let out a small, nervous laugh.

It’s like your heart and head and lungs are suspended, frozen in ice while he takes your words in. The door to the cafe chimes and a large group of people step in. Middle aged women, all wearing athletic clothes. Devil’s ivy grows on the wall farthest from you- how chic- with vines snaking forward in your direction, reaching for you in green and streaky white.

He smiles.

All you see is teeth and creased eyes and a low, uncreased brow- you want to kiss him.

“Tell me the idea again,” he says, and leans back in his seat. He crosses his arms, and you watch his forearms shift and strain against his shirt, and then you clear your throat and look away and try to focus.

You inhale and gather everything, hoping that this time, you’ll be able to make it make sense.

***

One thing spirals into another. Your words were building and building, rising like a crescendo, overwhelming you to the point where you just said it outright, and-

He’s now in your apartment.

He is literally in your apartment.

You watch him survey the area- the clutter, the mismatched furniture, the crooked posters and photos and artwork hung up on the walls. The subpar paint on the walls that you didn’t choose, the cabinets made of old wood with newly replaced handles.

The entire place is creaking, becoming worse for the wear with each passing day. You could probably afford nicer, but it doesn’t matter, because you love it here- you’ve formed an emotional attachment that goes beyond sad paint and constant repairs. Your home is cozy.

But right now, with Bucky in here, it’s suddenly cramped.

“I want you to sit over here,” you say, and facing a great window, rounded on top with those gorgeous little decorative swirls, which is your favorite part of the whole place, is an armchair. It’s a steal you found at an antique store, with little tassels lining the back of the seat, upholstered with the tackiest floral print you’ve ever seen, but it’s perfect for what you’re trying to do.

The sun is shining strong and unfiltered- he’ll be lit up.

Bucky sits. He looks on edge, and beautiful.

You want to make this easy for him. But you might be too swept away in him to make any efforts- you’re still in shock that he agreed to this in the first place, so disoriented with him being here, in your place, that your trains of thought keep on derailing.

You’re closer than you wish you were, closer to losing it.

“Perfect. Give me one second.”

You go to your room, which isn’t really a room but a sectioned-off alcove with a bit of wall blocking it from view, no door- weird architecture, but whatever, to retrieve your supplies. Tape and the neatly folded swatches of fabric and your camera.

Photography isn’t your thing, but you need reference material.

When you return, he’s looking pensive, and dazzling. His arms fall tensely on the sides of the chair, but his hands dangle so gracefully, and the light catches his face and colors it golden- you are going to lose it when it comes to painting his eyes. They’re blue, but you see them as suns.

“You look great,” you say, and he blushes. You’re ready to pounce, right now.

The fabric is a little bit awkward. It has to be draped upon him- Bucky bristles at your actions in a way that tells you he’s never done anything even remotely like this before, but you persist, and he lets you.

“Get out of the chair really quick.”

“Okay.”

Bucky gets out of the chair. You hop up on it, to tape the corners of the fabric to the ceiling. It’s a flimsy attempt, but they hold and flutter just fine.

He takes you by the hand to bring you back down.

“Careful,” he says, as you make the daunting two-and-a-half-foot descent, and he squeezes your hand in his gloved one before you make him sit down again.

You are buzzing with electricity. Another point to him- that was smooth.

The loose ends of the fabric are tricky, You try at first to tape them to the back of the chair, moving back behind him to reach. Bucky’s head stays perfectly still, and the chiffon looks wrong. It looks weirdly stiff.

So you drape one on him like planned, sort of dripping down his shoulder in a bunched-up purple river, and let the other hang freely, swaying a little from the fragility of the tape.

You move back around to face him.

“This is perfect,” you say, and grin, because this is finally happening. “You look perfect.”

He’s staring all intensely again. You want to come close to him, tell him how lovely he looks, straight out of a dream. You’re so pretty, you almost say, but you have some semblance of rational thought left in you- and so you stay quiet.

The camera dangles from its strap around your neck. You take it in your hands and power it on. The settings are adjusted, and you fiddle with the shutter speed and focus and everything else before bringing it close to your eye, expecting this dream-

He’s all tense, again.

It’s the lens, you immediately think, even though that doesn’t really make sense. You look like- you look like him when he does his things. Lenses and targets and crosshairs. How is this thought so immediate?

You’re just trying to take a picture.

“Relax,” you say, and it does absolutely nothing.

“I am relaxed,” he bites out.

He’s really not. There’s something shifting in his face, something discontented, a brewing storm. His hands are starting to harshly curl into the armrests, digging at the upholstery, distorting the flowers.

The chiffon looms.

“Fix your hands. Like, move them- no, turn them back,”

You’re stooping over to fully capture him, almost ready to take a knee.

His hands flex and stay as they are, stressed and taut and not right, and the rest of him is still so-

You bring the camera down.

***

He’s in this ugly chair, surrounded by fabric, and you’re pretty and wearing a pale pink sweater, and you’re aiming a camera at him, for a picture, but he feels like a target.

White-hot adrenaline and cold and dark dread pull at both sides of him. He feels like a total mess.

Is this they all felt- how they all feel, when he is aiming at them? He tries to do things differently, now, but the tragedy still takes place, the trigger is still fired- the deed is still done. Karma, he thinks, retracing its path, coming back to bite him through you.

You’re frowning. He wants to apologize.

You take the camera down and let it dangle from the strap at your neck. He just had your hands in his- he wants them back and wants to get as far away from you as possible.

“This isn’t working,” you say, and straighten back up, placing your hands on your hips. You look powerful, and he might be trembling from clenching his jaw so hard. “You are not relaxed.”

“I’m not,” he agrees, and you sigh and fix him with a look that isn’t pity- he’d bolt if it were pity, but steely resolve.

You take the camera off your neck, and gently bend over to set it on the floor. Then you sit down beside it, wincing as your knee makes a noise, and giving him a bemused little smile that he wants to just-

Your head level with his knees as you sit, cross-legged. Hands splayed over your lower thighs, careless and carefree. Your posture slouches a bit, relaxing the way he is not, and it's relieving.

His hands grip the chair like a lifeline.

“Why isn’t this working?” You ask, more yourself than him. “You were so- nevermind. Or, Let’s… um, wait. Maybe- Can I?”

He’s always thought of you as so put-together, a born speaker, but now you’ve been stammering and stuttering all over his heart, and he doesn’t know what to do.

You reach out with your hand, hesitantly, wavering. The scar smiles pink.

He nods- his head nods, his body is moving outside of itself, and he feels sheltered and exposed, nearly covered in purple fabric and vulnerable and sitting above you, all of him bared for you to see. Hot and cold.

Your hand goes on his knee.

He’s so alarmed that he almost lashes out- he wants to think, but you’re giving him no time to-

Your other hand is reaching out, tugging at his own, and you bring yourself up to your knees and lean back on the balls of your feet, balancing. Your head is still below his chest and tilted so he can’t see your eyes, and you’re holding his hand like it’ll break.

There’s a dry-erase board fastened on the opposite wall, next to all of the other eclectic clutter. It’s filled in with a to-do list- the words COOK SOMETHING are scrawled at the top in angry red marker. He focuses on the words as you play with his fingers.

You gently trace a thumb over the ridges of his knuckles; he’s suddenly so ticklish that he flinches and chokes on a word that he doesn’t know how to say.

You nudge his hand over to the side, drape the fingers down, and your other hand is still burning his knee, setting him alight-

You’re molding him. Setting him to look how you want, manhandling him in the softest way possible. Should this feel violating? Rude? It feels good- purposeful. He’s letting you do this, and his heart is beating hard, but he can still hear your breathing and his breathing and the white noise of the traffic on the street below, stories away.

You take your hand off his knee, and nudge at his left hand, and he thinks now, how fucking stupid this is- if it’s his fucking hand, why does he wear this stupid fucking glove?

He goes to work it off and you understand, and if he wasn’t wanting so badly to be still for you, stay here as you take your picture, he would grab you by the necklace you’re wearing and drag you closer.

The glove is pulled off and dropped to the floor and the silver of his hand winks in the sunlight.

“Oh,” you say softly, and there’s a crack in your voice, and his voice would crack too, if you asked him to speak.

There’s this look on your face. He doesn’t know if you want to hold his hand or kiss it or put his fingers in your mouth, it looks like all three and he is all unfurled, too, because he is sitting back in this ugly armchair and you’re holding his hands again, and you’re backlit by the sun- like a vision sent straight from the sky.

You fix his hands.

This feels intimate- more intimate than kissing, or anything else. This feels like skipping steps.

After a moment, you pry your hands off of his, and lean back.

Wordlessly, you take the camera and stand up, and you fiddle it and back up, back to where you were at first, far away. Then you’re bringing it close to your eye, looking at him through a lens, and the shutter clicks once, twice.

You bring it back down.

“You got it?” He says, and his voice sounds rough- he sounds parched.

You look at its little screen and bite your lip. “Yeah.”

“Can you come here for a second?”

You look up at him and he’s glad that he couldn’t see your eyes before- they’re dark. “Yeah.”

The camera is tossed to the side, again, and you walk like you’re floating. The steps have been skipped, but Bucky will have to go back to them anyway- he doesn’t like to leave any stones unturned-

And so he waits until you’re close enough, and then tugs you down by your sweater- he doesn’t want to hurt you, and he’s reaching and reaching-

You laugh or smile or do something else sweet, but he’s too caught up to tell. He pulls you down to him, and surrounded by you and sunlight and fluttering purple chiffon, he kisses you.

[letterboxd]

Lonesome Cruiser.

Blockbuster composer Tom Holkenborg, aka Junkie XL, talks to Gemma Gracewood about composing for titans, his pride in Dutch cinema, friendship with George Miller and longing for Olivia Newton-John. Plus: his Letterboxd Life in Film and why he’s selling his prized collection of recording gear.

It has been a spectacular spring for Tom Holkenborg, the Dutch musician also known as Junkie XL, who has crafted the scores for multiplex fare such as Mad Max: Fury Road, Deadpool, Terminator: Dark Fate, Sonic the Hedgehog and the upcoming zombie banger Army of the Dead. Only weeks apart, two blockbusters landed on screens with his sonic stamp all over them: Adam Wingard’s Godzilla vs. Kong and Zack Snyder’s re-realized Justice League.

Thankfully, the Godzilla vs. Kong score was complete by the time the Justice League telephone rang. Holkenborg—who had lost the Justice League gig along with Snyder the first time around—knew the Snyder cut was coming; he had closely watched the growing calls for it online. “Zack and I already started talking in 2019. He’s like, ‘What if we were to finish this? What would it take?’ Those conversations turned to ‘Well, how many recording days potentially do you need and how much of an orchestra do you potentially need?’ Finally, somewhere in April 2020, that’s when that phone call came: ‘Okay, light’s green, start tomorrow, and start running until it’s done because it’s four and a half hours’.”

Ray Fisher as Cyborg in ‘Zack Snyder’s Justice League’.

Holkenborg approaches the titanic task of blockbuster film scoring with an engineer’s mindset: “Building a fantastic, huge house with 20 bedrooms and the dance hall and the kitchen… You’re not going to start by building the third bathroom for the third guest room, right?” Once he has identified the scenes that are most important to his directors���for Snyder, they included the introduction of Cyborg, three fight set-pieces, and a scene of The Flash running that comes towards the end of the film—the composer identifies instrumental “colors” in order to build a theme around each character. Then he holds some of those colors back, theorizing that “if you want like an, ‘Oh!’ experience by looking at a painting that has a huge amount of bright yellow in it, it’s way more successful to see fifteen paintings in front of it, where yellow is absent.”

