#i really like the original baron scene. i really like how they did it...

[straightyuri]

I love acting like baron isn't scary as if the original scene didn't make me go WHAT THE FUCK?? But they're cute... they're like a little girl in a horror movie to me. It would be so good at standing at the end of a hall motionlessly

[space-mango-company]

Stranger | Chapter 5

Chapter Links: [1], [2], [3], [4], [5]

TW: Descriptions of Violence, Mentions of Cannibalism

Tags: Feyd-Rautha Harkonnen x Atreides!Reader, Arranged Marriage, Eventual Smut, POV Second Person, No use of y/n, Original Characters, Canon What Canon

Word Count: 2.3k

A/N: Not proofread!! Holy moly. Here it is, folks. The scene that inspired this whole fic. I had fun writing this so I really hope you enjoy it. Once again, I appreciate everyone who likes, comments, and/or leaves kudos so much. I really started this fic for myself but good golly, that dopamine rush whenever I get a notif might be more addicting than spice. I'm glad to be part of the bald man brigade.

Also, I can't believe I'm only now questioning why I decided to write this in the second person? I guess maybe I thought this fic would be a lot shorter and not that deep, lol. At this point 'y/n' probably has enough personality to just be a straight-up OC. It's funnier because I don't even find second-person or y/n fics any more engaging either. I always detach myself by giving 'y/n' her own name and only seeing her as a character in the fic.

ANYWAY, sorry to ramble. Stay safe and have a good one, ya weirdos.

You step out into the dark cul-de-sac of the guest hall, illuminated only by the large suspensor lamp in the middle. Feyd-Rautha looks you up and down, seemingly entranced by how the dim light casts his shadow on your modest dress. Atreides green, he recognized.

"Trying to sneak into my rooms again?" you say arms crossed, leaning on your door. "I didn't appreciate the last time, by the way."

"It's my house," he says cooly, "and I did knock this time."

You stare at him indifferently.

"Quite the display from you yesterday morning, using The Voice on me." His voice low and raspy, "I should have you drawn and quartered."

You scoff in his face. "You almost choked me to death. Are you trying to start a war?"

He takes a step closer and his face is inches from yours, you can feel his breath on your cheek, "I didn't think I'd like you this much, little hawk."

"What do you want, Feyd-Rautha?" you had no patience for him right now.

"Ah," he steps back, a dark smile on his face, "I've been waiting to hear my name from your tongue." His hand reaches for your lips. "I've grown quite tired of 'na-Baron'."

You grab his wrist before he can touch you. "If you're only here to toy with me, I would rather be left alone to prepare for bed." You release his hand and turn to open your door.

Feyd-Rautha props an arm against the doorway to block you. "We're to be married in three days," he says, "and I just can't seem to bring myself to let go of my 'harpies', as you called them." He meets your gaze. "You said you'd kill them. Did you mean that?"

You look up at him with steely eyes. He towered over you but your heart felt no fear, "Yes."

His coy smile returns. "Good. Come to my training hall tomorrow," he says, walking away.

"What?" you call after him.

"Dress to fight," he says over his shoulder. "I want to see what you can do, Atreides."

You needed no help from Zora in putting on a loose shirt and long pants. The plain beige outfit certainly wasn't as elegant as the dresses you had been wearing so far. But it was comfortable and you could fight in it, which was all that mattered. Still, you look yourself in the mirror. The soft, airy fabrics draped over your figure well but perhaps you were not in the best shape as you once were. Your muscle mass is much less than your brother's and he wasn't particularly built himself. You admit you did wane off your training sessions with Gurney and Paul leading up to your departure from Caladan. Nevertheless, you were still a skilled warrior. Another secret you've been keeping from the Harkonnens.

You were 14 when you started learning the blade. Watching Paul, 2 years your senior, practice with the Atreides Warmaster lit a fire in you. You didn't hesitate to pester your father to let you train with them and of course, there was nothing he could deny his darling daughter. You were a fierce and determined student. Gurney Halleck was a man you genuinely believed to be one of the best fighters in the Imperium, along with Duncan Idaho. Gurney would train you and Paul on even days. On odd days, your mother would teach you the Weirding Way. These lessons, much like the rest of your mother's teachings, your father wanted to know nothing about. After becoming decently adept at Prana-Bindu and gaining almost complete physical control of your body, Lady Jessica insisted that you also be skilled in the Bene Gesserit style of combat.

You were far from mastery in either but the combination of both trainings made you a formidable fighter. Despite this, you could never seem to beat your brother in a sparring match. A fact that frustrated you to no end, though you appreciated that Paul never went easy on you. You'd always blame it on him having trained for longer than you have. But in truth, you knew there had just always been something special about him.

"Are you ready, my lady?" Zora's soft voice wakes you from your thoughts.

"Hm? Right. Yes, let's go." You quickly tie your hair out of the way and grab your father's dagger from atop your dresser.

There was no fanfare when you entered the hall. On one end, the na-Baron's concubines sat chained on the steps of the shallow recessed pit in their leathers, their glares piercing through you. Your eyes linger on them as Feyd-Rautha and his Warmaster greet you.

"I was starting to think my lady bride was bluffing," Feyd-Rautha says as you approach him. The older man beside him offers you a polite bow.

"Perhaps she wasn't so keen on your brutish games," you bite back. "Your lord uncle won't be joining us?"

"No," Feyd-Rautha crosses his arms, "but he'll be hearing about your victory. Or your demise."

"Right. Well, I assume you'll be releasing them from those chains," you nod towards his pets "Not sure why they're necessary."

"Oh, trust me, little hawk. They're necessary." Feyd-Rautha motions to a servant.

