#i know nothing about the different cultures in the film

[skelebab]

lol I feel like you’re the only other person on Tumblr who’s seen The Tiger Hunter, it feels good to meet someone else who also appreciates the film!

Sorry I took so long to answer!

I flippin love The Tiger Hunter :D

I wish there was a proper fandom for it because it feels like the kinda film where you'd learn so much from the fans and the ending is basically begging for fanfics

Also Sami is so slay and I want his wardrobe <333333

[airenyah]

now that i've turned thai drama into my bachelor thesis, the only question left is: how to turn thai drama into my master's thesis

[cuckoo-on-a-string]

"Appropriate" responses to the Gaiman issue

TLDR: This isn't a Rowling situation, be wary of internalized purity culture.

He's a predator. I'm glad a proper journalist followed up where police have failed (and possibly given victims a better footing for future charges).

But I have a problem with the knee-jerk responses targeting the fandom.

Just to clarify, I'm not talking about insulting The Predator. This is about how you treat people who have/do/will enjoy the stories that unfortunately came into the world through his keyboard.

Fans aren't intrinsically evil/uncaring for continuing to participate in associated fandoms.

This is not another Rowling situation. Why? Let me clarify. The consequences of consumption are very different. Rowling is ACTIVELY using her popularity and income as a creative to target one of the most vulnerable minorities in the world. Buying official merch/books/movie tickets prove to the powers that be that she remains a good investment, so they'll give her even more money. This perpetuates the cycle - new movie/book deals, more income, more hate, rinse and repeat.

The push to avoid Rowling's work in full is driven by the fact that she has FACED NO CONSEQUENCES and is still powered by her creative properties. It's fandom/consumers trying to bring justice.

Gaiman, on the other hand, knew he was doing bad shit on some level because he kept his abuse hidden. His status and reputation let him get close to vulnerable fans and essentially intimidate authorities from going after a celebrity. He is FACING CONSEQUENCES. I would personally like to see criminal charges brought against him, but that's out of the fandom's hands. Things we could've influenced (his Disney deal appears to have gone to shit, he's been booted from the truncated final season of GO, and there's no news on Sandman 3) are already in motion. If his publisher doesn't drop him, I'd say avoiding his future works is beyond valid (I certainly wouldn't buy them). But I'm going to watch the new season of Sandman. And once I've taken time away, I'll probably finish my active fics.

"Judging" people who still enjoy his work stems from good intentions that grew out of the fetid ground of purity culture rhetoric.

Writing fanfic and enjoying shows that are already made do not make people soulless accomplices. The idea that unproblematic stories by saintly creators are the only things you're allowed to enjoy is not only flirting with censorship, but it's also impossible.

If you think people should have nothing to do with Gaiman's works, you better throw out anything Weinstein touched. That includes Jackson's LOTR trilogy, FYI. Also, anything his company officially produced (which still gives him money in some cases) should never, ever grace your screen. That includes some of the better Stephen King adaptations, The Orphanage (which was a breakthrough Spanish-language film in Western markets), The King's Speech, The Imitation Game, Woman in Gold, Paddington, and It Follows.

If you aren't willing to publicly announce your "disappointment" in anyone who continues to enjoy any of those films, then kicking up a fuss over how other people process and interact with problematic content from a fallen celebrity who is in the process of getting his dues is pure hypocrisy.

Personally, I'm maliciously complying with Gaiman's famous quote about how once a story is out there, it doesn't belong to the author anymore. Well said, Predator, these are mine now, and I shall fuck about with them as I see fit.

Attacking or snobbishly looking down your nose at the fandom also erases YEARS of beautiful critique and thoughtful exploration of existing, acknowledged problems in works like The Sandman.

People in these parts already know how to handle complex issues in complex pieces of media. Gaiman isn't our god. His canon is not our bible. He didn't teach us morality, as is apparently the case for a lot of people who grew up reading Rowling's works as a child.

If you have a problem with the censorship comment I made, I'd like to point out at least one writer friend is LEANING INTO the fandom as a way to process their own trauma. Suffice it to say they survived a very similar situation. They see it as empowering to take the stories away from the abuser and use the characters/settings to make something new.

I get the ick. I have it right now. But I'm not burning every copy of his work I own (full disclosure I have... *checks shelves* a copy of Neverwhere and The Sandman series). Doing so is totally valid, and if that helps you process and feel better - go for it!

But this is not the same as Rowling and the only ones you hurt by declaring your "judgement" is a complex group of individuals who are able to enjoy fiction, remain aware of potential social consequences, and found a place that doesn't align with your black/white morality.

With that said, judge away! I better not see any stories from Charles Dickens, anything in anyway associated with the Weinsteins, Nickelodeon shows, Charlie Chaplin references, or Francis Ford Coppola films touch your feed. If you scratch the surface, you'll find more things to judge others for enjoying, and they will inevitably find something to judge you for, too.

[renthony]

On "Consuming Content"

Every now and then a post crosses my feed that follows the vein of, "you have to do things other than consume media or else you'll be a dumb person who doesn't know anything about how the real world works and does nothing but pointless fandom stuff."

I hate those posts for three major reasons, not counting the inherent ableism and classism of "you must have approved Smart People hobbies or else you're worthless" rhetoric:

You don't know what people do or talk about outside of what you see on their social media. Responding to fandom communities on a fandom-driven website as if all these people are one-note cardboard cutouts of people is asinine. In many cases this genre of post feels like repackaged 2012 tumblr "not like other girls" and hipster discourse. Yes, yes, you think you're better than everyone else on this website because your hobbies are less mainstream, more morally pure, and have greater intellectual merit, we get it.

What do you even mean by consuming content? As someone who purposely avoids using the phrase "consuming content" because I find the term too vague to be useful, please be more specific. Are you including every single form of media engagement and art enjoyment? Are you just talking about mainstream TV and film? What about novels? Plays and scripts? Nonfiction books and instruction manuals? Do you mean to imply that going to a book club is a worthless non-hobby? Are you including academic reading? Are you including going to the art museum? Going to the theatre, concerts, or other performances? Taped liveshows? Watching sports events on TV? Are you including news media? Are you including YouTube tutorials about how to do various tasks, crafts, or other hobbies? Are you including trade magazines? Are you including industry publications in various fields? What constitutes "content," and what constitutes "consuming" in this discourse? Define it. "Consuming content" is a nothing phrase that people use to mean multiple different things depending on what they, personally, judge as valid media. It's a buzzword at best, and when the same buzzword can be used to describe both "idly scrolling social media" and "reading and discussing a book," it's a meaningless phrase.

As an artist and author, if engaging with media is bad and worthless, am I supposed to conclude that making it is equally worthless? If "consuming content" is a bad, lazy, worthless, fake hobby, what makes creating art a worthwhile pursuit? If I am constantly being told as an artist that engaging with media isn't a worthwhile pursuit in its own right, and the people who want to engage with my art are just brainless fandom losers, what incentive do I have to make that art anymore? Furthermore, to everyone reading this paragraph and thinking, "that's not what content creation is," I refer you to bullet #2: If the phrase "make content" can be used to mean "low-effort posts made to advertise cheap and useless products" as well as "being a novelist" or "getting a gig as a writer on a TV show," it's a meaningless phrase.

None of that is even getting into issues such as the way influencers are preyed on by both brands and targeted harassment from trolls. Influencer culture has major issues, but boiling those issues down to "stupid vapid young people who are too lazy to make real art or get real jobs" (which is a mindset I see frequently online) is unhelpful. So many people pursue influencer deals because they're living in poverty but are skilled at various social media and advertising related tasks, and just like any worker, they're being exploited because they need to eat. Labor rights for influencers are a huge topic that entertainment industry unions have been actively discussing and working toward. (Related links for further info: [x] [x] [x] [x])

"Consuming content is not a hobby" is a worthless statement unless you define what you mean by both "consuming" and "content." Quite frankly, you also need to define "hobby," because if you're putting requirements on what is and isn't allowed to be a "real" hobby, you mostly just seem like you're moving goalposts and defining "worthwhile hobby" as "hobby I, personally, think is good." Use more specific language to articulate your actual problems with the entertainment industry, the art world, influencer culture, or whatever else you're actually upset by.