The Godzilla vs. Kong score satisfies Holkenborg’s life-long love of both characters. “I don’t have a preference for either one. I love them both for various different reasons.” Their respective histories fascinate him: Godzilla as a way to make sense of Japan’s nuclear fall-out, and Kong as a gigantic spectacle that ended up attracting the sympathies of the audiences he was supposed to scare. Even when the science makes no sense (“what the fuck are plasma boosters, anyway?!”), Holkenborg is still happy to wax lyrical about the emotional depth of Kong’s stories, the elaborate concepts of the Godzilla-verse, and his musical approach to the pair—dark, moving brass for Godzilla, with synthesized elements “because he is a half-synthesized animal”, and a more organic, complex orchestration for Kong, featuring “one of the world’s bigger bass drums”.

Adam Wingard’s ‘Godzilla vs. Kong’.

All of this seat-shaking bombast is composed on an “insanely massive sound system” in Holkenborg’s small home studio (though he reassures pandemic-stricken film lovers that he has recently seen both Godzilla vs. Kong and Justice League on his laptop—and “really enjoyed watching it like that”). The process, he says, was “pretty intense”, but only in terms of the sheer amount of score needed. Composing in quarantine was not much different from his usual workflow. “I’m a pretty lonesome cruiser anyway. Composing, by nature, is like a solo exercise—obviously with assistance.”

Like many creatives (Bong Joon-ho recently told a film studies class that he is up at 5:00am most days to watch a movie), Holkenborg is an early riser, waking by 4:00am. “I’m super sharp between like 4 or 5:00am and 9:00am, so I like to do a lot of creative work in that slot.” He takes care of business until mid-afternoon, when another creative spurt happens. “And then I have another batch of calls usually to make, and then around 8:30pm, I’m going to retire for the rest of the day and just chill out a little bit and watch stuff that I want to see, read things that I want to read. Right now I’m studying Portuguese.” By 10:30pm, he’s asleep. “And then at three o’clock I get up.” (Needless to say, Holkenborg’s children are no longer small.)

The pandemic simplified a lot of things for a lot of people: for Holkenborg, it has been a moment to tidy up the physical side of his work. In November last year, he opened an online shop to divest the bulk of his gear—synths, pedals, guitars, drum machines and much more—that he has been collecting since the late 1970s. When friends told him he’d regret it, he disagreed. “At some point I’m going to die. I can’t take them to the afterlife. I also found out I don’t need them. I love to have them around, but I don’t need them.”

Tom Holkenborg with the bass drum used in the ‘Godzilla vs. Kong’ score.

It certainly solves the question of what he’d take if his house was on fire. “The hard drives with sounds and music over the last 40 years, 45 years, that’s hard to replace. So, that would be it. I’m just thinking about things that are absolutely irreplaceable and there are not that many, really.” Alas, it’s bad news for that bass drum. “I can’t take that with me when the house is on fire. Unfortunately, it’s going to make the house burn longer.”

Anyone who has interviewed or spent time with Holkenborg will agree: he may be a lonesome cruiser, but he is also personable, funny, loves to settle in for a chat. As he lights his second or third cigarette in readiness for his Life in Film questionnaire, I’m curious about his relationships with the esteemed filmmakers he has worked with—who include his mentor, Hans Zimmer, directors Sir Peter Jackson, Tim Miller, Robert Rodriguez and, especially, Fury Road’s George Miller.

The story of how Holkenborg scored Mad Max: Fury Road bears retelling: that George Miller did not want a soundtrack (“he was convinced that the orchestration of sounds of the cars would be enough to carry the whole movie”), that Holkenborg was only brought in to create a little something for the Coma-Doof Warrior’s flame-throwing guitar, that they hit it off, the job grew, and grew, into a score that covers almost the entire film.

The Coma-Doof Warrior in ‘Mad Max: Fury Road’ (2015).

What is his best memory of Fury Road? “Well, obviously, when I saw the movie for the first time and I was like ‘what the hell am I looking at?’,” he laughs. “What I mostly look back on is the friendship that I developed with George and the film school one-on-one that I got admitted to, while being paid at the same time, to study with somebody like him. We would talk all night about all kinds of things and nothing, because that really defines our relationship so much—a joint interest in so many different things.”

Happily, Holkenborg and Miller are working together again, on Three Thousand Years of Longing. “It’s really great to be in that process with him again. It’s just like about pricking each other with a little needle. It’s like, ‘Oh, why are you saying that?’ We do that with each other to keep each other sharp. ‘Oh, but if you’re doing this, I’m going to be doing that.’ And then, ‘Oh, if you’re doing that, I’m going to be doing this.’ So it’s really interesting.”

What is your favorite Godzilla film?

Tom Holkenborg: 1989’s Godzilla vs. Biollante. It’s a very obscure one where he’s basically fighting a giant rose. Let’s not look for the logic there.

Why has that particular Godzilla captured your heart? It’s so corny. Yeah. Mothra vs. Godzilla is also great. Mothra looks like a very bad Arabian carpet that was imported through customs and it got delivered by FedEx completely ruined and then laid outside for like four weeks in the rain.

‘Godzilla vs. Biollante’ (ゴジラvsビオランテ, 1989).

What is the first film you remember seeing in a cinema? Bambi. I was six years old, yeah.

And is there a film you have fond memories of watching with your family—a movie that became a family favorite? Not, like, a family favorite because our opinions were too diverse for that, but the next movie that became very important to me when I was a little older was Saturday Night Fever. I thought the soundtrack was, like, groundbreaking, mind-blowingly insane. It’s not necessarily those three massive beats of the Bee Gees on there, but all these other really alternative, left-field tracks by bands like Kool & the Gang. And the way that that darker disco music played against that really dark movie about what it’s like to live in New York and become a competitive dancer, it’s incredible. And still, today, it’s one of the movies where film music and the film itself had so much impact on me, even though it’s not a traditional film score in that sense. It’s incredible.

What is the film that made you want to work in movies, given that you also have a whole musical career separate from movies? (Enjoy Junkie XL’s early 2000s remix of Elvis Presley’s ‘A Little Less Conversation’.) For me, the move from a traditional artist into film scoring was a very slow gradual process. There’s not one movie that pushed me over the cliff. It’s just, like, all the great movies that were made. And I still have a list of obscure movies, classic movies that I need to see.

Yesterday I saw the weirdest of all, but I do want to share this: the original, uncut R-rated version of Caligula, [from] 1979. He [director Tinto Brass] was notoriously brutal and he organized orgies and had terrible torturing techniques. But it’s really weird, there’s Shakespearean actors in there, and then it goes to full-on porn sections. It’s really weird. The music is incredible. You can find it online. You will not find it anywhere [else]. I can just imagine what this must have felt like in 1979 when the film came out. Suspiria, that’s another one. It’s just like, how weird was that thing?

What is your favorite blockbuster that you did not compose? Ben-Hur. I’ve seen that one at least 20 times.

What’s your all-time comfort re-watch? The movie I’ve seen the most is Blade Runner. It’s just, like, it’s a nice world you’re stepping into, that fantasy. It’s not necessarily because I have memories [of] that movie that brings me back to a certain time period, it’s not that. It’s just that I just love to dwell in it. It feels a little bit like coming home. You can use it as comfort food, you can use it as, “I’m not feeling anything today”, or the opposite. You feel very great and you feel very inspired and it’s like, “Oh, let’s go home and watch that movie again.”

Terrence Malick’s ‘The Thin Red Line’ (1998).

Hans Zimmer has been an important mentor to you. Do you have a favorite of his scores? Yes, The Thin Red Line. It’s also the filmmaking of Terrence Malick—he forces a composer to think a certain way. He would always say, “It’s too much, make it less, make it smaller, make it this, make it that.” So, A, it’s a very good movie and B, he got Hans into the right place and Hans just over-delivered by doing exactly the right things at the right time and then shining just because of that.

Who is a composer that you have your eye on and what is one of their films that we should watch next? It’s so sad to say, but I mean, let’s call it like a retrospective discovery if you will. I’m so sad that we lost Jóhann Jóhannsson. He was a composer I felt really close to. We started roughly in the same time period making our way in today’s world. Also, Jóhann came from an artist background, even though it was a modern classical background. He made really great records, great experimentation with electronic elements, with classical instruments, and the mix between the two of them—very original way of looking at music. With Denis Villeneuve as his partner in crime the movies that they did were just mind-boggling good, whether it was Sicario or Arrival or Prisoners, and his voice will truly be missed among film composers. So people that are not super familiar with his work, I would definitely check it out.

‘Turks Fruit’ (Turkish Delight, 1973).

What is a must-see Dutch film that we should add to our watchlists? Holland has small cinema, but it has a really rich cinema and a very serious cinema culture. Usually because there’s not enough work in film, people are serious stage performers but then they also act in movies so they understand both really well. And we’ve delivered. There’s a string of actors that make their way to Hollywood or star in well-known series, whether it’s like Game of Thrones, or what we just talked about, Blade Runner. Many directors like Paul Verhoeven, Jan de Bont, the cameraman.

And so a movie that I’d like to pick is an old movie, called Turks Fruit (Turkish Delight) from the 1970s. Rutger Hauer is a younger guy, like, this completely irresponsible guy that starts this relationship with a really beautiful young girl, and they do all these crazy things, they do a lot of drugs and they have a lot of sex. He’s just like a bad influence on her.

Then he finds out she [has] cancer and it’s terminal. And to see him deal with that, and to see him want a change, but also in that change he does a lot of bad stuff at the same time… It was a sensational movie when it came out. And it actually was directed by Paul Verhoeven, one of his earlier films. When you see it, you’re just like, ‘Why am I watching this?’ for the first 45 minutes and then it starts and it’s like, ‘whoa’. So it’s really good, even in retrospect.

Olivia Newton-John and John Travolta in ‘Grease’ (1978).

What is the sexiest film you’ve ever seen? When I was super young, it was definitely Grease, with Olivia Newton-John, when she was in her catsuit at the very end of it. I had her picture on my bedroom, above my bed sideways because I was only like ten years old or something. I was so in love with Olivia Newton-John. It wasn’t the film per se, it was her. Yeah, I find, personally, movies from the ’70s to be more sexy, but it has something to do with the super-loose way that people were dressed and people were behaving.

And the other one was later in life: Basic Instinct. Sharon Stone. I’m not talking about like the famous shot, right, where she crosses her legs. I’m not talking about that, but the way that she acts throughout the whole movie. It’s insane. It’s really great.

Are there any films that have scared you? Like, truly terrified you? Yeah, I’m not a big fan because I get sucked up too much in it. The found [footage] horror movies like Paranormal Activity and things like the Japanese version of The Grudge, I cannot watch that stuff. That gets me too much. Because when I watch a film, I cannot watch it with one eye half open, the other one closed, like, ‘Okay, kind of cool, interesting’. I just get sucked into it.

Is there a film that has made you cry like no other? Oh yeah. Multiple. Once Upon a Time in America. The Godfather. Hable con Ella (Talk to Her). Betty Blue.

Thomas Holkenborg, AKA Junkie XL.

These are the films that make you weep? Not like on a regular basis, but I remember those were the ones that I really got hit. I’m talking particularly about the third Godfather. That whole end scene when they get out of the church and then… It’s really well-acted. So many Godfather fans that were dismissive of the film when it came out, in retrospect, ten, fifteen, 20 years later, are like, ‘it’s a really good film’. And I actually think so.

Final question. Is there a film from the past year that you would recommend, that you’ve loved? [Long pause.] The thing is that I watch pretty much a movie a day. So, that’s like three to four hundred movies. It [has] happened so often that I watch a film and then I’m just like an hour and 45 minutes in, it’s like, ‘wait, fuck, I’ve seen this thing before’.

So, we have an app for that… [Laughs.]