"Your blade and shield, my lady," they bow, presenting you with a knife and a small device you recognize as a Holtzman shield.

"I've brought my own," you unsheath your father's dagger. You contemplate taking the shield but remembering that the na-Baron forwent it during his gladiator fight, you decide to do so as well. "They've no weapons anyway, the shield seems pointless."

Feyd-Rautha shrugs, "If you insist."

You take a deep breath, "Let's get this over with."

You lightly stretch as you walk down the steps of the shallow pit to stand opposite the na-Baron's concubines. You had come into this on the pretense of righteousness. For Iassa, you told yourself. But you've known her a mere two days. A part of you wanted to show off. You were good and you knew it. You could probably kill anyone in this room, even Feyd-Rautha. You craved the respect of the people here: the Harkonnens, the people of Geidi Prime. You figured this was one way to get it.

Feyd-Rautha walks around the pit to one of his concubines and kneels to whisper something in her ear. You assume a fighting stance when he moves to release her from the chains. When you meet her eyes, they are filled with feral bloodlust.

Suddenly, you weren't so bold. The veil of courage you have maintained since you arrived, even when Feyd-Rautha had your neck in his grip, is torn apart when you face this woman. You could tell no part of her would hesitate to rip your throat out with her bare teeth. You were almost relieved they were unarmed, but you weren't sure if that would make them any less lethal.

Fear grew in your chest and you had less than a moment to recite the Litany in your head before the concubine lunged at you.

You crouch down in time and slash at her abdomen as she approaches you. You turn to face her on the other side of the pit and she wastes no time in attacking you again. She attempts to grab your armed hand but you take hold of her wrist first and move to pin it behind her back. Quickly, your blade drags across her throat and she falls to your feet.

The kill has not yet registered in your mind but your heart is racing. You can almost hear your blood coursing through your veins. You held your arms outstretched, your eyes focused ahead, ready for the next one.

Across the pit, Feyd-Rautha licks his lips, smiling as he releases his second concubine. This time, you walk toward her while she moves to attack you. You clock her head with the pommel of your dagger and knock her a few steps back. She reaches a hand to wipe the blood beginning to drip out of her nose. After examining it, she snarls and bares her sharp teeth at you. Your mind is blank now. She dodges your first slash then manages to land a blow to your jaw. You seethe from the pain. You spit out the mixture of blood and saliva filling your mouth. The anger at the hit drives you to rush at her. Seeing an opening, you duck down to her waist and stab her twice. As she falls to her knees, the look of determination doesn't leave her eyes until the very last moment.

When you turn around, Feyd-Rautha has already released the last concubine. The ruthless scream she lets out disorients you. She pounces and knocks you over. She straddles you and pins your arms to the ground, your blade sliding inches away. She screams again in your face at the death of her sisters. You wedge your right knee between you and her abdomen, the only thing keeping her teeth from reaching your throat. You grunt as you struggle to free your hands. In your periphery, you see Feyd-Rautha, wielding his own blade, take a step into the pit.

"GET BACK," you roar, and he is powerless to refuse.

You turn back to your opponent still on top of you and you butt her head with your own. She loosens her grip and you kick her off to hastily crawl to your weapon. When she reorients herself and attempts to grab you again, you hook a knee under her arm and flip the both of you over. With your weight on her chest and both your knees pinning her arms down, she thrashes underneath you, claws digging into your right ankle. You take your blade in both hands and her screaming is silenced when you sink your knife deep into her heart.

When you rise, the room is quiet. Your chest heaves. The stark white ceiling lights don't help the lightheadedness that begins to wash over you in the post-adrenaline rush. Feyd-Rautha says something from behind you but his speech is garbled as you reel from the thrill of what just transpired. You were electrified. You almost... wanted more.

Then, the realization of the revolting scene you are in settles upon you and you are knocked off your high. You look at the leather-clad bodies scattered around you, the grotesque way they lay on the floor, the red blood pooling around them made brighter by the sterile grayness of the room. You did this.

A hand on your shoulder snaps you out of it. In reflex, you turn and raise your blade at the offender.

Feyd-Rautha holds his hands up, "Whoa, easy, Atreides. Trying to kill me? Don't want to start a war, do you?"

You yield your weapon. Your eyes dodge his as you look to your feet and try to steady your breathing.

"Enjoy your first taste of blood?" Feyd-Rautha says, the look in his eyes indecipherable to you. He raises a hand and swipes his thumb on your cheek. It comes away covered in crimson.

You gasp and reach for your face with your own hand. You don't even know if it's your blood or theirs, or when it got on you. Your heart pounded, unable to decide whether you were repulsed or proud.

"Look at you," he says licking the red off his finger. You could not help but stare at him through the strands of your hair that had come undone in the fighting. "You're beautiful like this," his hand reaches for your face again.

"No," you say low and quiet when you swat his hand away, "you're sick." You didn't know if you meant him or yourself. You calmly turn to leave. No one stops you when you make your way up the shallow steps of the pit. As you pass Iassa—no, Zora—by the doorway, you tell her flatly, "Prepare a bath."

You had never taken a life before. Today, you took three. You were glad you didn't know their names. You decided you'd never find out.

After Zora pours a final pitcher of hot water into the bath, you tell her, "You may go. I'll dress myself later, thank you."

She bows and makes her way out of your rooms.

In your solitude, you bring your knees to your chest. You had been quick to wipe the blood off your cheek before you even reached your quarters. Now, you cup the water into your hands and rub it into your face, the slight sting of the heat comforting you.

He was a cruel man, your betrothed. This is what you've decided. Having you kill the concubines he claimed to want to keep so much. But wasn't it you who threatened to kill them? He started it, you argue with yourself, when he had Iassa killed. You felt like a child.