Media and fandom can involve any number of enriching, satisfying hobbies that take up a perfectly acceptable and healthy space in someone's life. If you aren't into it, go find hobbies you do like and stop policing how other people spend their precious free time in this nightmare hellscape of a world.

[gyuwoncheol]

Vantage Point | Meet the Characters & Series Masterlist

Status: Begins tomorrow (January 20)!

Pair: Mingyu × f.reader

Summary: Pulling off the "No Strings Attached" arrangement with his best-friend-turned-best-friend-with-benefits was easy, but when a new condition is added onto the mix, Mingyu didn't realise just how much he held onto you when you finally let go.

Genre: College au. BFFs to FWB trope. Fluff, Humor, Angst, Smut [chapters with smut will be indicated and will contain the necessary warnings]

Author’s Note: Please take time to read this before starting the series ☺️

Hello, my darlings! Finally getting round to posting this after missing the commited date last time due to covid. But welcome!!! 🥳 This is the first story to my Snap Shoot universe! Before you get into it, let me just point a few things. This is the first time I'm ever creating a universe with interwoven stories, and while I've done SMAUs before, this is the first one I've done for SVT and the first time I'm also this adventurous about it. It's definitely very different from what I post on here but I'm having lots of fun putting it together. I know it goes without saying, but I'll say it anyway, this is very much a work of fiction. This is an AU. While Korea may be the assumed setting for this series, it is not explicitly defined. I'm also trying to avoid using lots of Korean cultural references (maybe except for food) such as use of honorifics like "hyung". While many of my other works refrain from over-describing oc's physical features, you may find that in this series (and universe), oc's features will inevitably be defined. You'll find that the visuals of the characters and the aesthetic of the photos/social media posts will be Korean/ Asian. It's a SMAU, so i'll have to place photos and these photos must maintain consistent. I absolutely do not mean any ill intention of being non-inclusive (I don't even fit the same aesthetic as oc).

Again, it's a work of fiction, while I want you to relate to oc, kindly also allow me breathing space to build the character. If you feel uncomfortable at any point in the series, you are very much welcome to stop/unfollow. As mentioned, this is a SMAU, but it contains several chapters which are purely written narrations. All edits (texts, social media posts, etc.) were done by me, however some photos (esp those of Y/N) are from the web, if they are yours, please let me know so that I may credit you or remove the photo. The texts are all done on light mode. Deal with it. This follows a FWB trope, expect lots of smut and suggestive content— specific smut warnings will be available in chapters where they are present, along with other necessary warnings. This series will have lots of fluff and lots of crackhead nonsense humor. I hope you guys enjoy this as much as I enjoyed writing it.

Biggest shoutout to my dearest friend @wongyuseokie who has been nothing but supportive through all of this and through all my dramatic Mingy-induced meltdowns. I love you more than you’ll ever know ♥️

Meet the Characters

Mingyu: Sophomore, studying Film & Photography, yn/Camie's best friend since childhood

Yn: Sophomore, studying Film & Photography with Mingyu, Mingyu's best friend since childhood. Nicknamed "Camie" by her group of friends for her highly concerning camera collection/obsession.

Seokmin: Sophomore, studying Film & Photography, same friend group as mingyu and yn, Mingyu & Wonwoo's housemate

Soonyoung: technically a year older than the 3, but currently a Sophomore with Gyu, Cam and Seokmin after shifting into their major

Wonwoo: Junior, studying Film & Photography as well, Mingyu's guy best friend and housemate in The Man Cave, a brotherly figure to OC, Soonyoung's former classmate in highschool

The Man Cave: shared house near their university where Mingyu, Wonwoo and Seokmin live, and Soonyoung often crashes.

✨Other characters/members will come as the series progresses.

Series Masterlist

To be populated as each chapter is posted. There is no posting schedule. Chapters will just get uploaded as they come.

Teaser

Chapter One

Chapter Two

Chapter Three

Chapter Four

Chapter Five 🔞

Chapter Six 🔞

Chapter Seven

Chapter Eight

Chapter Nine

Chapter Ten

Tag List!

@strawberryya @idyllic-ghost @septemberskies @ladyblablabla

If you want to be tagged as each chapter comes out, do send me an ask or reply to this post so I could include you in the tag list ���

[genericpuff]

Do you have any entry level recommendations for someone looking to learn a bit more about Greek mythology? I’d love to read up on it but I’m not sure how to find reputable sources and avoid Americanisation.

I mean, at the risk of sounding crass, you're likely going to run into Americanization no matter what you do because America itself was built on many cultures, especially that of Greek philosophy and storytelling.

Buuut if you mean you wanna read some actual Greek myth content that AREN'T modern American spins on classic tales, Emily Wilson is a popular choice for many people dipping their toes into translated mythology as her translations are both simplistic and concise in their language choices as well as fun in their structure to read both internally and orally (iirc her translations are done in iambic pentameter which is very familiar to anyone who's ever read Shakespeare). I've been working through her translation of The Odyssey, it's been pretty enjoyable :)

I've also heard great things about both Lattimore and Fitzgerald, the latter of whom I will be reading next after I finish Wilson's translation. That said, I haven't read either of their works yet, so take my recommendation of them with grains of salt! (I hope you enjoy them though if you check 'em out! If you beat me to it, let me know how they went!)

OH also, I know it's sorta the opposite of what you're likely looking for as it's VERY influenced by modern contexts, but thanks to another anon I recently got into Destripando la Historia which is a super fun animated Youtube series that retells the stories of various different gods from different mythologies. If you're into stuff of the goofy anime variety, you might enjoy them, it's a Spanish series but you can turn on captions to read the translations! It's super beginner-friendly, it covers a lot of different stories and myths without getting into so much detail that it's overwhelming (but gives you a good kickoff point to start with!) and the songs and animations slap, Afrodita is one of my favorites haha

Overall the biggest advice I can give you if you're trying to avoid fanfiction-y / "Americanized" retellings is just to cross-reference. If you find a retelling you really like but aren't completely sure of its legitimacy as a functional retelling, keep reading, watching, and learning more. It's a skill like any other, and the more you read, the more you'll be able to pick out what's a legitimate retelling from studied scholars vs. what's fanfiction that you don't need to take too accurately or seriously LMAO

And honestly, nothing wrong with the fanfiction stuff! Mythology, in its very nature, changes over time, it's an inevitability and many of the myths we still draw from today are often derivative in and of themselves from even older versions that pre-existed them (see: Ovid).

it's okay if your introduction to Greek myth is through derivative fanfic, stuff like Disney's Hercules and even Lore Olympus ARE fun to consume for a lot of people and make for a good entry point into learning more about the myths!

What's frustrating - and what I tend to criticize the most here - is when the fanfiction gets advertised / sold as legitimate retellings; when the fanfiction grossly misrepresents the actual mythology and yet tries to claim it as legitimate anyways which results in fanbases that are running around with completely false information claiming it as fact. If you can give the team behind Hercules credit for one thing, their rendition may not be completely accurate, BUT the folks who made it never bragged about how much smarter they were than other people about Greek myth or call themselves "folklorists" when they didn't even have any formal education/training/etc. in it cough like another creator we know cough 💀 If we want to make a comparison between LO and a Disney film in terms of how it grossly misrepresents the themes and cultural contexts of the original stories it was drawing from... Disney's Pocahontas does exactly that 💅

So if you want to avoid any "grossly" Americanized versions of Greek myth that are borderline disrespectful to the stories they're drawing from... yeah, that's usually a pretty indicative red flag LMAO

But outside of those very specific scenarios, just have fun with it, there really is no "right or wrong" way to engage with the mythology if you're simply just wanting to learn more, the beauty of it being mythology is that it's very diverse in its mediums and thus you don't have to be restricted to learning about it exclusively through academic translations or lectures. Of course, there are cultural intersections with these myths that shouldn't be ignored, we always have to treat it with care when engaging with it so that we aren't overwriting another culture's traditions or beliefs - but if you're simply wanting to learn about and entertain yourself with some amazing stories that have quite literally stood the test of time, do so however you see fit :)