Related content

Junkie XL’s Letterboxd Life in Film list

Freddie Baker’s review of Justice League

Dutch Cinema: Danielle’s extensive list of more than 2,000 films

Letterboxd Showdown: The Perfect Score (best film scores)

The official Junkie XL Reverb Shop

Follow Gemma on Letterboxd

[oh-theatre]

Consistent

A/n: HI HEY I WROTE FOR THE INTRUALITY BFFS AU I HOPE YOU ENJOY! Uh basically just a few things from across the au, its probs confusing so ask me questions :DD and ill answer. But ye! Let me know if you want more okay BYE IM SORRY ITS BAD ENJOY

Words: 1860

Warnings: Swearing, kissing, therapy mention

Pairings: Logicality, Demus, possible prinxiety

Summary: Just some moments from across the Intruality bffs au!

“Elevate a little higher!” Remus sings, Patton chuckles but nudges him to quiet as weird looks glance their way. Apologizing with his eyes he continues working away, Remus whispers next to him, bobbing his head to the music. “Throw a party in the-” 

“Could you not?” A voice from across the room begs, a smirk hidden by a bite from Remus. Pattons blush quickly appears as he pops his head out from behind his friend. “Oh! Patton” Logan notices, both sharing a rosy tint to their cheeks.

“Just get married” Remus mumbles, pretending to focus on his math. Patton coughs, turning back to his computer, Logan scratches the back of his neck, patting away the sweat with his handkerchief. Roman bites back his own laugh but says nothing. “Play ‘Frozen two’, I wanna listen!” Remus pleads, a sweet affection as his eyes push forward.

“Its your phone and airpods?” Patton hands him the device, a giddy shuffle as Remus starts the playlist. Both instantly feel more triumphant as they continue their work. “Show yourself!” They sing together, fits of laughter as they dance. Logan once more goes to shush the pair but finds himself endeared with the boy. They had come to expect these antics, when all six had been put into the same study hall they knew chaos would ensue. Dee looked on, watching Remus butcher every last note as his own music blasted in his ears. 

“Hey, broadway!” Virgil lashes, Remus turns, an innocent perk to his ears. “Maybe shut up so Dee and I can focus?” He spits, Remus obliges but only after he sticks out his tongue. Winking slyly at Dee, the more quiet. “God, hes worse than his brother” Virgil mutters, erasing roughly at the problem he had failed to do. 

“Its fun V” Dee admits, his own foot matching the rhythm of his music. “Plus lets be honest, its Friday, no one is actually working” He continues his silly doodles across his homework, knowing he can finish it in two minutes. Virgil huffs but keeps quiet, the distraction too much. 

“Be right back” Patton whispers, taking his laptop towards where Logan and Roman sit discussing their psychology classwork. “Can i?” He wonders, Logan hiding his excitement nods. “I had a quick question about our recipe?” Patton sits, Logan listens. “I was wondering if you wanted to tak-” He pauses as the music in his ear shifts. 

‘I just had sex!’ Rings out loud, Patton's eyes grow wide quickly turning to Remus. His idle face as he conceals his giggles looking at his work. Logan tilts his head but Patton simply removes the device, recovering from his fright.

“Your question?” Logan repeats, Roman mimics his brother with his own dancing. 

“I was thinking we could maybe take it a step further?” Patton proposes, knowing how anxious Logan was about his culinary abilities. “A pastry tree, we start with bigger ones on the bottom and slowly work our way up! So we can experiment and give the judges different options” He finishes, the sweetest of smiles.  Logan wants to argue, find a problem but his plan worked and worked well for their grades. 

“We can try” He decides, a quick grin and Patton leaves once more. Silent punishment to Remus when he returns to his seat. The class continues and ends fast, they all part to lunch, gathering in their separate areas.  

~~~

“You good lego?” Roman asks as he unpacks their chairs from the locker, Logan snaps back from his distant stares into the bleak plaster. He nods taking his seat, his eyes setting upon a very hyper Remus and Patton as they prepare for their meal. “Hey Virge” Roman greets, Virgil and Dee join them, a quadrant of four chairs forms. As usual…

“What's up with nerd central?” Virgil asks, snapping in front Logans face. He shakes his head returning once more. Virgil follows his gaze however, biting back a knowing smile, Patton already sunk into his book as Remus lays his feet across the boys lap. “Ya know, I heard that they were dating” He puts out, Logan snaps his eyes, fear ridden.

“Hah! Please, Remus and Pat?” Roman laughs, sitting down with a shake. “Thats hilarious, Remus and Patton are best friends and anyway Remus has a huge crush on Dee” He adds, munching into his sandwich. Dee rolls his eyes, a soft kick to Romans knee. 

“I know, just wanted to see what glasses over here would say” Virgil teases

“I assure you, I could care less about Pattons romantic status” Logan adjusts his glasses, sitting neatly eating his food. Virgil and Dee share a glance but leave it be. “We should invite them to sit with us, they are our friends” He offers, no qualms could be made. They did consider the pair friends...so what was the problem? 

“Sup losers” Ethan kicks his chair into the circle, forcing his way between Roman and Dee. 

Ah right…

Ethan

~~~

“Easy Remus!” Patton urges watching his friend balance atop the table trying to hang the valentines decorations. The door opens, Logan accompanied by Roman, Dee and Virgil strut in. “Remus get down” Patton asks, Roman chuckles, a sweet squeeze to Patton as the group passes them. “Tell your brother hes being an unsafe” 

“Just say idiot” Roman corrects, Pattons expression changes as does Remus’s. He removes himself from the table, returning to his spot behind the desk in the library. Roman sighs, dragged away by Virgil. Patton sits next to his friend, softly kicking his friends chair.

“You're not an idiot” He assures, Remus nods, burying his head in his arms. “Ro’s your brother, its his job to make fun of you” Patton comments, Remus huffs wishing the insults wouldn't go so far. “Come on rum-rum” He hums, Remus giggles, frustrated with his resilience. “Come help me please and then we can go home, watch a movie, make snacks, build a fort” He says, laying his arms and head on Remus’s back. The idea sounds wonderful, but hes not sure hes up to it...just yet. “Oh and dont forget we have therapy today” Patton reminds, Remus groans. He knows its helpful and he gets to do it with his best friend but the idea terrifies him. “I know you dont want to...but its going to help” Patton encourages

“Fine, on one condition” Remus decides, annoyed with his friends walking eggshells around each other. Patton faces him, furrowing his brows in question. “You have to go up to Logan right now, kiss him and then ask him to be your valentine” Remus dares, Patton squeaks almost knocking over the books behind him. 

“What!” Patton exclaims “You cant be serious! Youre not actually leveraging therapy over my valentines right now” 

“Do it or you'll be flying solo” Remus leans forward, Pattons breath seizes as he swallows looking towards the said target. “Hmm” He sighs, wistfully looking away. Patton shuts his eyes tight but snaps.

“Fine” He barely whispers, Remus cheers pinning delighted in his chair. 

“Have fun!” Remus grins watching Patton walk away, so much hesitance to him. Patton wrings his hands as he approaches the group, Logan spots him a formal smile to the boy. He stands to meet Patton halfway, Patton takes a deep breath. 

“Pat-” No time, he takes Logans tie, only tugging softly as he pulls the boy into a kiss. The absolute silence that falls over the room save for Remus’s disbelief, is frozen. Pattons heart pounds until suddenly Logans melting right into the kiss. 

And its perfect, its absolutely everything Patton had dreamed of

He pulls away in a frantic panic, forgetting what he was doing. Logan clears his throat, dusting himself off. Neither dared to move or speak, they simply stared in delighted confusion.

“Will you be my valentines?” Patton remembers the deal, Remus pounds hard on the desk through his exasperated laughter. “Im so sorry” He rushes, ready to turn away in his shame, feeling a soft hand take his. “Im sorry im not thinking straight” Pattons fear drips out of him, feeling the world grow silent with the simple pound of his breath.

“Ever! He's not straight!” Remus calls out, shushed by Dee. 

“I would love to be your valentine” Logan replies, a soft tone just for them. Roman and Dee erupt into cheers, Virgil nods satisfied as Remus waste no time running into his friend. Embracing the petrified boy, Patton still believes he's dreaming as Remus hugs him. “And you don't have to make a deal, I would have done it regardless” Logan adds, Remus falls to the floor much to happy.

“You told him!” Patton cries, Remus can barely nod. 

“He just texted me” Logan shows, Patton's face surely matched that of a tomato. “I'm glad however, it was taking too long” Logans coy expression only set Patton's heart a flutter.

“Motherfucker!” Remus stands, taking Patton from behind, the teens feeling safe in one anothers hold. 

“Yes good point” Patton murmurs, Logan chuckles. One more quick peck to Pattons cheek before he returns to his friends. “I'm gonna faint”

“Do it coward, you wont” Remus dares, still nuzzling into Patton's shoulder. Patton locks eyes with Dee, tuning out the silly teases from Remus. 

“Dee would you like to be Remus’s valentine?” Patton inquires, Remus falls silent. “Sucks to suck” He jokes, patting Remus as he returns to his position. Dee stands, ignoring the eyes that now watch him. Remus stutters failing to connect a coherent sentence. A hushed conversation and the pair meet in the hallway. Returning moments later, now words spoken but their interlaced fingers said enough. 