When you used to hear of Feyd-Rautha's exploits, you had to mask your disgust. And yet now, you had killed so easily in that pit as he had in the arena. What was this place doing to you?

When you left Caladan, Paul had never killed anyone either. You wonder if he ever does, would he feel the same exhilaration you did when you slit that first concubine's throat. No. Your brother was fierce but, like your father, he had a good heart. You beat him by three. You hoped it would stay that way.

You think about your future here, marrying Feyd-Rautha. Producing heir after heir under the Baron's watchful eye. You were a broodmare. Despite all your fancy training and education. Despite your little demonstration earlier. It was the bitter truth.

You missed home. You missed walking along the beach at night with your father. You missed your mother's gentle hands brushing your hair. You missed the banter and teasing with your brother. You missed Gurney, and Duncan, and the cold breeze on your balcony, and getting to roam free and going anywhere you pleased. When the tears come, you sink deep into the bath so they might fade away in the water.

Chapter Links: [1], [2], [3], [4], [5]

Taglist: @torchbearerkyle @austinswhitewolf @dreamlandcreations @emeraldsgirl @strawberryfieldsforevermore @bornslippys @vexis-world @aoi-targaryen @alexandrainlove @mamawiggers1980 @sstardussty @aboutthenabaron

[keefechambers]

drop the rabban/piter ship manifesto Please

okay okay okay okay okay all right here we go

point the first: dave bautista and david dastmalchian are hot and therefore we are fully justified in wanting to smash them together like ken dolls

point the second: the 2021 scenes

rabban and piter never interact on page in the original books but denis made the choice to have them in scenes together because narratively they kind of fit as opposite sides of the spectrum of house harkonnen and that is fun. their canonical film scene having the vibe of "this fucking guy" on both of their parts fits the characters and belies a necessary amount of shared history, which is interesting.

plus, things that were deleted: bautista describes a scene where rabban is essentially trying to intimidate piter (i'd guess after their sauna scene with vlad). dastmalchian says there was a short scene of piter and rabban together where he's torturing a prisoner. this is probably the same scene. torturing a prisoner in proximity is basically a date for a mentat i think.

the choice to extend their screentime (even if for the pragmatic reason of not having to cast feyd until he'd have more than a minute of screentime and because denis loves his daves) creates a dynamic that is really cool! the slavering, entitled, shrieking manchild of house harkonnen and the coolly sadistic mentat? it's very hot to think about.

(please see this fanart for a summation of that Vibe)

point the third: narrative functions.

isn't it hot when foils kiss?

within the realm of dune, not speaking to the prequels/graphic novels, just the first book, rabban and piter essentially function as the top tier of baron harkonnen's operation - they are equal opposites, like real actual narrative foils. piter is a mentat and assassin and therefore serves a more subtle, back-end function while rabban is front-facing; he's the older of the nephews, he's a count and he's been ruling arrakis for a while.

the baron literally has an evil plan that involves taking back arrakis, installing piter as the ruler and then killing him and putting feyd in his place. when piter dies, he just does the same plan but with rabban. he treats them as interchangeable despite how different they are. they're at the top of vlad's list of "guys everyone fucking hates" together!

piter is also power-hungry. it makes sense that he'd see the most susceptible to manipulation harkonnen as an appealing target to sink his claws into. piter would absolutely treat rabban like a meat shield against the baron and, conversely, i think rabban would try to use piter to figure out how to keep his uncle happy. neither would succeed, but they would absolutely get wrapped up in each other trying.

additionally, they can't kill each other. neither of them have that boundary with anyone else, and could murderfuck their way through giedi prime, arrakis and lankiveil and the baron probably wouldn't care. but piter can't kill his boss's nephew, even the stupid one, and rabban can't damage his uncle's property. so even if they did hate each other, they would kind of be trapped in this state of flux where they couldn't do anything about it, anyway, so why not just fuck about it?

plus, with piter being a spice addict and rabban nominally in control of arrakis, there's a certain amount of poetry in the idea of piter being attracted to the source of his vices.

i conclude the manifesto with this excerpt from the novel:

like the baron thinks rabban is afraid of him but he's actually angry at him? come on.

[peppershark]

WOLFER --- The real California history behind the Tomione Fic

Convict Lake Camp (OwensValleyHistory.com)

When I was a kid, my family frequently visited Bishop, California. I can still feel the light-headed enchantment of hopping out of the van at a relative's green, creek-watered ranch shadowed by towering granite faces of the High Sierras. The dusty road and sage-sharp aroma propelled my imagination two hundred years into the past.

Wolfer is set in 1890 Bishop Creek, and while some of the location names are changed to fit the story, the town really had ranching barons like the Sacred 28 families, churches which exerted certain levels of social power with the well-to-do folk, boarding houses for mill workers and on-farm worker housing for fruit pickers and cowboys--or perhaps the odd wolfer.

It's amazing what you can dig up when you're procrastinating working on your WIP, lol. I did a lot of initial research while writing a Gingerrose fic set in post Civil War Bishop Creek.

Here are some things I found.

Main Street, Bishop Creek 1880 (OwensValleyHistory.com)

In Chapter 1, Tom rides down Main Street to the marshal's office (played by a grudging Severus Snape) and runs into Hermione.

Way off into the upper right you can see the steeple of the First Baptist Church on Main Street.

East Line Street, Bishop Creek (OwensValleyHistory.com)

Tom chases Hermione to Line Street, where he pushes her up against the Brown's Machine Shed, which is of course re-named to fit Lavender Brown's family.