[commsroom]

OK I need you to point me to the nearest entry point into this fandom. I don’t know what this is, but you popped up on my dash.. and I need to know what this is. Please lead the way.

oh!! that's exciting. yes. okay!! wolf 359 is a science fiction audio drama about the isolated and questionably competent crew of a deep space research station, the u.s.s. hephaestus. the initial four characters are comms officer doug eiffel, 'everyman' pop culture guy who really, really hates his job; commander minkowski, who cares about her job and the rulebooks that come with it a little too much, and desperately wants to feel like she's keeping everything under control; dr. hilbert... eccentric? station medical officer and mad scientist whose methods and mission objectives are not entirely above board; and hera, the station's mother program, who struggles with her job and the ways she's perceived by others.

there are other characters who show up later - i would say only three of the above characters are "main" characters, while the actual fourth main character is introduced in s2 - but that requires way more context, and i don't want to get into spoilers, obviously.

wolf 359 is a character drama - it's my personal gold standard for character writing - and the brief descriptions i gave you are the most surface, surface level parts of them. the writers once said something about it, like... that they weren't interested in subverting typical sci-fi character archetypes so much as looking at them and asking "why would a real person behave that way?" and i think it really worked. whether i like them or not, they all feel like real people to me. it has great sound design and a lot of "physicality" in the performances for an audio-only show, which i think comes down to gabriel urbina's film background and the way the scripts are written and performed. (and alan rodi's incredible soundtrack and sense for music cues.) you can't see a lot of what's in the scripts, but they're acted out in a way that you can kinda feel it anyway. i love that.

here's a fan made trailer that i think captures a lot of the right energy. it's a show about a lot of things, but some of the primary themes are communication + music, and i think the collaborative nature of the show itself adds something very sincere to that. it's also about corporate and medical exploitation, resisting dehumanization, what makes us human, connection, identity and autonomy, guilt and accountability, the stories people tell themselves to justify who they are or what they feel it's necessary for them to do, and, of course, the enduring philosophical question: "what's wrong with handcuffs?"

you can check it out at the website i linked above, or anywhere you can listen to podcast feeds! it's free, but they added ads a few years ago, which i hate, so you can pay a dollar here for the ad-free feed if that'll make a big difference in your ability to enjoy it: https://www.patreon.com/Wolf359Radio

it's a sequential story, nothing you really need to know about listening order except that i recommend not skipping the mini episodes (they have important character context and are where they are in the feed for a reason) (with the exception of mission mishaps ones near the end; those are comedy bonus episodes you can listen to whenever) and that you should definitely watch the live show after ep 26 and listen to special episode change of mind between s3 and s4.

i also have a folder here of every recording script where i edited any parts that were different from the show's dialogue + added transcripts for the ones that didn't have available recording scripts, if that's something you'd find useful! i also recommend checking them out just to see what i mean about how they're written.

the first season is pretty short, so i'd say stick with it until at least episode 12/13 (two part finale) if you can - i love the first season, personally, but that's the point it really becomes serialized, and so that's where i think you can safely say if it's something that's going to capture your interest or not. ... and that's it! sorry this is kind of an essay, but i got excited about it. i hope you love the show, please keep me updated, and let me know if there's anything else!!

[writertothemaximum]

Yuuji with a tall (pushing it at 198cm) scary transfer student from America who's kind of a punk but he's sweet sometimes (mainly only to yuuji) perchance?🧐(N/sfw)

ヤンキー・Yankee: Pt. I

Yuuji x tall delinquent male reader

content // Reader comes from a strict American family, canon-typical violence, reader is a juju tech transfer student, reader is a bit depressed, Reader is smitten™️, (yuuji is too), very wholesome, pre-relationship

note // read part two here! (nsfw)

-When your family moved to Tokyo for “business” related reasons, nothing could have prepared you for the culture shock. The language was one thing, but there were all these social customs that were just implied. No one said anything bluntly to your face, even if they did speak comprehensible English, which a lot of people did. Was it because you were an outsider? Was it because you were American?

-Maybe because of this, you found the life of delinquency easy. Maybe it was because you were 6’6” and no one was going to fuck with a dude twice their height, because nothing meant a quick trip to the hospital like getting into a fight with you.

-But people did. And you busted their faces in. It’s what they deserved. One time you broke your fist on someone’s nose. It was worth it. You got suspended and grounded by your parents, but so what? You never provoked people, they just came at you, and it was within your right to defend yourself. Isolation wasn’t caused by ostracization, it was caused by defense, and in your opinion, there was a lot to be defended.

-One day, your parents told you that you were getting transferred to a select school a little bit outside the city. A strange man (who was surprisingly close to your height) came by the house, offered to fist-fight you, and for the first time in your life, you got your ass whipped.

-It was a this point that you realized that the “imaginary friends” you had been seeing since childhood were called “curses,” and that maybe there was a place in the world for your violence. It had just been an outlet, maybe now you had a purpose.

-Very quickly, you realized that Jujutsu Tech also wasn’t home. A part of you wondered if anywhere in Japan could be. Before you were even given your own dorm room, you were sent with another student for a “trial run.” He didn’t talk to you much, and it took two hours into the thing before you even learned his name. It was like your parents had sent you to military school, and in a sense, they did.

-That was until you met Yuuji.

-Yuuji wasn’t like the other students. In many ways, he was like you. To no surprise, many of the students at Jujutsu Tech were also former delinquents, Megumi included—But Yuuji was different. He had blood on his hands, but there was no way you could tell. From the moment you met, he actively talked to you, tried to get to know you, treated you with respect, that’s just how he treated everyone, that was Itadori Yuuji.

-It’s not like no one had ever given you the kindness of humanity before, but Yuuji was different. Why wasn’t he afraid of you? Why wasn’t he intimidated? Maybe he was and he just never let it on, maybe it was because he’d beaten up kids just like you when he was in middle school, you didn’t really know. But it wasn’t just that. He was sweet he was funny he was kind. You were a friend, just like anyone else.

-Yuuji liked watching foreign films, and would invite you to go watch them in the city if any theaters had showings (and since it was Tokyo, they almost always did). After the movie, the two of you’d walk around and discuss what you liked, what you didn’t. One time, Yuuji asked about your home. He asked if you missed it, and a part of you did. A lot of you did. You didn’t talk to your friends anymore since everything had changed. Would they even believe you, anyways? Fighting monsters, living in what felt like another world?

-Yuuji understood you, he always did. That’s what’s so charming about him, is that he can feel what you’re feeling. At that time, he gave you a hug, and told you that he can’t send you home, but he can do his best to make Tokyo your new one. Maybe there’d be a piece of home here, maybe you could find a quiet spot, surrounded by the greenery of your youth, and the two of you could sit and chat while the memories flooded in.

-That was the first time you had cried since you moved abroad, and you vowed to make it your last. Somehow, Itadori Yuuji had weaved into your heart, and you weren’t about to give him up anytime soon.

If you liked this story, please give the post a reblog, or send me another request :)

Thanks for reading!

// read part two here! (nsfw)

[olderthannetfic]

Hey. Maybe not the place. But people treat your ask box like a forum so 🙏 I thought I was ace because porn does nothing for me and I only like erotica/doujinshi if I like the characters. But I recently discovered watching wrestling does something for me. Is this really weird? How do I know where I fit?

--

I will gleefully embrace the identity of basement-dwelling gremlin who prefers horny fiction to actually dating or having sex with other people.

But porn tastes aren't what defines sexual orientation.

Neither is willingness to get off the couch.

Are you attracted to people, anon? That's usually how people define the various identities on that spectrum: no attraction, very occasional attraction way below what's seen as commonplace, attraction only when you know someone well, etc. (Which, of course, brings up the question of what level is "normal" and whether someone's judging based on Hollywood nonsense or on what's actually typical.)

For me personally, mainstream porno movies have actors I find un-hot wearing clothing I find libido-killing in ugly environments with bad lighting and camerawork. The scenarios lack the psychological depth needed to interest me, and there's little sense of intimacy.

This has nothing to do with orientation and everything to do with film craft.

Doujinshi of characters I'm already familiar with have a lot more context for what's going on, and this can add a lot of zing to kinks or increase the apparent intimacy.