Suffice to say, Patton and Remus had a very good first session.

~~~

“One cold brew for you” Remus presents as Patton approaches the locker, Logan accompanying him in the early morning. He takes it, the most grateful look upon his face, Logan yawns. “Goodest of the morns Logan” Remus smiles, Logan nods through his exhaustion

“Coffee starlight?” Patton offers, Logan moans in happiness taking the caffeinated drink. Remus laughs sitting comfortably in his chair, kicking Patton in a rhythm. The boy doesnt mind, hes used to the fidgets and it didnt hurt. 

“Pickles did you do the homework?” Remus questions scrolling through his computer, Patton sets up his chair, taking his coffee from Logan. He gestures towards his own locker, Patton nods a quick kiss goodbye.

“Gonna have to be specific” Patton says, allowing Remus to lay his feet across him. Remus shows his computer screen, Patton checks the work and nods. “You got it” He assures, Remus fist pumps, shutting it happily.  “Wheres Dee?” Patton wonders, going over his schedule for the day. 

“He had an early test so I dropped him off, but we’re having dinner later for valentines” He smiles, Patton smirks. “Happy one year by the way” Remus celebrates

“You too” They cheer their drinks, falling casually into their conversation. The pair joke and laugh through excitement for the day, cheer and the musical. Everything felt right...for now. I mean it was senior year who knows what might happen.

At Least this, was solid and consistent.

Them

Their friendship

[certifiedskywalker]

My Feelings on TROS

There are simply too many places to begin. However, I’ve narrowed down my issues with the final installment in the Skywalker Saga to three major points that, I at least deem, worth mentioning.

Below the cut are said points. This review INCLUDES TROS SPOILERS, so if you haven’t seen the film, DO NOT READ.

1. Pacing (1a. Palpatine)

As a past runner, when I say that I was winded walking out of this movie, that means something. 

However, I feel like this issue is not entirely TROS (or JJ’s) fault. I feel that Rian Johnson, when filing The Last Jedi, could have done more to give Abrams and The Rise of Skywalker more wiggle room to flesh out the future storyline. 

Had there been more open screen time to fill, Palpatine’s introduction wouldn’t have had to be thrown into the opening scroll (hence why Palpatine is an issue in and of himself). If Rian had included a scene in The Last Jedi as simple as Kylo Ren or Hux walking in on Snoke talking to a hologram of a cloaked figure with a voice eerily familiar to Palpatine, the undead Emperors’ rushed introduction would feel more organic. There needed to be more hints that Palpatine was behind the scenes in both The Force Awakens and, most importantly, The Last Jedi. If there were more hints there would have been less time needed to explain Palpatine’s survival; thus there would have been more time to dedicate to a fuller, more satisfying ending of the movies we love. 

There is more I could say on this topic, but I feel that there are other outlets and people more qualified to speak out on this subject.

2. Rey Palpatine turned Skywalker

I have no problem with the idea that Rey is a Palpatine (although, like introducing Palpatine himself, I wish that there had been a few more hints either from Luke or Leia on Rey’s heritage). What I do have a problem with is, at the end, she names herself a Skywalker. 

I understand that she means it as an homage to her Jedi Masters, Luke and Leia. I also understand that ending the Skywalker saga with a continuation of their line shows proof that ‘good people prevail over the bad’, that ‘family is more than just blood’ and ‘you make your own destiny’. As a writer, I also understand JJ’s want to connect the beginning and end of the Skywalker Saga by reinvigorating the Skywalker name and ending it all with the twin suns that started it all. As a writer, and in a poetic sense, I like this ending and I respect those who find the fact Rey calls herself a Skywalker brilliant and a good ending. 

As a fan, I hated it. I love the Skywalkers, I do, but this movie was the end of their story (stories). To continue their name, thus continuing their story, feels cheap. While I enjoy Rey as a protagonist, there was another, living Skywalker: Ben Solo. Keeping him alive, without the last name of Skywalker, would, arguably, make more sense. 

That being said, I did love what they did with Ben Solo and Kylo Ren. Killing Kylo Ren so Ben Solo, the LAST Skywalker, could rise was powerful. His death was bittersweet as we had so little time to see Ben Solo as himself. So, by already ‘raising’ Ben, the title The Rise of Skywalker was fulfilled. Giving the Skywalker name to Rey made Ben’s redemption feel...less impactful.

I would have much rather her either embraced her lineage as Rey Palpatine or chosen Solo as her last name to honor Han and Ben. Even better, she could have just stayed Rey, just Rey. 

I know Star Wars is about the Skywalkers, but at its’ heart, Star Wars is so much more. Star Wars started with people with names not yet carved into history. Star Wars took nobodies and made them legendary. Who would we be without knowing Mace Windu? Obi Wan? Commander Cody? What about Hera Syndulla? Boba Fett?

Why couldn’t the same be done with Rey?

3. Poe Dameron

My boy, my wonderful, beautiful boy. How dirty did The Rise of Skywalker do you? Very dirty, in fact.

Poe, as a character, was not the problem. It was the way he was written by JJ and the way he was limited by Disney.

I am OVERJOYED that Oscar Isaac has made a point in exposing how Disney hindered his expression in making Poe gay. It would have been so refreshing, so groundbreaking, and perfect if a mainstream platform, a monopolizing company voiced support for the LGBTQA+ community using one of their most profitable properties. Can you imagine how liberating, how wonderful that would have been? 

Now, we’ll never know. At least not in Star Wars.

I was appalled by the inclusion of Zorii Bliss as a means to convey a straight, hetero-normative relationship with Poe. My dad pointed out that Poe could be bisexual, but, knowing that Disney wants a profit more than anything else, they were purely trying to ‘straight-ifiy’ Poe Dameron. Poe deserved better than to have a beard for his sexuality and Zorii deserved more than being a character purely for bearding Poe. As a member of the LGBT community, it is disgusting to see that the voices of the actors and fans, who yearned to see a progressive, gay character on screen, were overshadowed by the idea of making a profit.

Then there is the issue that Disney, that JJ Abrams, decided to recon Poe’s backstory and make their Latino leading character a drug runner. I know I may sound like I’m trying to be ‘woke’, but this was horrible. Marginalizing the gay community by not making Poe’s identity canon? Okay, not fine but we can recover; but making your SOLE, LEADING, LATINO CHARACTER A DRUG RUNNER? In this political climate (at least in America), this is harmful as Hell!

If what I’ve read is true and Oscar Isaac is not returning to Star Wars or any Disney property, good on him! He deserved to have his voice heard; he wanted to give people a relatable character; he was willing to take the heat of making Poe gay in a conservative world; and Disney didn’t take the chance.

So, screw the mouse and give all your support to Oscar Isaac’s future cinematic endeavors!

My Final Thoughts

I like The Rise of Skywalker, in spite of it’s many, many issues. Some of the other issues I saw were: noninclusion of Rose Tico and the truth behind Palpatine's survival(?).

Few movies are perfect and this one was far from it. However, it is an ending to a series, a saga, or movies that will live on, longer than we ever will. Star Wars, its characters, its worlds, its cast, have changed my life. Even if the movies weren’t amazing or left me wanting, they inspired me. I’ve created art and this blog because of the stories because of a galaxy far, far away. 

For that, I am thankful to have seen this movie and have a voice strong enough to give my two-cents. I feel in my bones, my heart, and soul, that, if Carrie Fisher hadn’t had passed, this movie would have been wildly improved. Rest in Strength, Spacemom.

I hope that some of you see and understand my thoughts. To those who don’t, I’m interested in hearing what you think! Let us be civil and leave the blasters alone. Here, in this galaxy, everyone should feel at home.

[crmediagal]

I Have A Lot of Thoughts...

Okay. I just got back from seeing TROS. Bearing in mind that I already knew the main spoilers involving my precious boy, Ben Solo, and my beloved ship Reylo, I still have So. Many. Questions. And a flippin’ series of disappointments to whinge about, so get ready.

!!! WARNING: #TROS SPOILERS AHEAD !!!

Lets start with the main and, for me, most important factors: Reylo and Ben Solo

At the end of the day, if Reylo wasn’t ever intended to be end game, I could have lived with that. I’ve shipped whatever the heck I wanna ship and written those ships in fandoms I’ve loved for years, regardless of their basis (or more often, not) in the canonverse. I’d have survived if there was no kiss at the end.

Back in early 2016, when people were still speculating that Ben and Rey were related, I was writing them as lovers and doting parents, so, erm, again, for me, the ship wasn’t contingent upon them becoming canon in order to hold legitimacy/meaning. It shouldn’t for anyone, really. Ship whatever you wanna ship, guys! Love them regardless of screen time or lack thereof!

That being said, I will cherish That Moment™ forever when the Reylo shippers got a glimpse of what this incredible coupling could have been. And in the actual canon material, no less. That’s more than I'd have ever expected to receive and, frankly, was enough for me to be satisfied.

HOWEVER.

I was fully invested in this trilogy from start to finish for Ben Solo.  And that is where I've been most letdown, disheartened, and pained.

At the off, sure, Kylo Ren made for an interesting archetype “villain” in TFA, but the moment we learned of his true identity, the Bad Boy™ appeal, for me, melted away. I fell in love with the tortured young man who had never really had the freedom of choice; who had the burden of war heroes for parents and a royal bloodline that traced back to Vader; who was abandoned by his family and left to navigate the enormity of his powers and abilities on his own. I was taken with Ben Solo’s troubled, many-layered complexity and this character took on a whole new meaning for me after TFA.

Like so many other Ben Redemptionists, I desperately wanted to see Ben Solo free of the torture he’d suffered all his life. And that life wasn’t long in years, unlike Anakin’s. By the end of Anakin’s life, he was more machine than man and middle-aged.

All the more reason that I needed to see Ben redeemed in this story...and allowed to walk freely in the sun. 

SW is built on forgiveness and redemption, after all, so why would they not bring Ben Solo back to the Light and take him where Anakin’s story never could go? The groundwork was laid in two films and reiterated in countless interview quotes the creators dropped on us for four effin’ years. Disney and the creators seemed as invested in Ben Solo’s redemption arc as the fans were, so I wasn’t too worried about seeing it come full circle. 

Hooooo boy. #MyBigFatMistakeThatIWillNeverMakeAgain

Ben Solo’s redemption, while earned in the last few minutes of TROS, was horribly cheapened when the creators decided to ‘play it safe’ by making him sacrifice himself. It wasn’t romantic and tragic, as I’m sure JJ and the creators were aiming for, but, rather, a Grade F example of very poor, very subpar writing. We got to see Ben for a few moments as himself whilst much of his storyline and importance in TROS was cruelly (and, it would seem, very purposely) reduced in the last film, too, when such plot for his character was supposed to be centre stage.

Less time devoted to Ben’s arc and then killing him off sends so many terrible messages, particularly for kids. You’d think Disney would understand that better than most.

Death is not hopeful. Redemption in the form of a young man, who was barely given the chance to live in Light and Love, dying as soon as his true self was realised isn’t hope. It’s been done before in this saga, as it has in many others, so it just makes the whole play-by-play defeatist and devastating. And after 40+ years of Skywalkers and Solos suffering in this universe, haven’t we ALL had enough of that, JJ? Disney?

They made Rey a Palpatine--a ‘surprise’ that had me actually laughing in the cinema and asking myself nervously, ‘Is this a joke?’--who takes the name of Skywalker to renounce her own bloodline but in the end, JJ, Disney, and the creators still sent us the same damnable, harrowing message: that Palpatine won.

#YIKES. That isn’t hope either, JJ! Disney! ABORT ABORT ABORT!

I thought JJ and the creators would be bolder than this PG-level crap. I thought Ben’s journey would be a true reversal of Vader’s, just as the director himself quoted not too long ago, and what did we get instead? Dusty old tropes and the sour takeaway that redemption will always come at a price rather than at its simplest, most exceptional form: the beauty of a second chance. 

In the end, Ben Solo’s never to know freedom from Darkness? He's never to have the opportunity to make right of his wrongs by living in the Light? He's never to grow old? Instead, he’s to die a too-young death in the hands of a woman who actually loves and cares about the role he has to play in this whole saga; perhaps, the only one who cares at that point?

That’s cruel, JJ. Disney. And, again, utterly hopeless.

Hell, Ben’s not even one of the Force Ghosts Rey sees in the last scene of the movie! (A convenient loophole, yes, and the flicker of an opportunity to, perhaps, bring him back but it’s a wildly overlooked mistake if that wasn’t intended by the creators...and I don’t think it was intentional to make him Not There™.)

I don’t get this saga anymore. I failed to grasp the overall message of Hope in TROS. At all. I’m beyond disappointed at the assassination of Ben’s character to give others, who shall remain nameless, more screen time and a beefier storyline which was, frankly, always quite thin to begin with. I feel like I’ve been cheated on...and it hurts so badly to be so letdown by something you’ve loved and supported for so long.