(OwensValleyHistory.com)

Check out that snow! Sitting at 4,000 feet of elevation in the foothills of the East Sierras, the snow can get quite voluminous.

W.D. Roberts Ranch, Round Valley (OwensValleyHistory.com)

The ranch near the dry saltbeds of Owens Lake where Draco visits Harry, (by way of Mad Eye Moody) might have looked like this.

Cerro Gordo photo taken some time between 1871 - 1879 (OwensValleyHistory.com

We get a brief glimpse of the Cerro Gordo silver mine when Draco and Harry ride off into the sunset together for a night of wild debauchery. The brothels and bawdy houses within these sprawling mining towns would have perhaps been some of the only public places for late 19th-century gays to be themselves. Miss Lola's was among the more famous, and I'm struggling to find the website where I originally learned this this but I believe she hosted queer sex workers and provided space for an early LGBTQ+ scene.

The silver mine itself brought together a richly diverse group of fortune seekers. I accessed California census documents and found that while Bishop Creek was mostly white, Cerro Gordo had a much more diverse population (interestingly all marked with 'I', even Latinx names).

I did a phone interview with the Inyo Historical Society and chatted for an hour with a local historian, telling him I was getting context for a novel. (He didn't need to know that my novel was also a fanfic, hahaha.) The historian told me the mine had Mexican, Black, Chinese, and Indigenous populations working as miners, teamsters (people who drive wagons), cooks, brick masons, farm laborers and all kinds of interesting jobs related to running the mine.

Main Street in Bishop Creek, 1878 (OwensValleyHistory.com

One thing that sticks out in my mind from the conversation with the historian is how the white and Mexican ranchers demolished the irrigation canals the Numuu Indigenous tribes had dug to create a green landscape in Owens Valley. Native Americans have been 'farming' America's landscape for thousands of years in a low-impact way. In Chapter 4, Tom muses on this detail as he's setting a wolf trap on Rosier's ranch.

Perhaps the most illuminating account of the region comes from Sarah Winnemucca, daughter of Chief Truckee (after whom the town is named). Sarah travelled as an advocate for Indigenous rights and cataloged her experience and the story of white settler colonization in her book, Life Among the Pauites: Their Wrongs and Claims which you can read for free here.

Thank you for diving into California history with me!

Read Wolfer here.

[mask131]

Why the Time Bandits remake makes me feel an angry despair (1)

I announced it before: I am mounting my high horses for this matter.

"Time Bandits" is a children fantasy movie by Terry Gilliam, released in 1981. It is one of those "almost Monty-Python-movies" thanks to two other Monty Python actors joining Gilliam's project: John Cleese, playing Robin Hood, and Michael Palin playing a poor guy who keeps being reincarnated throughout history and always has the worst love life. This movie is part of the "Imagination Trilogy" of Gilliam, meant to represent the "childhood imagination" - alongside the dark movie "Brazil", for "adult imagination", and Gilliam's adaptation of the Adventures of the Baron Münchausen, for "old man imagination".

I love Time Bandits. It isn't just that I love, I adore it. This was one of my favorite movies as a kid, and it was such a huge part of my childhood it literaly shaped my imagination in many, many ways. It is still to this day one of my favorite movies, with such a unique feeling I couldn't find anywhere else but in other Gilliam-related or Python-related movies.

It is one of these rare things where I can say I am really a huge fan. I bought the Criterion Collection DVD, I bought the official script-book, I went online to find alternate versions of the scripts which contained deleted scenes NOT in the official script-book...

I even chose this movie as the subject of my presentation for my high school diploma, doing a full analysis of it that gave me a very good grade. I am really in love with this piece.

NOW if you haven't heard about it, a trailer was released for an Apple + series of (10 episodes I think?). "2024 Time Bandits". A remake by Taika Waititi (among others but he is the main guy behind this).

I had heard of this project a long time ago because Waititi's desire to do something Time Bandits related has been around since his glory days with "What we do in the shadows". He kept speaking about how much he loved Time Bandits and how he wanted to do something related to it.

... I never realized he meant doing a remake a it. Time Bandits has so much potential for sequels or prequels or alternate takes or whatever cinematic terminology you have.

Now, that being said, I don't mind a remake. Waititi has proven to have good ideas and cool projects, and he seemed to really be a fan of the original - plus it was a project he had been dragging for quite some times, so I had still some interests and hopes...

... and then the trailer came out. And I saw it. And...

... You know it will be the first time in my life I will turn into one of those angry Internet ranters mad about a remake of their favorite thing. Never in my life before I was involved on a personal level with disliking a remake but OH BOY here I am.

There are so many things BAD with this trailer. Not wrong. BAD. I don't dislike all about the trailer... But I dislike most of it, and I don't just "dislike" it as in "Oh yeah, they could have done better", no, we are talking about a "I DESPISE this".

Honestly it looks like the people behind this series considered everything that made Time Bandits unique and powerful and cool and weird... and decided to remove it to make it bland, flat and... a sort of flavorless, mass-marketable Americanized modern vaguely super-hero like movie (did Waititi's experience on the Thor movies screwed his imagination THAT badly?)

I literaly do not understand how someone so hellbent and so dedicated to Time Bandits could create a product that looks like was designed by people who only vaguely heard of the original movie's plot. Because the people who made this series clearly did NOT understood the heart, soul or goal or the movie.

I heard something about Terry Gilliam being hired as an executive producer, coming on the set for a planned three months, but leaving abruptly after only three days and never returning. And people concluded that it was because he was pissed off. Seeing the trailer, I am inclined to believe he was.