Wrestling has plotlines. It has deeply charismatic stars. It has different body types than a lot of porn. There's nothing odd about finding it hot but not liking the porno movies you've been exposed to.

Plenty of people prefer all of the horny film festival favorites of the 90s to actual porno movies. It seems like funding dried up for those kinds of movies for a decade or two, but they used to be common.

I preferred the kinkier ones. Crash, for example, was a staple of my teenage viewing. Not the cringey one that won too many awards: the pervert one with the eight billion scenes of people licking each other's scars like they were performing oral.

It really digs into the psychology of kink... in addition to being far more visually beautiful and starring far hotter people than most of the commercial porn I've seen. Same deal with The Pillow Book or ¡Átame! or Maurice or Bound.

I've been seeing articles lately talking about a return to 90s levels of sex in arty movies. People point to the likes of Call Me By Your Name and Saltburn.

Live action commercial porno movies do vary, obviously, but it's just so, so, so common to find them tacky or boring while liking other forms of porn, even other live action sex scenes.

Hell, even for poorly shot stuff, I've never seen even amateur porn capture the vibes of this one long-deleted youtube video of a guy giving a lecture on anal massage and treating his subject like a prop while lecturing to a big group of onlookers.

--

Sometimes, people just aren't very into casual sex, and horny art where they can fantasize about people who actually know each other is better than horny art about the pizza delivery guy. Sure, there are pornos that try to have more plot, but porn stars are generally good at being porn stars, not at subtle and naturalistic acting.

Wrestlers are hardly subtle, but they do do different acting from your average porno, and there's more continuing plotline. Unless you mean... like... college wrestling? (In which case, Kink.com has or had some series where people wrestle to decide who gets to top. Wrestling is hardly a niche interest.)

For kinksters, the context and psychology often matter a lot. Showing an object with a lot of cultural baggage, like shiny black leather, can be hot, but the viewer might need more, and your average porno isn't geared up to provide that.

--

Anyway, if you want to determine your own orientation, your interest in art isn't necessarily going to help that much.

If you're only rarely attracted to people, and you have to know them well first, you could be demisexual, but you could equally well be shy or nervous or depressed or repressed or too busy and stressed to spend much time noticing your own feelings—or just surrounded by people who aren't your type. Only your personal interpretation of your internal experience can determine which it is.

But no, being horny for wrestling is not weird.

[fuckyeahisawthat]

thank you so much for that excellent chani post. i've seen some annoying takes on twitter about how not making her totally devoted and subservient to paul makes her 'unlikeable' and i'm like. buddy. i think that speaks more to how you see women. than anything about her. this chani is very dynamic and interesting to me.

i'll be honest and say i've not read the books. this is me speaking from what i've seen of summaries, but i think giving her a real cause to fight for yet also genuinely loving paul gives her an interesting struggle, and also plays into how the portrayal of the fremen (seems to me to be) more diverse and nuanced. as in, the fremen themselves seem to have more of a push-and-pull to them. the clarification of how different fremen believe differently (the south being more fundamentalist) is a very important thing to include in a movie where you can run into the danger of saying that all adherents to a foreign, islam-adjacent (in coding) religion are all fundamentalists. that can (in less nuanced hands) be a pretty irresponsible thing. so showing that there's also more secular/pragmatic/less dogmatic sectors of the culture seems a pretty good counterweight.

so yeah. this is how i processed it as a movie-goer. and having chani represent that aspect (believing in people over prophecy, action over religion) and having stilgar as the humanized face of the southern peoples (showing that yknow, regardless of being fundamenist beliefs, theyre still PEOPLE with the capacity for love, friendship, honor) makes total logical sense. you're not just "telling" us that there's different aspects to fremen culture, you're SHOWING us by showing different characters who represent those aspects, without demonizing either or turning either into a one-note stereotype.

Thank you! I'm not someone who was a long-term fan of the books before the movie came out (I tried reading Dune as a teenager when I was reading a lot of classic sci-fi but found it too boring) but I did read Dune and Dune Messiah after the first movie came out, both because I wanted to know what happened next and because I wanted to have an opinion on how the movies worked as adaptations.

(book and movie spoilers below and also I basically ended up writing a whole essay in response to this)

My single biggest frustration with the book is that after they arrive at Sietch Tabr and Jessica drinks the Water of Life and becomes Reverend Mother...the book up and skips two years of the story and when we next see Paul he's already got Fremen followers who are ready to die for him and he's in an established relationship with Chani. Oh I was SO MAD when I got to this part. I was like FRANK. FRANK!!!! Did you seriously just skip two years of the most interesting part of your own story???

The thing is, even though I know that Frank Herbert's intention was to write a critique of the idea that oppressed people need an enlightened external (white) savior to liberate them...if you don't provide an alternate explanation for what's happening then you end up falling into some Orientalist tropes anyway. And because, in the book, we don't see the process of how your average background fedaykin comes to trust Paul as a military and political leader, there is nothing in the text to counter the idea that the Fremen are a bunch of unquestioning religious fanatics easily swayed to do violence by belief in a prophecy.

My second biggest frustration with the book is that we're given no reason at all why Chani would fall in love with Paul. While she has some memorable scenes, she doesn't have a lot to do as a character in the book, and she's missing from a whole chunk of the end...because she's in the south...because she and Paul have a baby, Leto II, who's then killed off-page when the sardaukar attack the south. (I'm honestly really glad they cut this from the film, because it never seemed to be given the narrative weight it deserved in the book.)

So you can imagine how happy I was when the Villeneuve movies figured out how to address both these frustrations by tying them together. The fedaykin don't just blindly accept Paul because of some prophecy. They come to trust him because he proves himself as a fighter, and because he starts out from a place of genuine solidarity and humility--which it is possible for him to do because he has no structural power over them at that point. And Chani falls in love with him for the same reason, in that heady environment of fighting side by side for a political cause, and maybe for the first time in a while starting to believe that you can win.

I think the Villeneuve movies improve a lot on what's in the book in terms of how the Fremen are portrayed...when we're with the fedaykin and/or Chani and Stilgar. There we see political debates and discussion and the fact that not all the Fremen think the same way. And we also see little humanizing moments of folks just hanging out, celebrating after a victory in battle and just shooting the shit and being friends.

I do wish the movie had extended this to more parts of Fremen society. If there's one thing I could have added, it would be seeing more of daily life in Sietch Tabr. It makes sense that when we're seeing things from Jessica's POV, she is more distant from and suspicious of the Fremen, seeing them as a force to be manipulated, but I wish we had even one or two scenes of people just being people in the sietch. It felt kind of weirdly empty and not particularly lived-in as a place, and I think they could've easily countered this, with scenes from Chani, Stilgar or Paul's POV, and that would have made it hit even harder when the sietch is attacked.

If there were two things I could have added, I wanted more exploration of the people of the south. Why are they more fundamentalist than the Fremen who live in the north? (We get one line about how "nothing can survive [in the south] without faith" but I wanted more than that.) While I think the movie did a fantastic job of humanizing and differentiating the Fremen we see around Paul, when we get to the south it does backslide a little into "undifferentiated mass of fanatics." Surely the people of the south also have some diversity of political views.

I think there are some interesting threads they could have pulled on in terms of how proximity to direct colonial violence shapes people's ideology. Sietch Tabr is one of the closest Fremen communities to Arrakeen, the seat of colonial control. They have probably had to mount some kind of armed resistance for generations just to keep from being wiped out. I can see that producing skepticism of the prophecy ("well I can't sit around waiting for a messiah but I do have this rocket launcher") as well as resentment at the idea of someone swooping in and taking credit for a struggle that you've put your life on the line for, and probably a lot of people you know have died for. There seem to be some generational differences, too, where young people of Chani's generation put less stock in the prophecy, while the true believers are mostly older. I can see faith in the prophecy coming out of despair--when you've been fighting for decades with no change, maybe you draw the conclusion that only an outside power coming to your aid will make a difference. While the people of the south are still under colonial rule, maybe being generally outside the reach of direct Harkonnen violence (the Harkonnens don't even know they're there) makes the concepts of both oppression and liberation feel more abstract and more receptive to being filled in with Bene Gesserit mysticism. It seems absurd to want more from a movie that's nearly three hours long already...but I wanted more of this.