And some other ridiculous absurdities in TROS while we’re still here:

Why was this film ALL about Rey’s lineage, a direction that seemed to come out of nowhere when it was already established in TLJ that her background wasn’t important or crucial to her part in the story? She came from nowhere, so why did this become a central thing?

I’ll admit that I never really cared whether Rey was a Skywalker or a Kenobi or had any given name. I rather enjoyed the idea that she had built herself up from nothing. That was an empowering message, in fact, and a strong one, I think. It was certainly leaps and bounds better than the, ‘HA! GOTCHA! SHE’S PALPATINE’S GRANDDAUGHTER!’ reveal that was laid onto us way too thick in the Final Act.

Ew. Gross. No thanks. I hate it. Take it back. It’s a passe trick to try and pull on the audience at the last minute.

One of many more examples of poor writing by the creators, I suppose. 

Also, since when is Finn a Force sensitive? Did I miss something in TFA or TLJ that suggested he possessed that gift? No? Ah. More lousy writing.

Additionally, why does Finn spend the entire movie running after Rey? Why was his romantic storyline with Rose completely dropped and nonexistent in TROS?

It’s almost as if JJ and the creators were giving TLJ director, Rian Johnson, the middle finger throughout the entire finale that was this garbage of a movie. Nice work in undoing all the innovative things Rian brought to the saga, JJ. TROS is even worse™ than the Prequels...and THAT’s saying something.

Why did all the voices of Jedis past speak to Rey but never the helpless Ben Solo who had Palpatine raping his ear from the time he was a baby? It seems sketchy and unfair?

Again, lots of TROS makes little sense. It felt like an entirely separate movie to me--separate from the rest of the saga--and doesn’t wrap 40+ years of this series up all too nicely. It’s anything but. It’s confusing, heartbreaking, and leaves one without much hope.

So...we come to the end of my ramblings and wailings:

Ben Solo was the most interesting, convoluted, and beautifully crafted character from this new trilogy and a true redemption would have served the legacy upon which the SW saga is built--Hope™--so much better, including but not limited to its utilisation in making Han’s death carry meaning. Because his son would have not only returned to the Light but gotten to Live™ and experience it fully.

What a remarkably hopeful ending that would have been...

Instead, we got garbage writing and the redundant SW tropes.

Ben Solo deserved better. JJ and the creators absolutely wasted his potential in this story and I’ll be forever crestfallen..and retreating more and more into my own Ben Redemption fics because to hell with this elementary-level bullsh*t.

Han Solo deserved for his son’s part in his demise to not be utterly pointless at the end because, hey ho, guess what? YOUR SON DIED ANYWAY?!

Leia Organa deserved to not only see her son redeemed but to have that emotional reunion many of us were craving. She had already lost so much, but I guess JJ and the creators decided to just...serve the general more pain in the end. Wow. Rude. Such disrespect. Carrie Fisher wouldn’t have stood for it.

And Rey... My gawd, she deserved better, too. She should never been tied to Palpatine in order to make her seem more important. That grossly underserved her character.

She also should have had her other half. The yang to her yin. The only other person in the entire ruddy galaxy who understood her: Ben. She deserved to not be left alone at the end of TROS, just as she had started in TFA.

I’m going to go work on my WIP Reylo fic now and try to forget TROS entirely.

[wonderfulworldofmichaelford]

Michael in the Mainstream - Star Wars: Episode IX - The Rise of Skywalker

Star Wars is a franchise very near and dear to my heart. I’ve grown up watching the films and have fond memories of each of them, in particular Revenge of the Sith, which I got to see in theaters with my father. It’s a series that has introduced me to great characters, great actors, great ways to tell stories, and if nothing else the movies were always fun. I never saw a Star Wars movie I couldn’t enjoy on some level.

That all changed with this movie.

The Rise of Skywalker is a wet fart of a finale. It is a mess, it is underwhelming, it is disrespectful to the previous two films, and worst of all it’s bland. But hyperbole aside, this movie isn’t a complete and utter waste; it’s certainly not the worst film of all time or anything, or even the worst Star Wars movie. It’s just a sad case of a mixed bag where the bag skews more to the bad side than the good side.

Let’s go over what I actually did enjoy first. Obviously, the score was fantastic, but I think this goes without saying; John Williams has never once screwed around, so why would he stop now? His music honestly does a lot of the heavy lifting emotion-wise, as scenes such as the supposed trinity of this trilogy’s reunion at the end would not have any sort of impact otherwise. Then we have stuff like the practical effects, which is both a blessing and a curse as they seem to be a sort of dancing bear for this trilogy. As great and lively as they make the worlds, they shouldn’t be what gets focus over story and character development… but hey, Babu Frik is great.

Speaking of characters, there are a few who were handled very well in this film. In terms of comedy, there is C-3PO and Palpatine. C-3PO is just a genuine riot here, and almost every goofy little joke he cracked gave me a genuine chuckle. He’s really at his best here. Palpatine on the other hand is just a character who is so inherently hilarious that it is physically impossible to be mad at him. Like, he’s an evil zombie wizard who spends half the film insulting Kylo Ren and then the other half cackling and shooting lightning in his big arena full of hooded weirdos while strapped to a big dialysis machine and wearing a sparkling red vest under his robe. Sheev Palpatine is pretty much the greatest character in human history, and while his role in this film is so stupid, shoehorned, and underbaked, you cannot help but crack a grin at the sheer lunacy good ol’ Sheev brings to the table. The sheer revelation that this man actually, canonically had more sex than Kylo Ren is enough to send a man into a fit of giggles.

In terms of actual character, Rey gets a solid arc marred by some incredibly poor writing choices, but overall stays solid throughout. Her interactions with Kylo Ren especially solidify her as an interesting and engaging character, and honestly the whole reveal that she’s a Palpatine is intriguing and could have added depth to her… but they managed to bungle it. And it’s an easy fix too; early on, there’s a scene where she and Kylo are playing tug-of-war with a transporter that is holding an iconic character. Rey accidentally unleashes Palpatine lightning and blows it up, seemingly killing the character inside… only for the character to inexplicably be alive two scenes later. Now, if Rey had actually killed said character by accident and spent the rest of the film struggling with her nature, it would make her ultimate showdown and rejection of Grandpa Sheev’s ideology all the more sweeter and satisfying. A moment at the end would have likewise been improved if she had simply not chosen to rename herself and instead chose to just simply be “Rey,” but gotta have that sweet, sweet branding! Still, I think Rey is remarkably done here, though not nearly as good as she was in The Last Jedi.

But the real MVP here is definitely Adam Driver as Kylo Ren. I’m just gonna say it: this guy carries the film. He has had the most remarkably consistent character arc in this new trilogy, and that concludes just as well here, though sadly in the most obvious way: with a redemption. However, it comes not from Rey, as desperate shippers had hoped, but from his parents – Leia and Han both play a part in ensuring their son’s redemption. And when he’s redeemed, the way Driver is able to convey the character of Ben Solo with just his face and body language is incredible enough to make the redeemed man feel like a totally different character than when he was Kylo Ren, and all of this is without speaking. Driver deserves every ounce of praise he gets for these films, and while I feel his arc would have been far more satisfying if it wasn’t a carbon copy of Anakin’s arc, it’s a testament to Driver’s skill that he managed to sell me such a cliché turn of events and made it work.

This is where my kindness dries up, however, as the rest of this is going to be pretty negative. The story here is just an incoherent mess; it honestly feels like an entire trilogy crammed into one film, a film divorced entirely from the other two films. The big problem with this trilogy is how there is so little cohesion between films that each film feels like a soft reset, and nowhere is that more clear than here. It doesn’t help that this film decides to cram in a bunch of stupid backspaces to everything from The Last Jedi, the most awkward and egregious being how they write off the “Holdo Maneuver” as a one in a million shot at success despite the fact that using the far more obvious “using the rebels as suicide bombers is a bit morally iffy and such a move should not be used unless we’re totally desperate” explanation would have sufficed. It honestly feels like the writers were chickening out a lot of the time and decided to try and distract us from their yellow-bellied attempts at ignoring the previous film by slapping us in the face with tons of fanservice. Sometimes it works – the voices of all the fallen Jedi in the final act was an awesome touch (I hear you Qui-Gon, Windu, and Ahsoka!) - but most of them time it is just painfully on-the-nose and groan worthy, such as when Chewbacca gets his medal. The worst offender here is Lando, who is so carelessly tossed into this mess of a plot that it feels really disrespectful to Billy Dee Williams.

Speaking of screwing over characters though, no one got it worse than Finn, Poe, and Rose. With Rose, it’s frankly just insulting they didn’t even try. It would have been so easy to redeem Rose in the eyes of the fans that didn’t like her character in The Last Jedi; if The Clone Wars can make Jar Jar a likable character, then I’m pretty sure a big budget Hollywood blockbuster can fix the issues of a poorly written character in its sequel. Instead though, this film takes the coward’s route and relegates Rose to a role less important to the plot than Babu Frik, who despite his integral role is only in one single scene. Poe is just handled as nonsensically as ever, given really dumb jokes and a forced and unneeded backstory as a spice smuggler, complete with an implied female love interest in an attempt to try and convince us the character is heterosexual.

But Finn gets it worst of all. Not only does he get a forced implied love interest (who is black, because we can’t have miscegenation in our big blockbuster films!), but he just in general gets shafted so hard. Finn being shafted has been a running theme with this trilogy. The first film set him up to be an integral, important main character, one who would even become the main character…. And then he slowly faded from relevance as the writers put him in increasingly bad plotlines, culminating with the slap in the face this movie gives us by implying but not outright stating that Finn can use the Force. There were so many interesting ways they could take Finn’s arc and they chose the route that is, quite frankly, the absolute worst. The fact that Finn got totally shafted in such a way despite being a fan favorite is all the more baffling and honestly has me wondering what the suits at Disney were thinking. If they weren’t actually minimizing a character as beloved as Finn was after The Force Awakens out of racism, what were they even trying to do? John Boyega has a right to be as angry as he is.

There’s other stuff that’s obnoxious. Leia’s scenes are all terrible and poorly executed, which comes off as really disrespectful to Carrie Fisher; the romance in this film which, as mentioned above, is totally forced, but special mention goes to the Ben/Rey kiss at the end, which while not some life-ending travesty is so utterly out of nowhere due to the lack of romantic chemistry between the two in any of these films that it’s laughable; the editing is so incoherent and terrible in places that it feels like it was done by someone on a mixture of crack and Red Bull; the complete waste that is Hux and his childish reasoning for betraying the First Order, completing the character’s change from a terrifying Nazi allegory to a complete and utter joke; the fact that the new First Order general who takes center stage gets so little development despite being a great throwback to Grand Moff Tarkin and a genuinely amazing character otherwise, with a fascinating history with Palpatine that is never explored and no meaningful interactions with the heroes; the complete and utter unexplained nature of Palpatine’s return; and just how painfully unfunny a lot of the humor in this film is. This movie just has so many problems, so many flaws, and it ends on such a completely limp and unsatisfying note that it’s honestly kind of sad.

This film… I don’t know about this film. It’s definitely not the worst Star Wars film, because it at least has some genuinely good bits to it, unlike Attack of the Clones which I can only really justify liking ironically. But that being said, this film is just so unsatisfying, and what’s more, it’s not very memorable. Not much will stick with you with this one, and if it does, it might be more of the bad things rather than the good ones, which is a shame, because I do think there’s some good stuff buried under the garbage here, but I don’t know if it’s worth sitting through this film to find. This is not the worst thing ever, I really can’t stress that enough… but it’s just not fun, engaging, or anything that will really make you feel anything meaningful, and sometimes that’s just worse.