[skeletonpunching]

Buddy Daddies interview with Toyonaga Toshiyuki, Uchiyama Koki, and Kino Hina

Interview with Toyonaga Toshiyuki, Uchiyama Koki, and Kino Hina (voice actors for Kurusu Kazuki, Suwa Rei, and Unasaka Miri)

[Translator's note: This interview contains spoilers for the entire series.]

Interviewer: In the final arc of "Buddy Daddies", some disturbing developments unfold in the lives of Kurusu Kazuki, Suwa Rei, and Unasaka Miri. How did that make you feel?

Kino: Kazuki, Rei, and Miri seemed to have become a real family, but once Miri's mother reappeared, I wondered just how things would progress towards the climax. Since it's an original series, I really was going ahead with zero idea of what was in store. I hoped no one would die, but in the end, Miri's mother did, and Kazuki and Rei took Miri in - that was a bit of a surprise. I was imagining all sorts of things, like, "I wonder if Rei's going to die..."

Uchiyama: Huh? Really?! (laughs)

Toyonaga: Even in the recording studio, we were chatting about "is someone gonna die..."

Kino: My father was also one of the viewers, and as he watched Rei's speedy evolution, he said, "I sure hope he doesn't die." (laughs)

Uchiyama: Come to think of it, him shouting, "Go for it!" at sports day really feels like a death flag.

Toyonaga: When it comes down to it, Miri-chan is in the most tragic situation of all - she's gone through the disaster of losing both her real parents. It's just Miri-chan's age that keeps her from fully understanding her circumstances; when we were recording live, I kept thinking that this must be so tough for Kino-san, who understands everything, but instead has to keep up that pure innocence the whole time.

Kino: The storyline and character backgrounds are rather dark, so I figured surely Miri would be heartbroken and burst into tears, sometime in the final arc. But there was no scene like that, all the way to the very end. Her only crying scenes were when she was throwing tantrums, so throughout the whole series, she stands out being as a girl with a bright smile. But I feel like the reason why Miri can stay ignorant of all this is because Kazuki-papa and Rei-papa take such good care of her. So I also tried to play the role without letting any stray thoughts get into my head.

Toyonaga: Her papas might have stayed a "comedian" and an "oil baron" until the very end. (laughs)

Interviewer: Kazuki and Rei's feelings towards Miri also underwent major changes, compared to how they started out.

Toyonaga: The entire plot was structured around the idea that the assassin job would hinder them in being parents; eventually, as a result of them being subordinates to the organisation, their ties - to Rei's father and so on - would get in the way. If so, what decision would the two of them make regarding Miri-chan? That was how things played out. And they did exchange blows with Ogino (Ryo) after all. In episode 10, they thought, "We can't change," and temporarily decided to return Miri to her mother - but in episode 11, both of them were incredibly hung up on this, and they ultimately couldn't let go. I think that's just how indispensable Miri-chan's presence had become to Kazuki and Rei, over the course of those 11 episodes.

Uchiyama: In the episode 10 ferris wheel scene, Rei expresses some lingering reluctance, with a melancholy look we've never seen from him before. That's where you can really see his emotional development. Another striking moment is in episode 11, where Rei confirms that Miri is unhurt, and brings up wanting to adopt her. It's quite a bold change for Rei to say something like that, even though Kazuki is saying it'd be better to step aside. He's voicing his feelings, in the longest lines of dialogue he's ever had, in order to change Kazuki's mind; it really has such a climactic feeling to it. I was wondering exactly how I myself should play this, in order to sway Kazuki emotionally.

Toyonaga: You really never talked so much before episode 11.

Uchiyama: In episode 12, there's also a scene where he's giving his father a long speech; when I saw the script, I went, "That's a lot..."

Toyonaga: Yeah, that was me all the time, up to episode 10. (laughs)

Uchiyama: Sorry! (laughs) Anyway, Rei's dialogue increases drastically in the second half of the show, and he displays a side you haven't seen at all in the first half. It leaves quite an impact.  

Toyonaga: The fact that he can say so much to his father - that's new too.

Interviewer: After all that, in the final episode, we're shown how the trio's future plays out. 

Uchiyama: That was a real surprise. If Miri's a high school student now, that means about ten years have passed. I was totally in the dark about that ending until I saw the script. I incorporated quite an adult tone into my voice whenever I was voicing Rei, so I thought, "If you're going to jump ahead into the future, give me a heads-up first!" (laughs) He's a dark character who's lived as an assassin this whole time, so I was already pulling out all the stops to make him as adult as I could manage. "I can't make him any older than this!" I thought.

Toyonaga: I was right next to him in the studio, and he told me, "No, I can't go any lower than this." (laughs)

Uchiyama: Actually, they didn't ask for any major changes. They weren't going for a simplistic sense of ageing - they just wanted him to seem like he'd matured somewhat emotionally. I appreciated that. Kazuki is 39 years old, I think. 

Toyonaga: Yeah, he grew a beard and all.

Uchiyama: And Rei being 36 was a shock.

Toyonaga: Likewise, rather than "Kazuki's gotten older", it was more like we should simply be aware of the passage of time. And when you think about it rationally, the 39-year-old Kazuki is around the same age as me now. I turn 39 this year. So I thought it'd be nice if I could portray a certain age-appropriate composure. Kino-san, I bet you were even more surprised?

Kino: That's right. When I received the script for episode 12, there was a drawing of a grown-up Miri on the back cover, and it gave me such a shock. Then I checked the footage and saw that she really had grown up; I was so taken aback! I usually play a lot of little kids, so I went into the studio thinking, "Will this really work out?" During rehearsals, I was keeping her age increase in mind, so I tried to give a pretty subdued performance. But I was told that the bubbliness was "very Miri", and it would be best to keep that. So I course-corrected for the actual performance. I think Miri's total emotional stability must be the result of Kazuki and Rei's trial-and-error parenting, and that's why all of them were able to find their happy ending. You can sense that they've become a real family.