Still, I do think they managed to improve on a lot of things that frustrated me or are simply dated about the book, while keeping the political thriller/war drama/epic tragedy elements that I think are the heart of the story, and in some cases drawing them out more clearly and effectively than the book did. The best kind of book-to-film adaptation imo is one that has a strong point of view in terms of what the story is About, on a large-scale thematic level, and is not afraid to change individual elements of canon in service of telling that story the most effective way possible in a cinematic medium. While there are always things I want more of, I feel like Denis Villeneuve really, really understood the assignment in terms of the overarching themes of the the story and he delivered so fucking well.

[wenella]

Seeking Zhu Yilong

EN translation of Zhu Yilong X Marie Clarie Jan 2025 Cover Issue Feature Interview by wenella

The search for “Zhu Yilong” started after Dongji Island wrapped.

Zhu Yilong’s 7-month life on the set ended at night. When Zhu Yilong finished his last scene underwater that night, his body was filled with the character’s emotions, and he was overwhelmed by fatigue. He didn’t come back to his senses even when he heard the director yelled, “it’s a wrap!” It was not until the director jumped into the water to celebrate with him that he felt a huge sense of relief. It was finally time to say goodbye to his role Luo Xiao.

Zhu Yilong's role in the movie "Dongji Island" required him to perform many scenes underwater. He had to perform actions and deliver emotions while going with the flow of the water and ensuring that he did not choke. This is his toughest role so far.

Over the past decade, Zhu Yilong has played a variety of characters. His career is akin to a life simulation game; he levels up by collecting different characters. Once the camera rolls, he can be anyone, except Zhu Yilong. After leveling up, he quickly turns back into Zhu Yilong and doesn’t linger in the lives of others.

Zhu Yilong often jokes that he will get "sick" after each film. Once he wraps, it is as though all the taut strings in his body suddenly loosen and his only desire is to lie down and do nothing. This time, Zhu Yilong returned to Beijing and rested at home for a few days. In the past, he always looked forward to diving, swimming, or relaxing by the beach during his break. "I think I swam enough for Dongji Island this time.  I don't want to (go to the beach) for the time being, I just want to rest."

In the past, Zhu Yilong could separate himself from his role after wrapping by changing his clothes or getting a haircut. However, over the past year, he has found it increasingly difficult to remove the lingering traces of his characters on him. These traces remain in him even though he has bid farewell to his role, and it is harder to discern how Zhu Yilong should be like anymore. What does it mean to return to being himself? What does it even mean to be himself? The boundaries start to blur.

Searching for himself

Zhu Yilong lived in Qingshan District, Wuhan, when he was a child. In the area, there was an important cultural venue named Red Flag Theater where many art performances and activities were held. The Theater was converted into an ice rink in the late 1990s and was subsequently demolished to make way for a housing community.

The place holds the childhood memories of a generation of Qingshan residents - the billiards next to the theater cost 50 cents a shot; children always gathered at the video game machines near the theater; the aroma of skewers at the entrance of the theater lingers even after many years. When Zhu Yilong was in elementary school, the school often took students to the Red Flag Theater for movies. The Theatre was like a time travel box that transported children to the past and the future. They got to see the outside world through this theatre.

Besides the theater, open-air movies were often shown on the university campus near Zhu Yilong's home. In the evening, he often ran over to the field with his grandmother's braised chicken feet, sat down with others, and feasted on the chicken feet while immersing himself in the movie. "I was easily drawn into the stories and I believed in what happened in those scenes." Little did Zhu Yilong know that he would grow up to become a storyteller and a character on the big screen.

Zhu Yilong started to watch many movies after he was admitted to the Beijing Film Academy. He learnt about the world through movies and developed a stronger connection with the world. There is a park called Xiaoyue River next to the Beijing Film Academy, where many students practiced their skills secretly. Students usually did morning practice exercises on campus, but if they didn’t want others to see them working so hard, they would get up earlier and go to Xiaoyue River to practice their vocals.

Zhu Yilong found this rather amusing as he recalled the past. “When we were in college, working hard seemed like a shameful thing. Everyone wanted to perform well on stage but didn’t want to appear too hardworking – oh wait, he doesn’t practice martial arts, how can he be so good at it?! – Everyone hoped that they were like this, but in fact they were all practicing their skills secretly.”

Today, Zhu Yilong is no longer ashamed to talk about his efforts. It takes a lot of energy to create a role and he always strives for the best each time he shoots a scene. From the first day he stepped out of school, he demanded himself to do his best in all his performances. Whatever he could give at that moment would be his best. Even if he sees mediocre acting while rewatching his previous works, he will not think of how he can improve that scene as he knows that he had already tried his best at that moment.

After becoming an actor, Zhu Yilong gradually discovered that filming is a constant process of self-exploration and that he didn't know himself as well as he thought he did. "Even if the role is very different from yourself, it is impossible to create a character out of thin air; you can't completely turn yourself into another person. You need to dig within yourself to create the role and sometimes, you will discover that you can leverage something that you think you don't originally have. Through this process, you gradually become unsure of who you really are."

In the past, watching movies was about getting to know the world. Now, making movies is about finding himself.

Immune Response

Every time Zhu Yilong creates a character, he gets very anxious and takes a long time to prepare for his role. He creates different possibilities for his character, sets high standards and tries his best to achieve them. He regards this anxiety as a type of “immune response,” which is the inevitable result of entering a new role. In his opinion, integrating himself with a new character will trigger such an immune response. There is no need to relieve the anxiety when it occurs as it is impossible to get rid of it anyway. Rather than thinking about how to relieve the anxiety, it will be more useful to face it, feel it, and adapt to it.

Besides, people will feel anxious at any stage of their life. Zhu Yilong recalled a moment when he was 27 or 28 years old. He was suddenly seized by anxiety one night and thought: I’m almost 30 years old, what can I shoot in the future? I want to make films, but there’s no opportunity. When he gathers with his friends these days, people tend to talk about their recent situation, thoughts, and issues they are worried about.

He allows anxiety to come naturally as he knows that there will be a moment when it fades out. No one knows how long the anxiety will last, but there will come a day when he suddenly realizes that acting can be effortless - there’s no need to think about where the camera is, when to pause in a sentence, or whether to look left or right. All “immune responses” will disappear once he is completely relaxed and everything he does will feel right. At this moment, he knows that he has connected with his character.

But there comes a risk after he makes that connection between reality and imagination. In recent years, there were several occasions when he couldn't tell if everything before him was real or fake. Sometimes, after he finished a scene, he would realize that the scene was identical to the scene that appeared in his brain when he was resting. At this moment, he is unsure if everything that happened was real or simply part of his imagination.

Zhu Yilong has read many stories about "acting maniacs" and used to envy the way they eat, sleep, and breath acting. Nonetheless, he knows that it will be difficult to do so with his personality. To him, the film set is a microcosm of society. If an actor completely transforms himself into the role that he plays, it may be difficult for him to consider the feelings of the people around him and may even become unreasonable and inconsiderate.

It is impossible for Zhu Yilong to completely ignore the feelings of others. On the set, he is always quickly to sense changes in people's emotions. He hopes that the atmosphere on the set is harmonious, comfortable, and relaxed. Everyone is free to express themselves and offer ideas without worrying about judgement. He doesn't want everyone to be so uptight all the time as he finds it difficult to work in such tense environments. Therefore, he will try his best to control himself, devote himself fully to the role and follow the character's developmental trajectory. However, once the director shouts "cut", he will immediately return to being himself.

Nonetheless, he has also tried to change in recent years. He tries to integrate himself with his role as much as possible without affecting the work of others and strives to release his full potential during filming. Even after the director shouts "cut," he does not withdraw himself from the role immediately as before and does not seek to revert to “Zhu Yilong” deliberately.

Zhu Yilong is trying to find a balance between his roles and himself, as well as between performance and life.