Ultimately, this film has an incredibly uncertain audience. It’s wrapping up a trilogy in one of the biggest franchises on earth with a plotline that tries to pander to fans in a way that feels gross and condescending, leaving the film feeling like it was made for absolutely no one. If you like this, that’s fine; Star Wars is a franchise that has greatness ingrained in its DNA, to the point where I can’t say any of the films are really among the worst I’ve ever seen. But I think generally this is not going to be a film worth watching, and certainly one to skip in any future marathons of the franchise. It really is a shame… this trilogy if nothing else was full of potential to be a new take on Star Wars for a new generation. Instead, it ended up as a confusing, corporate mess. 

[knifeonmars]

Capsule Reviews - May 2020 - The Cape Stuff

I read a lot of comics in May. Here’s what I thought of some of the superhero and superhero-adjacent comics I read.

Arms of the Octopus

A nostalgia pick, the collection of several annual issues containing a crossover between Superior Spider-Man, The Invincible Hulk, and the All-New X-Men. It is an artifact of a very specific and bizarre time in Marvel Comics, when Doc Ock was Spider-Man, the Hulk worked for SHIELD, and the original five teen X-Men were stranded in their own future. For a pure, relatively straightforward crossover romp, it's quite enjoyable. Spider-Man is a jerk, the Hulk fights a robot, the X-Men are befuddled by the present, all of the major beats for that particular moment in the Marvel Universe are there, and it's got some really great art. Jake Wyatt, during his regrettably short-lived stint with Marvel and the great Kris Anka unfortunately overshadow the other contributors, but it's all very good, if not the most accessible comic.

Maxwell's Demons

I came to Maxwell's Demons having heard a lot of critical buzz and with my expectations set rather high. I did not care for this book at all. Ambitious is the best word for this series, and that's not a bad thing. It's got ideas, about the craft, about the genre, about philosophy in general. It never quite manages to carry things off though; it's not as smart as it wants to be, and the high-minded ideas are never incorporated in particularly elegant ways. Three of the story's five chapters are essentially extended monologues in which the main character rambles on about some glorified shower thought for 20-plus pages. The first and second chapters are the exceptions to this pattern, and are quite solid as far as pointedly derivative superhero riffs go, even if the second chapter's riff on "What if Miracleman #17 was significantly less intelligent" is more than a little shameless in its lack of originality. The fourth chapter, by contrast, is the nadir of the series, easily the most embarrassing Manic Pixie Dream Girl tripe I've seen played straight in literal years. I'm reminded a lot of Translucid, another superhero pastiche, which essentially sought to do for Batman what Maxwell's Demons seeks to do for Lex Luthor. I warmed to Translucid significantly on my second read and I wonder if the same will end up being true for Maxwell's Demons, but I find that Translucid simply did a better job of incorporating original ideas and stating its themes in ways less stupefyingly clunky than Maxwell's Demon's ever manages. I hate to call a book pretentious, especially an ambitious one, but at present that's how I feel about this book.

Twilight

Jose Luis Garcia-Lopez and Howard Chaykin's Watchmen-for-mid-century-space-heroes epic. It's good. Fabulous art, some really interesting ideas and a great premise. It's also more than a little Chaykin-y, with most of the male characters having fraught but amiable relationships with their much-too-good-for-them-and-they-both-know-it ex-wives. It has this particular brand of low grade misogyny that idealizes women but in doing so denies them interiority and, ultimately, humanity. Leaving that aside, though it is a major point to leave aside, it’s story of humanity rotting over eons of immortality, mad space gods, and humanity’s proclivity towards colonialism and genocide, it's great. It’s not an altogether pleasant book, it can be nasty and strange, in ways both intentional and unintentional, but it’s original and engaging and decidedly well made. Something of an overlooked classic of that era’s DC output.    

Green Lantern: Earth One

Literally the only one of DC's Earth One graphic novels that's worth a damn. Where most of the other Earth One books choose to start things off in a world resembling our own, Green Lantern starts off in a scifi future resembling something along the lines of Ad Astra or The Expanse, with Earth controlled by an only alluded to totalitarian government, humanity colonizing and mining the solar system, and Hal Jordan as a spacefaring roughneck who dreads the prospect of returning to Earth. Earth One is the rare Green Lantern story that manages to make Earth as interesting as the rest of the universe. The bulk of the action leaves this behind to focus on unearth the lost legacy of the Green Lanterns and refits their mythology in a clean way which will be unsurprising for anyone with a passing familiarity with the original comics but is still satisfying ad fresh. Fabulous art, fun take on the mythology, I'm left both wanting more and being satisfied with what we got.

Spider-Man: Life Story

In a just world, Chip Zdarksy, one of Marvel’s best writers these days, would be writing both Spider-Man and Fantastic Four, instead of having been relegated to shortlived spinoffs. Because life just isn’t fair sometimes, instead he was given this admittedly ambitious project, his all-encompassing take on the Spider-Man story as played out in real time. In the end it’s bold and engaging, but more than a little clipped in execution. Each issue is a snippet of Peter Parker's life as we catch up to him in a new decade so readers only get a quick glimpse of the action and are left to fill in the substantial gaps by drawing on our knowledge of continuity. The obvious comparison is John Byrne's Superman/Batman: Generations, but where that story really only took the broad strokes of those characters' continuity into account in writing its decades spanning story, Spider-Man: Life Story is dedicated to the remixing of Spider-Man's publishing canon. So it can’t just take an archetypal view of Spider-Man and play that out to its logical conclusion, instead it’s stuck trying to incorporate version of prominent Spider-Man stories like Kraven's Last Hunt, Venom, and Civil War. The result means that there’s a ton of exposition in each issue, and frequent use of shorthand to gloss over things which have happened since the previous issue, and it never manages to explore the series’ original ideas in detail. Also, I'll die mad that Michel Fiffe, the genius behind COPRA and one of my favorite cartoonists, public pitched basically this exact story a year or so before this project was announced, and even if Marvel didn't actually steal the idea, I'll forever pine for Fiffe's take on this premise.

Star Wars: The Crimson Empire Saga

Long before the Disney's take on Star Wars, with their codified takes on the mythology and careful curation of the franchise, there was the old Star Wars Expanded Universe, where seemingly anyone could tell any story they wanted using the mythology of Star Wars. While it resulted in some good stuff, like Timothy Zahn's fondly remembered Thrawn books, the vast majority of it was workmanlike or even bad. Crimson Empire falls firmly into the category of bad, a dumber than dirt story about an extremely cool space guy and his code of honor. It's the kind of story where multiple characters say "He's just one man!" right before or right after seeing their legion of anonymous flunkies getting demolished by the hero. It's got an inexplicable and bad love story. In the three miniseries collected here it spends about two pages total dealing with the idea that maybe, just maybe, the fact that it's main character is dedicated to the lost honor of Emperor Palpatine, a space fascist, maybe his code of honor is completely fucked. Of those three miniseries, only the first story is anywhere near something that could be called good. I wouldn’t called Crimson Empire utterly abysmal, but it’s not unironically good. If the name Kyle Katarn means anything to you, you might get something out of this as a nostalgia trip, but otherwise it has no redeeming qualities.

Deathstroke: Legacy

The first of the New 52 Deathstroke stories, which was never well regarded until Christopher Priest took it over with Deathstroke: Rebirth, I was driven to read this by a conceptual fondness for this era's Deathstroke basically looking and acting like an action figure. Through that lens, it's quite enjoyable. It's not as obviously in on the joke in the way that the classic Taskmaster: Unthinkable is, but it's over the top, has fun designs and baddies, and Joe Bennett (years before his career best heights in Immortal Hulk) provides consistently good art. As a pure action comic, it's good.

Wolverine MAX: Permanent Rage

Here's the thing about Wolverine: There are very few good Wolverine solo stories. Wolverine is a genuinely good character, but most of his solo stories are dumb action affairs, and there's literally never been a Wolverine comic that's even halfway as good as the Logan movie. Permanent Rage, the first storyline from the Wolverine MAX series though, is actually pretty decent. It plays out a lot like you might imagine a Wolverine movie made around 2004, with no superheroes, a Japanese setting that allows for some distracting orientalism, unrelenting violence, and a noir-inspired storyline. The present day storyline is all well and good, not great, but solid and relatively low-key, but what makes the book is the presence of Sabretooth as the main villain. His relationship with Wolverine, fleshed out through flashbacks drawn by some really talented artists, is probably one of the best takes on that relationship that Marvel has ever put out. The casting of Wolverine and Sabretooth as two lonely immortals, bound together by hate and the knowledge that they are each other's only true companions, absolutely makes this book. Is it great? No, but it's got enough interesting things going on that fans of dark superheroes stories would probably find something to enjoy. Subsequent volumes of Wolverine MAX moved even further from the character’s superhero trappings and supporting characters, which is a pity, but this one remains readable and enjoyable on its own.

Marshal Law Omnibus

A collection all of the non-licensed and non-text-only Marshal Law stories. It's weird, it's punk, it's violent, it's sick of superheroes but self-aware about it own silliness in a way that Garth Ennis' work like The Boys has never been (Incidentally, the fifth story contained here, Super Babylon, is just every self-righteous complaint Ennis made about superheroes in The Boys but presented with a modicum of good humor). It's quite fun as a mean-spirited anti-superhero romp, but anyone who is particularly invested in the moral rectitude of, like, the Flash, might find it an unpleasant read so I would advise avoiding it if that's you. It's also not perfect, even for what it is: it's approach to sex work and kink is very dated, it relies on sexual violence a little too much, and by the time you get to the final story, Secret Tribunal, it's come to revel in its previously ironic fascist and misogynist imagery and characters just a little too much. The third installment, Kingdom of the Blind, is for my money, the strongest of the lot, featuring both the most straightforward premise and the most incisive satire the collection has to offer.

[perish-after-dark]

Friendly Gesture

Pairing: Bottom!Rodan x (Mothra, Godzilla, Ghidorah)

Form: Gjinka. Therefore Ghidorah is split into three beings. 

Content: Rodan is tied up and kidnapped. His friends come to his aid and while at first, it appears they’ll help him out, it’s soon learned that there’s no harm in enjoying a wrapped gift. 

Warning: Tied up folks.

Rodan kicked at the greedy hands of the masked men. They had somehow managed to knock the Latino out and have him bound to this chair in the middle of a smelly warehouse. The bastards dared to strip him of his clothing with nothing but his underwear, his white tube socks, and a fucking gag in his mouth. His hands were tied behind his back against the chair and they ached like hell.

“You’re rather pretty for a freak.” The human man purred as he rubbed his thumb against Rodan’s cheek. Rodan shot his head away to the best of his ability while the man just chuckled. What a coward! If he were really going to harm Rodan at least take off the damn mask. 

The guy walks away to his other members as they talk among themselves. Rodan watches them with hate. If these had been simple rope, Rodan could’ve easily burned straight through them, but the fucking idiots were smart enough to use chains instead. Slightly rusted ones too that felt uncomfortable on his rough red skin.

A loud bang could be heard from the industrial-sized door as everyone in the building paused. The leader nods for one of his men to go peek through the small glass window near the opening. He does so and peeks ever so slightly before the glass breaks and he snatched into the darkness outside. He loud screams turning to inaudible gurgles before there was silence. 

The leader and the rest of his boys pointed their puny pistols at the entrance, foolishly believing such weak things would protect them from whatever was on the other side and had murdered their friend. Then, a powerful beam of electricity blast through the door, striking one of the men down dead. The leader orders his boys to just start shooting as the figure emerged from the darkness. There’s five of them, all relatively larger than the average man aside from the female, which still impressed, to say the least. Rodan would’ve hollered out with joy if he could.

The men keep shooting though but seemingly not hitting anything. Before long a huge blur of the blue blast through that mixed with the yellow electricity. The men caught in the path were instantly turned to dust. The leader and his right-hand man look at each other before deciding it was time to make a run for it.