Toyonaga: I once asked Director Asai, just in passing, how it would all turn out in the end. He said something like, "For a story like this, a tragic ending is also a real possibility..." So I was also on tenterhooks, wondering if they'd all die. I think the director fretted over it a lot too, but in the end, shouldering their various burdens, they moved forward together and became a family. I feel like it's an incredibly heartwarming ending, don't you?

Interviewer: Now that Miri is a high school girl, what will happen if she gets a sweetheart...?

Toyonaga: I think it'll be really tough to win Kazuki and Rei over.

Kino: I agree. In Kazuki's fantasy scenes, he said something like, "I'll kill you!"

Uchiyama: Right, he had fantasies of the future too.

Kino: There were scenes of Miri as a gyaru. And some predictions of a future with Taiga-kun.

Toyonaga: I wonder how Taiga-kun's doing in the future. Are they still in touch?

Kino: If so, Taiga-kun might be in danger. (laugh)

Interviewer: Looking back at all twelve episodes, which scenes or incidents left the strongest impression on you?

Uchiyama: Miri sang a lot. At the beginning of that episode, and at the end too.

Kino: She did. I practised once I got the scripts, but for her mother’s song, I received a demo song beforehand. Since Miri's mother was a singer, Miri loves singing; that's part of the whole setup, which was rather nervewracking. As for the kids' TV programme, I listened to the music through headphones and sang along on the spot - I went like "aaa-aaa-aaa~ ♪"

Uchiyama: It's not like Miri is in a musical - the songs contain different fluctuating emotions, and the point isn't to just sing them as beautifully as possible. It has to be a more varied portrayal. Also, Kazuki is a great cook, so I remember them eating lots of delicious-looking food.

Toyonaga: But you guys only ever grumbled about it. (laughs)

Kino: There really were quite a few scenes of "Miri hates this!"

Uchiyama: Rei has the same palate as Miri - he can't handle anything too elaborate. As for Miri, the taste of premade meals reminds her of her mother.

Toyonaga: When Rei was helping to make bento, he stuffed gummies in the onigiri.

Uchiyama: But it went over well with the children. All that food content was fun.

Toyonaga: Besides that - basically, Miri-chan's always a cutie.

Uchiyama: The thing about Miri-chan is that she doesn't just have cute or charming faces. There are plenty of "meanie Miri" expressions.

Kino: There really are. She seriously has such a rich range of expressions; as we went into the second half of the show, I kept thinking, "Wow, we get to see faces like that too?" It made me feel like my vocal performance had no restrictions either - like, "I can just let myself loose."

Toyonaga: How are you so good at playing a four-year-old?

All: (laugh)

Uchiyama: You make an incredibly realistic four-year-old.

Kino: Really? Thank you!

Toyonaga: Amazing, isn't it? When did you get this good?

Kino: When, huh... There are little kids who are naturally quiet, and there are those, like Miri, who scream "Boring!" and kick up a fuss. But starting from the audition, I figured I'd express my emotions innocently, just as they were. I wailed "Aaahh!" so much, things probably got really loud. When I was overdoing it, I was directed to dial it down a bit, and I adjusted accordingly.

Toyonaga: Whenever Miri-chan was happy or excited, she let out this incredibly high-pitched "Aaaahh!" I loved that. Kids really do react just like that.

Kino: Thank you very much. (laughs)

Interviewer: Can you tell us your personal favourite episodes?

Kino: The sports day scenes in episode 9 almost made me cry when I watched them. Kazuki was actually bawling, but it was such an incredibly warm and fluffy episode. I love it.

Uchiyama: Sports day was very exciting.

Toyonaga: It's fluffy and feel-good, but it makes you want to cry.

Kino: Rei cheering for Miri and regretting it afterwards was also very cute.

Uchiyama: It's true that Rei yelling like that totally threw Miri off. As for me, I'll say episode 10. It feels like a turning point in the story, plus it made me want to go to an amusement park. (laughs) There's something very appealing about a place like a ferris wheel. Out of all the various attractions, a ferris wheel feels most like a private room - it's an enclosed space where sound is cut off. I think it's a very special kind of space. After having fun all day, deep conversations can naturally arise within that sort of atmosphere. It was the perfect match for those story developments. You can really feel the misery of the final arc setting in; it's very memorable.

Toyonaga: And I'll go with episodes 7 and 8, which are standout episodes for Kazuki and Rei respectively. In episode 7, Kazuki talks to (Izumi) Karin-chan, his late wife's younger sister, and I kept all that incredible dramatic weight in mind when playing that scene. Approaching that material was a real challenge to me as an actor, so in that sense, it left an impression on me. And as for episode 8, when Rei is interacting with the boss of the organisation, you can really see the chains he's been shouldering this whole time, and everything that's made Rei the way he is now. Getting to learn about these things was definitely memorable.  

Interviewer: Once again, what do you think is the appeal of "Buddy Daddies"?

Kino: Kazuki, Rei, and Miri all bear their own heavy burdens from their past. Miri is separated from her mother, Rei's father has only ever taught him to live as an assassin, and Kazuki is also shackled by a tragic history. If you look at it that way, it's a dark story, but when the three of them are together, there are so many comical scenes that make you laugh, or upbeat flashy scenes. It's an exquisitely maintained balance, and you really can't get enough of watching it. There are scenes that will warm your heart, and scenes that will make you cry. That wide variety means this show can reach all sorts of people, and I think that's what makes it so wonderful.