Sweet Moments

Zhu Yilong has been in love with basketball and Michael Jordan since young. This iconic figure in basketball history has created countless moments by controlling the court with his superb skills and frustrating his opponents. If Michael Jordan had to cheer himself on during an important game, one of the tactics he used was to magnify the opponent's contempt for him – it might just be a glance, but he would take it as hostility to gear himself up. Zhu Yilong found this method useful for actors. "For example, if you need a certain emotion at a specific moment, it might be more effective to capture the emotion and magnify it within yourself, rather than simply using your imagination. This way, you will not only own the emotion, but also avoid disturbing others.”

Zhu Yilong’s views about acting are constantly evolving as he accumulates acting experiences over the years. He keeps thinking about how to improve and often hopes to enhance his acting with a stroke of genius. But where does this stroke of genius come from? Are there new ways to act?

After each take, Zhu Yilong will observe everyone's reactions and feel the atmosphere subconsciously. "Sometimes, you get a strong feeling after you finish a take. If the take is good, the whole atmosphere will feel right. Conversely, the atmosphere will not feel right if it was a bad take." Sometimes, when he isn’t sure if he is reading too much into the atmosphere, he will ask the director: is it okay? Is it really okay? He communicates with the director constantly and brainstorms ways to improve the scene. “There is no way to tell what kind of performance is the best. You can always do a better job, but you don't know what the best is. In such cases, we will need the director to make a judgement. If he feels that he has everything he wants, that's it."

There are occasional moments, which are oblivious to others, when Zhu Yilong feels immensely pleased and satisfied by his own performance. It is akin to a golf player hitting a sweet spot that sends the ball travelling far and straight. Zhu Yilong feels that his performance hit the sweet spot when his emotions and reactions are on point and impeccable. These moments do not occur frequently but he always looks forward to such moments each time he goes to the set.  

New Roadmap

Besides these moments, Zhu Yilong also shuts down for some time each year and allow himself to relax. The duration of his break is highly contingent. Sometimes, he may have planned to rest for half a year, but he tries to find something to do after resting for just a week. It also depends on fate. He may have planned to rest for 3 months. But if he suddenly encounters a script that he really likes, he will get back to work immediately.

He doesn’t deliberately plan for the future. He has a clear idea of what a good actor should be and works towards this goal while picking scripts that he wants to shoot. He does not consider factors such as box office and awards. After all, filming is highly time consuming, “if I can’t work on projects that I’m interested in, it will be so unbearable.”

A reporter once asked him: if he could pick a special ability, what would it be? His answer at that time was to stop time. Now, he feels that he really needs this special ability. Time seems to fly whenever he is working, especially in recent years. In the past, he would think that a 3-month filming period with a hectic schedule and tough preparatory work was unbearable. Now, he feels that a few months happen in a blink of an eye. Some moments happen so quickly that he doesn’t have sufficient time to feel them properly. Sometimes, he really hopes that he can stop time to enjoy these fleeting moments before moving on. After all, the journey of exploring himself has just begun.

He looks forward to the future, though he isn’t exactly sure what to anticipate. Regardless, the journey of seeking Zhu Yilong has changed its trajectory. He is no longer obsessed with recovering his known self; rather, he is more interested in uncovering the hidden possibilities within himself. He has a new roadmap on hand, and the terrain ahead is unknown; he is ready to embark on this new journey to fully experience life as Zhu Yilong.

**THE END**

Post-translation note: Post-translation note: This interview gives SO MUCH updated insight into Zhu Yilong's views on acting. Really looking forward to his new role as Luo Xiao in Dongji Island. Can't imagine the number of underwater scenes he filmed for him to avoid the sea/beach temporarily.

If you'd like to translate this into other languages, please drop me a DM + credit by linking this thread. Happy reading and good night.

[nothoughts-onlywomen]

Pink Floyd’s The Wall

This BTS photo has really piqued my interest. Not just because it’s clearly a hint at something for season 5, but also because it happens to be one of my favorite albums ever. So, I thought I’d do a deep dive into how it might factor into the next season.

Full disclaimer: All these ideas I’m about to verbal vomit will make more sense if you watch the film here and/or listen to the album here. I truly recommend you seek it out. Far and away, it’s one of my favorite films/albums, and it’s stood the test of time. In fact, there are certain sequences that may be a little triggering in our current US political climate (I’m thinking of the “In The Flesh/Run Like Hell/Waiting for the Worms” sequence).

War. The Wall is about war; namely, the bitter uselessness of it. The film has a lot of anti-war imagery. Young soldiers wounded and vulnerable, doves exploding into crows, a bloody cross, etc. The film ends with a culturally diverse group of children picking up rubble from the war. There’s a beautiful image where a child pours out a Molotov cocktail. The meaning there is that children are taught to hate and kill, and once they are, the joy of youth is smothered by it. Now I can think of a few scenarios where this is relevant to our crew. This could have something to do with the war against Vecna, in that our kiddos are so young to be fighting this war, and that it will inevitably chip away parts of them. For some, it may take limbs, or even lives. There may also be an assertion that Henry Creel was taught to hate, rather than it being an inevitable part of him. El suggested this at the end of season 4, when she asserts to Vecna that Papa made him a monster. The nuance within the anti-war message of The Wall is that the main character, Pink, lost his father in World War II. Henry Creel’s father went to war (the exact same war, in fact) which is an interesting similarity, but I think greater parallels should be drawn between Pink and Henry Creel in terms of how their relationship with their father (or lack thereof) led to their emotional erosion. And when I’m referring to Henry’s father, I’m not necessarily talking about Victor, though their relationship may have been complex. I’m referring to Dr. Brenner as well. Now the major difference between Pink and Henry - at least, so far - is that Pink is shown to have a soft, gentle side to him. This gets smothered as his emotional wall grows taller. I don’t know if Vecna ever had anything of the sort, but we know that Will is nothing if not gentle. And if they’re going to draw parallels between Will and Henry next season, I have to think there’s some meaning in there somewhere.

Conformity. It should be noted that the film takes place during World War II, so the conformity themes were especially prevalent in those days - the days of Hitler and the Nazi regime. Pink attends a school where the children all wear masks and stand on an assembly line, eventually to be thrown into a meat grinder. All very heavy-handed symbolism, I know. But the idea is that society attempts to suppress individuality and corner the youth into becoming part of the mindless whole. Blessedly, toward the end of the school sequence, the kids all rip off their masks and rebel. Now, in reference to our friends in Hawkins, this could be a nod to how the group has never been afraid to be the “freaks,” and that conformity is meaningless to them. Stranger Things has always reveled in the beauty of being yourself in the face of societal labels. The Wall also utilizes hammers in much of its imagery, which is supposed to symbolize the hammer pounding a nail into submission. With the individual being the nail, and the oppressive whole being the hammer. To me, this hearkens back to the “hive mind” idea. The Mind Flayer operates from this hive mind, and so any deviation from this would be quickly and mightily suppressed. I also addressed the idea of the “hive mind” in my theory about the Wrinkle in Time Easter egg, and how the planet Camazotz adopts this same concept (read here if you feel so inclined). Will Vecna be this deviation? If not, who will? One of the kids? Will Dart break away from an army of demogorgons to save Dustin? I can’t see the Mind Flayer being thrilled about it regardless of how it manifests.