But they were unfortunately pounced on by one of the yellow-haired beings, whose fangs flashed brightly before they sunk their teeth into the right-hand man’s neck. The leader watched in horror before making eye contact with the personification of death itself. He was a large man with the stubble of a beard. Very cleary a foreigner. As his friend’s blood started to soak into his mask it was taken off, his face shown with all its glory just before the rumble that came from the creature’s throat grew and a blue light came from its mouth. The human man screams before being blasted into nothingness. 

Meanwhile, Mothra looks over the table of documents and graphs. The damn bitches were going to use Rodan for illegal sex trafficking! Bastards! 

“Look what we have here.” Ichi snickered as he stepped closer to Rodan, lifting his chin up so their eyes met. “How’s the going solo thing working out for you.” Ichi chuckles at Rodan’s attempt to respond.

“Fucking tired.” Gojira yawned an stretched before scratching at his chest. “What a shitty place. Smells like a school bathroom.” He comments. Mothra neatly piles all the papers together and hands them to her husband. 

“Appears our fire boy was going to be a star of a very dirty movie.” She glanced at him, blushing a little at how venerable he looked. It was funny too, especially with the Ghidorah brothers poking fun at him. 

“Having fun there?” Kevin teased as he bounced and danced around the chair. “Seems like you need to loosen up a bit.” Kevin keeps laughing until Gojira’s hand is on his shoulder. He moves back, not wanting to create conflict.

“Thank fuck you final-” Rodan was cut off when Gojira shoved his dick down his throat. The others were caught off guard as much as Rodan himself was. But Gojira huffed, humping his hips forward with a slow rhythm as Rodan suckled on his cock. Luckily this wasn’t too hard. The chair was rather low and Gojira himself was a very tall man. So the position was more than convenient. 

“C’mon, you’ve deepthroated before. Stop squirming.” Gojira huffs out. 

“Knew G man over here would take advantage of the scenario,” Ni comments as he crossed his arms. Of course, he was going to take advantage as well once the leader was done.

“Hope none of the hairs get in ya nose, eh?” Gojira jokes when he holds Rodan’s head all the way to him, forcing the Latino I’ll let the others get some in before I bust it.” He replies before stepping away. Rodan soon finds himself with three dicks in his face, each pulsing for him to take action.

“You son of a bit-” Kevin snatches his head to the right and instantly assaults the back of his throat via mean and furious thrust. 

“Calm down man-” 

“LET ME ENJOY THIS DAMNIT!!” Kevin instantly yells at his brother for attempting to ruin the moment. He held Rodan’s head down. His eyes rolled back, his tongue fell from his mouth as he drooled and moaned before flooding Rodan’s windpipe with white fluids. 

When he pulled out, Rodan coughed up some of the stuff before grinding his teeth at Kevin. But alas, once again he is silenced when two dicks sword fight on his tongue. Ichi and Ni both place a hand on his head, rubbing the large masses they have been granted against the warmth of Rodan’s mouth organ. 

“Heh, don’t be too upset love,” Ichi comments. “Those men were going to do the same. And on video no less. At least it is with people you love.” Rodan rolls his eyes before starting to choke a bit when both men pushed their lengths in his mouth. Granted, they didn’t get much further than the head of their dicks, but it was still enough to make Rodan’s cheeks puff a bit. The brothers put their hands on each other’s waist and thrust in sync, moaning sweetly while Rodan groaned with a bit of embarrassment. Between his legs, his smaller wang began to harden up. 

He swallowed down the genetic gift of the two men as quickly as possible. The fast it was down his throat the faster the taste was out of his mouth. The two pulled back, satisfied in their used time. 

“Okay, are y’all done? Can I get released now?” He says as he huffs for air. That’s when Mothra cheerfully prances towards him with an innocent grin on her face. 

“Hello sweetie. Those brutes don’t know how to treat such a precious thing.” She flirts as she caresses his face with two of her four arms. He blushes and can’t seem to pull his eyes away. But then he feels one of Mothra’s hands go into his underwear. 

“Huh what are you- OOOhhh” His legs shook when she started to poke at his pucker with no warning, followed by pushing a finger inside. “Oh, I-”

“Sshh, or I’ll put that gag back in your mouth.” Mothra purrs before she starts biting and kissing on his neck. Rodan moans and lets her go on (as if he could do anything to stop her.). She then adds her other hand, moving it up and down his small shaft with a slow rhythm. He gasped and quivered. 

“He’s like a blushing virgin.” Gojira booms with laughter. He found it amusing to see the two go at it. He glances at the Ghidorah brothers and starts laughing again. For some reason, Kevin was dancing around hyping up the couple like this were a concert or rap battle.

“M...mothra,” Rodan moaned just as she added another finger in. “Aaah I can’t. I don’t think-”

“It’s all good~ You can cum.” She bites on his neck and he loses it. He spills it all on her hand and pants while she giggled. Removing her hands, she licks and sucks on them before placing a deep kiss on Rodan’s lips, letting him taste himself. 

Needless the say, after that evening Rodan became extra vigilant with his surroundings.  

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

@twilightna and @thegreatbaryonyxreef  y’all two are something else XD I respect that. 

[anansislibrary]

All of my thoughts on RWBY: taken from one of my videos here

If you haven’t watched RWBY yet... I honestly don’t know what to tell you. The show is genuinely one of my favorite anime of all time. It’s got an amazing cast of interesting characters, great writing, an amazing world to get immersed in. Every character you meet sticks with you, many of the fights are fast paced and memorable, and being a lore buff like me pays off in this world.

But RWBY isn’t... perfect, and having finished the newest season and rewatched the show from the beginning... I have some issues.

Don’t get me wrong, the new season had some excellent parts. The fight between Blake and Adam was literally perfect, and side note, idk why fans are saying Adam got nerfed for this fight or made weaker, when some of his only notable feats happen during this fight. The man lands hits like mortal kombat combos.

Anyway, I don’t want to just crap on the show so before I go into what I didn’t like, I’ll get into what I did. But before then, I’ll have to give you a brief rundown of the show. But before THEN I gotta give my obligatory plug

So make sure you like and subscribe if you enjoy this video and want to see more like it, and consider donating to my Ko-fi if you’re able to to help support my channel and help me make better content.

Without further ado

Here’s RWBY

Quick basic spoiler full rundown of the show.

Rwby takes place in a world callled remnant, with a shattered moon. Why is the moon shattered you ask? Satan threw a temper tantrum

Anyway

There’s monsters

Schools for people to fight monsters

Except no Because the main character’s school gets blown up by this BITCH NAMED CINDER, SCREW YOU CINDER.

Prompting Ruby and her Gucci gang to go on an adventure.

Got it? Good.

So here’s everything I love about the series.

I really like the character designs. Every single character has an excellent design and I could really do a video on how character design helps develop character and tell a story just using this show. Every person in the show has an interesting and cool design that helps you to remember and understand them.

An easy example is Weiss. She dresses like an actual princess, her color scheme and weapons are all very elegant looking and it hints at her high class status without even having to spell it out for you.

Plus I love how characters names are based off of fairy tales or mythology. For example, Sun, Sage, and the ironically named Neptune. The motif of fairy tales is fun too, for example Ruby being Little Red Riding hood, Ozpin and Glenda Goodwich being wizard of oz references, ironwood being the tin man and Leo being the lion, Qrow and scarecrows and all of that. Weiss and Winter both have names very directly based on snow.

Every name in this show was very clearly thought out, and even abilities too.

Sun can make clones of himself just like in the myth, Blake has issues with running from her problems, so she can make clones, yang has anger issues and can go super saiyan, almost everyone’s power has something to do with their personality.

Salem is such a fun villain. I wish she could do more because she’s really sinister and scary. She’s such a fun villain to watch but she doesn’t do shit.

I also love the fight scenes, I love how bombastic and fast paced they are, and it’s really cool how every character has their own unique style of movement and fighting that vary between them. The fights in this show are quick and stick in your mind, and there’s an emphasis put often on how much a character can move in a short amount of time.

Cinder as much as I hate her is also a great villain, and that’s why I hate her.

Roman Torchwick is also a GREAT villain and The way he dies is satisfying as hell, and seeing Neo again made me scream.

The worldbuilding is my favorite aspect of the show. Now I’m weird and I like info dumps and that’s why I enjoy those World Of Remnant videos that expand on the worldbuilding so as not to bog down story with info dumps. The world is really fun to learn about, how humanity has evolved in terms of technology is fun to speculate on, for example since Grimm attacks are common and destructive, towns outside of major cities are less technologically advance because they often don’t have time to explore that and have to move from town to town quickly in an emergency.

The Grimm are excellent monsters with varying abilities that make them scary. I love the Apathy from the most recent season, and how it doesn’t just attack you like a Beowulf, Ursa, or Nevermore, but it drains away your will to fight back at all.

This show also has my favorite trope of all time MIXED TIMELINES

YOU GOT TRADITIONAL CHINESE CLOTHING AND DRESS AND ASIAN ARCHITECTURE ON TOP OF CELL PHONES TOWERS AND ALL OF THAT

this trope is so fun because it really makes a world feel unique.

The world of Naruto has all kinds of modern stuff, but until Boruto it was mixed with older tech and tradition, really selling how this is not our world.

Another thing I love: every weapon is a gun. That is SO fun.

Now as good as the show is, it does have problems. That’s inevitable though, all shows, movies, and books have problems, nothing is perfect.

Except Avatar. Avatar is flawless.

Me pointing out the issues I have with this show is by no means to say it’s bad, just to point them out.

I truly do have love for this series and I still cry about Phyrra and her death.

I love you baby.

But that being said, pointing out the issues a show has can be important for both understanding the pitfalls to avoid in our own writing, and helping creators fix issues later on.

A lot of hard work goes into making this show and I would just be an asshole if I did nothing but shit on the show.

No matter how many issues it has, I can tell the people making it love what they’re doing, and that always shines through a series no matter how many issues it has, just like a show or movie can do everything conventionally right and still be a soulless shit show.

Looking at you call of duty black ops 3.

So here’s the issues

Fight scenes

I love the fight scenes. I’ve said that, they really can be so fun to view and I find myself coming back to them a lot.

But I have issues.

Lemme just say first that I don’t like complaining against animation. Animators go through enough crap already and it feels mean to criticize them at times, but this needs to be said.

One, I hate how people throw punches in this show.

They swing so wide it’s annoying.

Okay listen. If you swing at someone with a punch this wide, and they know how to fight, it will not land. They will block or dodge. I know this because as my subscribers know, I am a martial artist. I know jujitsu and boxing, and I took taeqwondo.

This is a bad punch.

My theory is that they do it to emphasize the impact of a bit, but that’s not necessary. There are other ways to do that.

You could say “they’re animators they don’t know how fighting works.”

But Naruto exists and those animators get martial arts stuff down PAT.

Hell, avatar the last airbender depends on its animators being able to animate fights with consistent accuracy, and those characters use styles most people have never heard of like Baguazhang.

And I know this doesn’t seem like a big deal, but it is. It’s hard to really get behind fight scenes at times when the characters can’t throw a simple punch right.

And again it’s not like it’s impossible for animation to animate a fight.

There’s a scene during a fight in Naruto where Obito Uchiha kicks Kakashi, and Kakashi uses his foot to redirect the kick and pull obito off balance.

This is a real move, that people do, and it’s done accurately, but RWBY seems to struggle with accuracy in their fights. Which is fine when a character’s weapon looks like this, but not in hand to hand.

This issue comes up in sword fights too. The way Weiss fights annoys me because her sword is a rapier, and the most important characteristic of a rapier is that often times they don’t have blades, they have points, and when they do have blades, they aren’t meant for slashing. Rapiers were made to exploit the gaps in someone’s armor by stabbing them, and thus it is a thrusting sword, not a slashing one. A sword like a Katana or Khopesh would be good for slashing. Roman gladius can kind of do both, but not as good as either one.

The point is that if they’re gonna give Wiess a rapier, they need to stop animating her slashing with it. Especially when her rapier doesn’t appear to have a sharp edge.

My next complaint is wasted characters.

It’s very frustrating when RWBY takes times to show us a character, but then never uses them.