Toyonaga: I think that different people who watch this series find different things to connect with emotionally. It can be enjoyed and judged in totally contrasting ways, depending on the viewer's individual experiences, lifestyles, and circumstances. That makes it a very fascinating show. People who are relatively young might relate to Miri-chan, and may project Kazuki and Rei onto their own parents. And that could lead to a lot of diverse opinions and reactions being exchanged - to me, that's one of the most appealing things about this show.

Uchiyama: The atmosphere of the series turns on a dime from comedic to serious, changing between one scene and the next, so you can barrel right through each episode without it ever feeling stale. I find that very enjoyable. And it ends with a timeskip to the future - that came as a real surprise to us too. All in all, the colourful plot twists and unpredictability really set this show apart. There's the unique sense of awe you only get from an original story.

Interviewer: Finally, please give a message to all the fans who have enjoyed "Buddy Daddies".

Kino: Through recording this one-cour story with a total of twelve episodes, I feel like I've gotten a glimpse of the sheer depths of human experience. I'm truly happy I could work on a series like this. As Toyonaga-san also said, it's a show which people can enjoy from many different perspectives, but since I played Miri, there were so many scenes which reminded me of my parents. The delicious cornflakes I ate as a child, being cheered on at sports day - all sorts of memories came back to me. I really hope this show also reawakened some warm memories for everyone in the audience. Thank you so much for watching to the very end.

Uchiyama: "Buddy Daddies" is an original series, so in a sense, it has plenty of blank spaces left. Kazuki and Rei's pasts, the details of the organisation, Kyu-chan's (Kugi Kyutaro's) private life... there are still some things we don't know. Also, what happened in the missing years during the finale's sudden timeskip? What sort of conversations took place as Miri was growing up? How did they end up at the diner? I think it's a lot of fun to fill in those gaps with your imagination. The anime is over, but I hope you will continue to enjoy yourselves in those blank spaces. Thank you very much for watching every episode.

Toyonaga: To everyone who watched all twelve episodes, thank you from the bottom of my heart. "Buddy Daddies" presented me, the actor Toyonaga Toshiyuki, with so many opportunities to challenge myself, and it really has been a delight. I'm also a father of one - I'm raising a daughter around Miri's age. Through playing this role and mapping it on to my own circumstances, I've learnt a lot in this one cour - both as an actor, and as father to a child. The series ended in an incredibly beautiful way, so rather than a sequel, I feel like it would lend itself well to occasional standalone spinoff episodes. I also look forward to being able to meet Kazuki, Rei, and Miri-chan again, and in the meantime, I will do my best as a real papa. Thank you so much.

[graysonwildemere]

original template from @girlnextvore! I did it for my girl Pearl, probably one of the few kindred to get less kinky and horny lmao

I was doing a playlist writeup recently, specifically writing about Unsweetened Lemonade by Amélie Farren, and the original post partially inspired what I wrote about how how her relationship with intimacy and her body has changed not just due to the embrace itself, but her "upbringing" with her sire after. It ended up getting much, much longer than I intended but I attached it below with her full playlist anyway.

CW for blood bond-typical ethical issues, toxic/abusive relationships, etc.

Pearl was in no way a consensualist when she was first embraced into the Path of Cathari. She probably leaned more alleycat if left to her own devices, but would go along with whatever her sire, Eddie, felt like doing on a given night. Pretending to be some poor, drunk college girl that needed a little help finding her way home tended to be a pretty easy way to lure one or a few assholes into a dark alleyway, whether just for herself or where Eddie and the others were waiting. Even alone, she no longer had anything to fear from kine men; her body is a Swiss army knife of tools, from her disciplines to her fangs that kept her fed and kept her safe, kept her positioned as Eddie's right hand.

At that time, Pearl was in a relationship with Eddie and strongly blood-bonded to him. Coercion was baked into every aspect of their relationship. It was the late 1960s and 70s, a time when "free love" dominated the countercultural ethos, but for women, that liberation often came with strings attached. Eddie preached indulging every temptation, but his narcissism and jealousy dictated her life, in and outside of the bedroom.

Even after breaking free of him and the Sabbat, it's really colored her sexual relationships with other kindred just as much, if not more than her own fear and paranoia has. Some of it is in relatively minor ways, like the specific process of her embrace turning her off from any sort of bondage or restraints. She hooked up with one of the wannabe-Barons of Washington DC in a recent session, and despite it being the one way she can fully enjoy sex anymore, there is still that fear of the blood bond, fear of being hurt, fear of anyone holding too much power over her that she has to quash down the entire time.

Pearl only became a consensualist after leaving Eddie and the Cathari, having been with them for 46 years. It wasn’t an immediate or deliberate choice, but for the first time in her existence, she was truly, completely on her own, trying to figure out how to be a person again. The last time she’d felt like a person was when she was 19, sneaking out of her parents' house to go to Woodstock before her second year of university classes began.

I think a lot about the very first time I played out Pearl feeding in-game. She has a one-dot herd that is basically three people she's met at local queer bars and has developed friends-with-benefits relationships with, and while she'd never say that she has a favorite, her favorite is probably Di (Diane), a bartender who knows just about as much about music as Pearl does. During the scene, Pearl was a little on edge, sitting at four hunger but still trying to keep things light, chatting and flirting with Di, but fairly early on, Di cut through the act, telling her in slightly kinder terms to stop stalling and just do it. Up until then she’d been all smiles but when Di said that, it just drops. The mood felt immediately different, because Pearl doesn’t really like hooking up in some storage closet at the bar; she doesn’t like treating it like it’s purely transactional.

It doesn't really help that her herd are all the type of people she probably would've tried pursuing an actual relationship with when she was alive.