Emotional isolation. Pink undergoes a descent into emotional isolation. The wall itself is symbolic of the emotional wall he builds around his heart, insofar each negative event in his life is “another brick in the wall.” Once his emotional isolation is complete, he becomes callous and disconnected with others. He fantasizes about committing atrocities, even becoming a Hitler-like figure in his imaginings. Such emotional isolation is likely present within Vecna as well, as only someone with a real disconnection from their emotions could kill people in the ways that Vecna has. That scary face on the poster, in fact, is emotion, trying to break free of the wall. A scream of agony from within. Perhaps the Duffers will explore this within Vecna. Perhaps Vecna has some small shred of humanity left that the group will try to capitalize upon. At the climax of The Wall, Pink puts himself on trial in his mind with a judge that is a literal asshole (yes, it’s as batshit as it sounds), and the wall is torn down within him. The album ends with a spoken message that loops into the beginning track, suggesting that the conundrum of emotional wall-building will never end. Perhaps the group will attempt to tear down Vecna’s emotional walls. The Duffers are good enough writers to make us feel at least some empathy for Vecna, if we hadn’t already, and this might just be a continuation of this. There is also the possibility that one of our other kiddos starts to emotionally isolate. It could be any of them: Mike, Will, Lucas, Dustin, El, or Max. I’m less inclined to believe it would be one of the older kids, though they’ve all certainly got their own demons. None of them will become as twisted as Vecna, of course, but I could see them struggling against their own emotional walls. We’ve seen Max do a bit of this already. It would be a real shot to the heart if the Duffers utilized a deeply sad track like “Nobody’s Home” or a wistful, melancholic tune like “Comfortably Numb” to describe Max’s consciousness literally being absent from her at the moment. I think Will is also an ideal candidate for this concept, especially if (as I suggested earlier), we are going to draw similarities between him and Henry Creel. The ending song on the album, “Outside the Wall,” postulates that those who truly love you will walk up and down outside your emotional wall, banging on it, trying to tear it down and thus forge deeper connection. We’ve seen this happen with Max a bit, and I could certainly see it happening with Will, too.

Mental illness. Pink is suggested to have a mental illness. He’s not particularly easy to slap a diagnosis on (though based on the information we do have, I might have put him in the schizoid/schizotypal/schizoaffective territory. Depression with psychotic features at the very least). Mental illness isn’t a topic that heavily explored in Stranger Things, though season 4 definitely had some poignant things to say about depression. But I’m wondering - if they do decide to touch on this somewhat - if this will hint at a deeper dive into Vecna’s psyche. Killing small animals is generally a precursor to actual murder, and this was certainly the case when it came to Henry Creel, but we have yet to really unpack all of this. We’ve gotten hints. Vecna noting that he “never forgets a kill” and “they are always with me” is a very interesting concept I will be curious to learn more about.

I would love to hear any additional thoughts on this.

[pochiperpe90]

[Eng] Elle Italia - Daily Venezia: THE HISTORY IS US

Luca Marinelli is almost unrecognizable in the role of Mussolini in the series M. Son of the Century, directed by Joe Wright. Two greats together to tell one of the darkest and most criminal periods in History

Personal opinion: M. Son of the Century is one of the masterpieces of the 2024 Mostra. It's a shame it can't win, because it's a TV series, even if its director continues to call it a film. A seven-hour long film, which will be released in eight episodes on Sky and Now in the early months of 2025. It’s produced by Sky Studios and Lorenzo Mieli for The Apartment, a Fremantle group company, based on the novel by Antonio Scurati, written by Stefano Bises and Davide Serino. The director is Joe Wright, the protagonist is Luca Marinelli. It tells with historical accuracy the rise of Mussolini and our country's surrender to dictatorship.

Sensitive material, it reminds us that we invented fascism, and perhaps a foreign director, let's say, could have approached it with greater detachment, without our sense of guilt.  Wright looks at me almost with pity, in a good way: “But I share that sense of guilt, I reject national borders, there are no nations: the similarities between us human beings are more than the differences, I feel as responsible as you Italians…I was very careful to tell the truth without being didactic, I tried to understand without sympathizing, maintaining a critical distance... Mussolini was fascinating, he seduced a nation and many others. If I hadn't shown that charm then people might have thought that Italians were all idiots. That balance was my main concern... On a more personal level it's a series about toxic masculinity, which is like nothing else in us, we have it inside us. We have to understand our responsibilities and turn our backs on them, so as not to end up morally bankrupt".

Every day it took Marinelli two hours of makeup and hair to get into Mussolini's shoes. "It was something I brought home with me," the actor confesses, "in the same shape as on the set: the 22 kilos I had gained, my hair cut as you see it in the scenes.  The black lenses. were the things I could leave in the makeup van. Working with all the different departments was fascinating”.

It must not have been easy for him to shoot so convincingly in the fascist salute: “These are filthy and brutal things that the role required of me, but of course there is a big difference between what is considered right and what the role requires. I certainly did not take pleasure in carrying out certain actions or even in expressing myself in that way, but rather the opposite. What I had to face during the production of the project, as a convinced anti-fascist that I am, really cost me a lot. I did not come out of it intact”. But he was in the hands of an excellent director, a master in the cinematic transpositions of great books (Anna Karenina, Atonement, Pride and Prejudice).  How does he approach them? "The film," Wright continues, "is what happens in my head while I read the book. I'm dyslexic and so when I read I think I see beyond the words, I create the scenes and I edit, zooming in on small details that interest me. M. is a mash up between Scarface, Man with a Movie Camera and 90s rave culture." Tom Rowlands' techno music creates the right atmosphere: "I didn't want anything classic, kids have to see it too, they have to understand the roots of fascism." Luca Marinelli is monumental in the role of the "duce." "He's one of the greatest actors in the world, along with Gary Oldman. But, like Gary Oldman, he doesn't know it."

[nattikay]

actually no wait holdup, I stumbled across some "Na'vi redesigns" recently, and while I don't want to make a stink about it on the actual redesign posts themselves because I don't want to antagonize the artists, who are clearly skilled in their own right, I do have something to say on the topic. While there is of course nothing wrong with re-designing characters or species for fun, there seems to be this condescending attitude surrounding Na'vi redesigns in particular, especially ones that make them significantly more monstrous/non-human, about how they're "better" than the canon designs for being less humanoid but....

y'all. Though there is a lot of cool speculative biology in Avatar, Avatar at is heart is not meant to be a speculative biology documentary, it's meant to be a story.

y’know, it’s interesting, there’s a section in Anomaly Inc’s epic eight-hour Avatar defense in which he’s refuting The Critical Drinker’s Avatar video. Paraphrasing a bit because I don’t want to dig through eight hours for this one line, but there’s a point where Critical Drinker says “if the Na'vi looked like this, or this, or this [showing images of much more monstrous alien designs from other movies], Avatar would be a very different movie”, and Anomaly Inc responds, “no actually, if the Na'vi looked like xenomorphs nothing in the plot would change, it would just be a whole lot less pleasant to look at.”

And you know what? They’re both right. Anomaly Inc is correct that giving the Na'vi a more monstrous design would not affect the plot itself, but Critical Drinker is also right (though perhaps not in the way he intended) that it would make Avatar a different movie. A WORSE MOVIE.

Yeah, I said it. Because plot is an important element to a movie, yes, but it’s not the only important element. Film is a visual medium, and therefore design is very important too, and it’s not arbitrary: the design of your characters should be used to support the story you’re trying to tell.

The story of Avatar requires the audience to empathize with the Na'vi. We’re supposed to be able to relate to them, to see ourselves in them. We’re meant not to see them as just “aliens”, but as people, because recognizing them as people emphasizes the wrongness of the RDA’s treatment of them. Blowing up the village of a clearly humanoid species is going to hit the audience much harder than blowing up the nest of scary-looking aliens, even if we know the aliens are smart and have their own culture etc. (not to say that blowing up the “nest” wouldn’t still be bad, of course it would be, it just wouldn’t invoke quite the same gut reaction in the viewers and yes that matters in a story).

A more monstrous design would not only not support the Na'vi’s narrative role, it would actively hinder it. Like it or not, general audiences would have a much more difficult time connecting with the Na'vi if they were depicted as hunched-over four-eyed hexapods with gaping jaws and the inability to make human facial expressions. Making them more humanoid makes them much easier to read and therefore to emotionally connect to. And no, Mr. Drinker, making your protagonists appealing to look at is not “lazy dirty manipulation”, it’s character design 101.

And don’t get me wrong, there’s certainly a place for more monstrous-looking sapient alien species in fiction! And if that’s your cup of tea by all means go nuts! Make that alien species! Flesh out their culture! That sounds awesome! I know I’ve definitely seen some cool and interesting ones out there!

….but I just don’t think that Avatar is that place. And that’s ok. There’s a place for “monstrous” aliens (sapient or otherwise), but there’s a place for humanoid aliens too, Avatar is the latter and there’s nothing wrong with that.