I didn’t even know sun had a full team sometimes because you never see them.

And furthermore it’s annoying when a fight scene will just stop so that a character can do a cool thing.

Oh no this robot is so hard to beat, how will we beat this dangerous and powerful robot

Oh wait, this character can solo it because the plot needs to pause so she can be cool then promptly never be seen again.

It is so frustrating and it makes it hard to actually know when a character is in danger.

It takes 20 hits to kill a Grimm in one scene, then like two in another.

And the reason for that is because the plot is being pushed aside for the sake of spectacle.

A character’s abilities will be made inconsistent for a chance to make them seem cool.

Like this scene where Tyrion is fighting qrow, he uses his tail to block bullets.

But why?

He has his Aura up, the bullets wouldn’t hurt him anyway! Then when he gets shot later after he looses his aura his tail comes off.

If he was fast enough to use his tail to block bullets he wasn’t even paying attention to, why can’t he do it now!

There is no internal consistency.

Like why are Grimm so strong if they don’t have auras? That’s not explained because they Grimm rarely serve the plot, they spectacle. Adam putting 20 kombo hits into yang to beat her makes sense. He has to wear down her aura to actually hurt her.

But 20 hits to kill a grim that then gets solo’d by a character later on?

No.

Then there’s hazel.

He annoys me.

His villainous motivation is that his sister joined a school for trained soldiers, then died because it was dangerous and now he hates Ozpin.

Dude what?

Like I get why he’s mad, but she knew the risk and someone had to sign off on her getting in for her to be able to go to beacon at all. A child can’t just register for a school especially one where it’s a known risk you could die.

Also another thing I hate is how characters will overreact to stuff in annoying ways.

This is mostly in the most recent season.

Spoiler alert here

But everyone finds out the history of Ozpin and Salem’s relationship from Djinn

And then they just all hate and distrust Ozpin.

Here’s my reaction to finding out about ozpins relationship

It’s just... not that big a deal.

Okay so he was pipping the villain at one point

Nigga so was dumbldore!

It’s just annoying how Ozpin didn’t really do anything but he still was treated like he was just a bad person when he wasn’t.

That whole plot point feels empty, and I found myself more annoyed with the characters for being mad at him and wasting time, than mad at Ozpin for wanting to get laid.

My next complaint on this nitpick fest is

Shit what was I gonna say again?

Oh yea, that annoying ass military lady and her whole reason for not letting the heroes into atlas.

That was so annoying and pointless. She really had no reason not to let them through, and her getting into a giant mecha to fight them pulled me so far away from the story because it was just too ridiculous.

The mecha is for fighting Kaiju grim but it’s taken down by like five kids and their drunk grandpa.

Which like... fine but I hate it.

I hate that whole sequence.

It didn’t have to happen like that, it was another fight purely for spectacle.

It made me mad.

Plus I really really hate mecha anime and mecha fights in general.

God I hate them.

I skipped almost every mecha fight in Voltron because I hate them.

Look the point is that rwby is definitely a good show and I love almost every part of it, but these issues really pull me away from the story at times and you can really sense how much of the story is less about progression and more about increasing drama like the Ozpin thing, or looking cool.

Please watch rwby it really is worth your time, just be aware of the issues it has.

[minaminokyoko]

Star Wars: Rise of Skywalker--A Spoilertastic Review

Boy, oh, boy.

Well, it’s over.

And I don’t know how I feel about it.

Let me start as I always do by saying I have no attachment to Star Wars. It’s always just be something to watch for me, nothing more, nothing less. I am ambiguous and apathetic. I admit that the first time I ever perked up was with The Force Awakens, which I still think is on par with the first two original films in terms of being engrossing. I actually liked it more because Rey and Finn connected with me more than I did with Luke as a kid. Then Last Jedi happened and it derailed the places that I had hoped we were going to go. I didn’t dislike Last Jedi, but I certainly didn’t like it either. I appreciate the risks it took, but I felt it didn’t pull them off and that’s why I had zero expectations for this film. It left a lot of people unsure of the future.

And unfortunately, J. J. Abrams pussed out.

There is no other way to say it. He basically listened to the people who complained about The Last Jedi and catered the characters’ development in order to try to please them. Which is shitty as hell.

That being said, this is an enjoyable movie, imo. It’s a satisfying end to the overall Skywalker saga, I think, but not to its original characters. I’ll explain below.

Overall Grade: C+

Spoilers ahead, as always.

Pros:

-The action is great. Just great. Really engrossing, really fun sequences. Everyone pulls their weight, too, unlike the subplots in Last Jedi. It’s also visually stunning. It’s a polished film, much like what we’ve been enjoying about the Mandolorian, how it integrates real sets with effects instead of just that sterile bluescreen nonsense Disney has been doing recently.

-Reuniting Finn, Rey, and Poe was a fucking Godsend. They are so likable together. It was the whole reason I liked The Force Awakens so much. They’re a good group and you really root for them the entire time. I’m glad they let them be in the story together. It’s the way it should be. They have a ton of chemistry and I would like it very much if they are kicking off an original franchise now that they have ended the Skywalker saga. We’ll see.

-Poe in particular is a lot of fun in this film, which is much needed since he was such a headstrong pain in the Last Jedi. Here he’s back to being just charming and salty and likable as hell. I really enjoyed Isaac finding a path for Poe, because at first he was kind of filling the snarky badass role that Han Solo did but he found his own way and I like him a lot for that same reason. He’s convicted but he’s softened up from how he was in Last Jedi and I think it works great.

-Rey being at the center of the story—and don’t worry, we’ll talk about this below, ugh—even though I highly disagree with the direction they took her in, is still great. I like that they still didn’t listen to the whiny gits who hate a woman being a Jedi. I like that Rey is fighting every second to hold onto her own truth and be her own person. Good for you, girlie. I do hope she gets more stories. She’s a good bean.

-The tribute to Carrie Fisher was nothing short of beautiful. I got choked up. Thank you for honoring her. I miss her so much. I only wish she could have seen it herself. She’s such an inspiration.

-Good pacing. Nothing stagnates and there aren’t any subplots that feel extraneous like in Last Jedi. The film is focused on all the right areas.

-Kylo Ren fucking dies like he deserves. See ya later, Darth Fuckboi. But we’ll also discuss that below.

-The Han Solo cameo caught me waaaaaaaaaaay off-guard. Harrison Ford has made no bones about hating Han Solo, which annoys me because I still think Han is his best performance, and yet he still agreed to cameo, so that was pretty neat. Unexpected for sure. But I’m sure Disney waved a very pretty paycheck and he only had about 10 lines, so why not?

-I did like Rey’s adoption of the Skywalker name. Thank you for giving meaning to that strange title choice. It’s very heartwarming to end on that image of Luke and Leia, together again, smiling fondly at this little girl they adopted. She ended a war and now she can be herself. I loved her creating a gold lightsaber too. It’s very fitting and it’s such a great thing to see. As a female fangirl, it makes my heart sing to know that millions of little girls get to grow up with a female Jedi as the lead in the new franchise.

-It was nice to see Lando again! Good for Billy D.

Cons:

I have three big fucking problems with this movie. They don’t break the entire movie, but they damage it so much that now I get why the movie is getting so many mixed reviews. The things this movie does well, it does well, but the things it fucks up? My God, does it fuck them up. Let’s dig in.

-First huge problem: *gets out loud speaker* KYLO FUCKING REN DID NOT DESERVE A FUCKING REDEMPTION ARC. FUCK. THIS. FUCKING. FUCKBOI. HE DOES NOT DESERVE A REDEMPTION ARC BECAUSE HE IS A GODDAMN MOTHERFUCKING SPACE NAZI AND HIS ACTIONS DO NOT AT ALL WARRANT A KISS FROM REY NOR FORGIVENESS FROM ANYONE. FUCK DARTH FUCKBOI. FUCK ANYONE WHO THINKS HE COULD BE REDEEMED AFTER KILLING HIS FATHER IN COLD BLOOD AND TRYING TO KILL HIS MOTHER AND OH YEAH REMEMBER THE BILLIONS OF DEAD INNOCENT PEOPLE HE KILLED AS A PART OF THE FIRST FUCKING ORDER OH MY GOD THIS IS THE WORST WRITING HOW FUCKING DARE YOU.

Ahem.

This arc did not work in the Last Jedi either and yet here we fucking are. We are in a world that is asking us to forgive a goddamn Space Nazi. It’s so unacceptable. But I shouldn’t be surprised, since this is the same fucking year Hollywood is trying to ask me to feel bad for the goddamn fucking Joker.

Kylo Ren does not and never will deserve a fucking redemption arc. He willfully slaughtered billions of people. Billions. Fuck you for asking me to care about him. Fuck you for that disgusting kiss. He is an abuser and Rey has not shown any romantic interest in him whatsoever up until this point. I can’t fucking believe they pandered to the fucking gross ass Reylo fans. And yes, fight me, I don’t care, Reylo is fucking problematic as hell and that was the most forced bullshit I’ve ever seen in my life. Go to hell.

-Second huge problem: retconning Rey’s backstory made me fucking furious. It was the one fucking thing I didn’t want J. J. to mess with and not only did he mess with it, he went with the most illogical fucking method to make Rey’s lineage “important.” Say what you want about the Last Jedi but the thing that worked best was Rey’s parents being fucking nobodies who sold her off. That was a great story element. It reinforces the very important idea that you are who you choose to be, to quote the immortal words of The Iron Giant. Where you came from does not fucking matter. Your blood does not matter. You are the person that you want to be and that’s how you should live your life, with choices that are important to who you are, not where you came from. They backtracked just to pay lip service to the originals for no reason and because they got too scared to color outside of the lines.

-Third huge problem: Palpatine’s retconned inclusion in the story. There is no way you can convince me that old ass Palpatine crawled on top of a woman and made a baby. It does not fit at all. It’s just stupid, stupid crap and I hate it with my entire soul. I want to slap whoever the hell wrote it. Not only does the Palpatine bullshit make no narrative sense, it’s a straight up retconned bullshit plothole. I defer to the experts, but from what I remember, there was no indication he was still alive in the previous films. It overshadows what was a promising story and it derails so much for her fucking character to have this useless lineage garbage that doesn’t work on any level. There was no reason to crawl back to Palpatine when Last Jedi felt as if it was leading towards Kylo fulling stepping into the Big Bad role and Rey rejecting his stalker, abusive shit to be the Jedi she wanted and needed to be.

-Continuing the “maybe Rey is secretly evil” bullshit from the last movie. I hated this in Last Jedi too. Rey shows absolutely no signs of being evil. Ever. At most, she loses her temper, but that’s it. Normal good people can lose their temper. The movie constantly keeps saying maybe she’s bad but her actions are universally good, kind, brave, and helpful, so why the hell did they pursue this nonsense at all? It’s clear that Rey is virtuous. The First Order has done nothing but oppress her and kill innocent people, so why the hell would she ever entertain the thought of joining them? It’s so pointless. The only time it even made a little sense was when Palpatine said she could save her friends by commanding the Final Order and even then it was a fucking stretch. Christ, I hate it when the writing is forcing something that does not match the character’s actions. Good job with the Force vision, by the way. Every single non-stupid person knew it was going to be a Force vision when we saw it in the trailer, you cliché bastards. They were wasting everyone’s time with this and they should be ashamed of themselves.

-Not going anywhere with Finn telling Rey how he felt. Finn in general was still sort of not as important overall as I want him to be, but we’ll see if that changes if their stories continue past the Skywalker saga. Either way, the attention has constantly been shifted away from Finn and Rey and it’s very frustrating because their friendship is so endearing. Whether you ship it or not, it’s an important relationship and I wish they had spent more time on it instead of having him fret after her constantly. Sigh.

I probably need to keep marinating on this film. There’s a lot to drink in. As I said, I’m not sure how I feel, since the good is really good, but the bad is really bad. It feels like it’s not good enough for a B grade, but it’s better than a C grade, like I need a letter between these two. It could’ve been done so much better, but it also could have been done much worse. I definitely like it better than Last Jedi, but it’s not exactly good either. It’s a trouble film. It’s a fun film. It’s just…a lot of things. I would say that the scale makes it satisfying as a closing statement to the saga, but not for the individual characters. Rey’s derailment due to Darth Fuckboi is a huge disservice, so while I think people are overreacting, I get why they’re angry at the film, especially for the three things I noted. It truly seems to be a film split right down the center in terms of good/bad. That’s all I can say for now.