…all that to say, my stance on Na'vi redesigns is heavily dependent on the attitude behind them:

“Here’s a Na'vi redesign because I thought it would be a fun challenge and look cool!” Awesome, go for it, have fun! :D

“Here’s a Na'vi redesign because the canon designs are dumb and lazy and mine is way Better and More Original because it looks more like a movie monster, the filmmakers were so stupid for not making them look more like this, I’m just Fixing It” shut up

[eylih]

Frozen fandom, I have a message for you!

Y'all really need to calm down on the asumptions cause it's possible that none of them turn on canon. I'm gonna adress the two big ones: Norse myth and Hans (by extension Helsa)

Unless, we've heard completely different speeches, Jennifer Lee never mentionned Norse myth. The castle in the sky could be Asgard as much as it could not. Let's not forget the question castle ruins in Ahtohallan. Ahtohallan already being its own entity. Norse myth could play a role in F3 and F4 as well as it could not. Yes, Frozen has inspirations and references to Norse myth, but it's not the only one . One thing you tend to forget is the great inspiration of Saami culture the Frozen franchise have, especially in the second movie. It would be more logical if they keep that way for the new movies instead of going after Norse myth as their main base. Nothing's confirmed.

Y'all have the right to make every theory you want but, keep in mind that at the end of the day, they remain theories. Mrs Lee told us to not hold onto that concept art. Let's consider all possibilities. It could be completely wipped off and we wouldn't know before 2027. Don't forget they were still chanoine the script a few months before F2 premiere and that Elsa was villian before Mrs got involved in the project. We're never sure with Frozen.

I'ma be fully honest, I don't want Hans to be a relevant character again and I'm quite fine with him being a joke along the franchise. The idea of a redemption arc with him having a positive role in the sisters' story, the possibility of Helsa even more make me sick. BUT all I'm about to say could also apply to my views on Honeymaren and elsamaren.

"Coming out of Frozen 2, we still have some questions. A lot of questions. That is just page one. Now you see why it will take two films to answer them. Just a tease, once again just a tease." These are Mrs Lee's words

This more looks like a list of the questions they've received. Rather than the ones F3 and F4 are gonna answer. Mrs Lee didn't say that. Considering the fact that the first two are already answered. Ahtohallan. The fifth spirit is the human spirit, Elsa and Anna are the bridge between spirits and humans (one side of each). Just watch Frozen 2 and the Myth short, please.

But let's say, all of these questions are gonna get answered. Some of them can just be mentionned a few seconds. And It's still not a confirmation of Hans's return and even less of a potential redemption arc. You can theorize what you want but Hans could also remain a blatant franchise joke. Or we could just see a memory of him in Ahtohallan showing what he became. Mrs Lee didn't confirm which characters are coming back for the sequels (even though it seems clear our five MCs and the Nokk are). We don't know anything about Hans's future.

1- Long story short, I'm not telling y'all what you should believe or not, I'm just asking to not act like what is NOT confirmed is. Don't hold too much on your asumptions cause you might end up not appreciating the actual movies if none of them happens. As an elsamaren shipper, I feel what I say.

2- I also fear y'all might start a new misinformation wave. Critical thinking and media literacy being concepts unknown in most of the fandoms, it can turn out really bad. I haven't forgotten how dirty some of you did Honeymaren just you didn't like the idea of lesbian Elsa. To this day, there are still being convinced she is her cousin. I remember really well how many people fall for that ai fake news made by a SATIRE disney account that Elsa was getting married to a woman in F3...

[mimicdive]

Proof of Concept?

Summary: Bi!Reader feels insecure in their sexuality and Spencer offers validation. Word Count: 933 Content Warnings: referenced/implied biphobia, no pronouns are used but reader is AFAB, mostly dialogue Author's Note: written for @imagining-in-the-margins's Pride Challenge! written as a combination of the bisexual prompts :)

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As pride merch began to weave its way back into mass-consumer culture, large chains preparing for Pride Month, you couldn’t help the niggling of doubt in the back of your mind. Growing up, sexuality wasn’t an open topic of discussion in your family, and though you’d eventually been able to figure it out on your own with the help of the internet, social media, and several very attractive celebrities, it wasn’t uncommon for you to feel insecure in your sexuality. Bisexuality, despite its status as one of the most common sexualities in the queer community, was often overshadowed, both in your life and in the larger community.

Of course, it was easy to fall into stereotypes–bi with a preference for women, yet still dating a man. Not that you could complain about Spencer, he was everything you’d ever wanted and more. Yet, that doubting of your sexuality still bothered you from time to time. Were you really bisexual if you’d never been romantically involved with a woman? If the only kisses you’d ever shared with a woman were fleeting and meaningless? When the only romantic interests you’d pursued had been male?

It was difficult to articulate, even more difficult to say aloud. Many of your close friends were straight and were unable to offer more than comfort. And your boyfriend…well. You weren’t unhappy in your relationship with Spencer, far from it. Part of you was worried that a discussion about your sexuality would cause him to feel insecure in your relationship, and that was the last thing you wanted. Another more irrational part of you, built out of feelings of shame and doubt, feared that he would confirm your worries and invalidate your sexuality.

Logically, you knew Spencer wasn’t that kind of person. Armed with this knowledge, you brought it up after dinner one night as you were perched together on the couch, watching an old foreign film with a name you wouldn’t even attempt to pronounce.

“Do you think that it’s weird?” you blurted out.

Spencer furrowed his brow and paused the movie. “Do I think that what is weird?”

“That I say I’m bi even if I’ve never been in a relationship with a woman? Or even pursued one?”

Inhaling sharply, Spencer frowned. “Is this your way of telling me you want to pursue a relationship outside of ours?”

You shook your head vigorously. “No, no, not at all. It’s just…you know, Pride is rolling around soon, and it caused a thought spiral, seeing the merchandise resurfacing in stores. I mean, am I really valid in my identity if there seems to be nothing indicating that I am truly attracted to women?”

Spencer visibly relaxed when you clarified that this was nothing about your relationship. He moved closer to you, taking your hand in his and interlacing your fingers.

“Love, there’s nothing wrong with being queer in a straight-passing relationship. And not having previous involvement in romantic relationships with someone of the other gender doesn’t mean that you’re not bi. Sexuality isn’t defined in concrete terms. It’s fluid, and it’s a different experience for many people. Plus, you don’t need to prove it to anyone. You can be attracted to women and never have been in a relationship with one. How you feel is how you feel.” He paused and cleared his throat. “Plus, I’ve seen how you look at the women in your favorite shows.”

Your face heated, and you groaned. 

“And in public, for that matter,” he added with a chuckle. 

You buried your head in your hands. “I was just admiring their outfits…”

“It’s understandable for you to feel the way you do,” Spencer stated, voice taking on a more serious tone. “Society places a lot of pressure on labels and certain boxes you have to conform to if you identify with any label. We’re told how we can and can’t present ourselves. But really, all that matters is that you’re true to yourself. And at the end of the day, you don’t need to have a label if it’s causing undue stress.”

“It feels like I had everything figured out about my sexuality when I was younger. I knew I liked men, and I knew I liked women, and everyone and anyone in between. I didn’t care what other people thought. But now that I’m older, it just feels like I’ve adopted a label that doesn’t matter. All people see is that I’m dating a man, and they make assumptions based on that,” you sighed.

Spencer brought your hand to his mouth and kissed it. “Like I said, it’s about what’s true to you, not anyone else. You’re no less valid for being in a relationship with a man than a bisexual woman would be for being in a relationship with a woman. Bisexual erasure is unfortunately common, even in the LGBTQ+ community, with people preferring absolutes–you’re either ‘gay’ or ‘straight’ or it’s too complicated. You don’t have to ‘pick a side’.”

You felt tears welling up as the burden you’d learned to ignore seemed to dissolve, lifting an immense weight from your shoulders. It’d been eons since you’d allowed yourself to open up and discuss your anxieties about your sexuality in this manner, and to find yourself supported and seen by one of the most important people in your life was ultimately reassuring.

“I love you, you know that?” Spencer whispered. “Your sexuality isn’t going to change that.”

“I love you too.” You paused, squeezing his hand. “Thank you.” 

He kissed your forehead as you settled back in, starting the film from where you’d left off.