Despite everything, the Embrace remains empowering in certain ways. These nights, she deals more with kindred than kine, and while she's physically no match for almost all of them, she is difficult to lie to and hard to hide from. But none of that changes her basic need to eat. Acting as a gofer for two wannabe-Barons means doing so far more often than she used to, and her options for doing so safely, with some semblance of consent, are limited.

Pearl tells herself that what she has with her herd isn’t transactional, that putting in the effort to find people she genuinely likes makes it different. But deep down, she knows it’s not.

[cleolinda]

Weekend links

My posts

I don’t know why, but losing an hour with Daylight Savings is hitting me hard; my eyelids feel glued shut. ONWARD. 

On Patreon: Someone was outside my house and was apparently watching my mom take the dog out and knocked on my front door at 3 am. This is true. I have no idea what the fuck or why. (I actually do not think they were there to watch us.) We are looking into the whole Ring/Nest camera thing. 

This is why I said Tree Removal Guy did not know what he was getting into. Somebody in our damn hedges at the witching hour knocking softly (so it wasn’t a walrus) on the front door--yeah, I’m freaked out, but at a certain point, where I live is Just Like That. 

Reblogs of interest

The Hot & Vintage Movie Women Poll: Round 1 is brutal and it won’t get any easier from here. The earliest polls in the round have started to close, and [FEWER THAN HALF OF ROUND 1 IS UP, IF YOUR FAVORITE HAS NOT SHOWN UP YET THEY WILL. THESE ARE NOT THE FINALISTS. PROVE THAT TUMBLR CAN READ] some of the contestants moving forward include BUT ARE NOT LIMITED TO Maude Fealy, Diana Rigg, Lalita Pawar, Musidora, Asta Nielsen, Angela Lansbury, Lupe Velez, Eartha Kitt, Alla Nazimova, Anna May Wong, Lauren Bacall, Sharmila Tagore, Theda Bara, and Nancy Kwan. DOZENS of polls are still open or have not even been posted yet, please refer to hotvintagepoll’s Ladies 1 tag or the archive view of it.

I chipped in on some reblog propaganda here and there (I tried, Edwige), but I really went in for Ingrid Bergman, to whom I have a slight and questionable resemblance. She tears it up in Gaslight--here is the scene where she turns the tables on her gaslighting (origin of the word!) husband. 

Meanwhile: 

AI is stealing from AI and I hope they steal each other’s dicks off.

The New Twilight Series Will Be Animated, God Help Us All

Submit your stories (by which I mean “short true-ish anecdotes,” not “creative writing.” That’s for Are You Scared) for Too Many Spirits, home of the Meatball Story.

For Hire: Ghost Hunter

Extremely good Labyrinth analysis, but also, “goblin prom” took me out

Behold, the default object!

A Saw heritage post

Lucy the orphan-generating coal baron cat

A dandy lion

Video

Chocolate Guy has learned how to make packing tape

Cream cheese pottery: “this is the chocolate guy’s wario”

“Blue Monday” in Mid Evil Times

Improving your balance with hybridcalisthenics

Genderfluid hijab styles

Him face came around again

hhhkh. nngn. mmah. nah. aaaa. aa.

The sacred texts

“However you think this story will end is wrong”

Haiku Bot speaks

Those are his hooves

Personal tag of the week

International Women's Day.

[myriadium]

I thought it was cute so might as well tell: in the Baron height comparison drawing (with the blank human figure) it looks like Baron got so excited to see a human that he just started holding their hand :3

Your designs are super cute btw!! I wish we got them in the show and I wanna eat them all (affectionate)

And, as for a question: did you know some of the Bakugans' genders were changed around in some translations? Tigrerra is probably better known (being male in the original) but in some translations (Dutch, Hungarian and maybe some others), Skyress was changed to be male. Any thoughts?

HAHAHA you're right he's holding their hand🥺Altho he doesn't have the control to actually move them so I imagine he just moves like those blocky robots.

I'm glad you like my designs!! i will continue serving them to whet your appetite hehe.

As for your question, I do know that some of the bakugan's genders were different in different versions of the show. I'm aware of tigrerra and ingram in s2, but it's interesting to hear that skyress was male in hungary.

I've only recently noticed this trope but I think runo and tigrerra were supposed to be that "bratty girl and her polite, older male butler" that sometimes pop up in anime. Maybe it's not a real trope because the only other example i have is fischl and oz from genshin impact lol, but i quite like that the eng vers gave tigrerra a more feminine voice!

I think the whole "m'lady" thing is cringe and lame because i think it insinuates a power dynamic i don't really like, esp since the whole thing about nv is how fucked it is to treat bakugan like lesser beings. i'd much rather have a partnership between brawlers and bakugan.

as for skyress, it's pretty obvious that she was a stand-in for shun's mom; given to him by shiori, has a very mature voice, and advises shun on life choices etc etc.

I think it's still possible to make skyress male while also maintaining that vibe of a parental figure, altho to make him a good comparison to shiori would mean that they would have to make him...i guess soft-spoken and super chill? That being said i think the show already has a lack of diversity in bakugan "genders" anyway sooooooooo i think i will keep skyress and tigrerra women.

and ingram too, i think they gave up tryna keep her eng va after her evo and goddamn her evo's va was so jocky it pissed me of LMAO i literally can't watch any scene with master ingram man.

i'm actually planning on doing some rlly quick bakugan redesigns (like the actual creatures)! i'll definitely try to note how they are different in my au :D

[lloydfrontera]

hmmm do ya think arcos and marbella use 'my son' for ksh!lloyd because to still have a connection to the original lloyd/acknowledge that this lloyd is not the original but still our son?

yes! that's exactly it imo!

they know this is not their lloyd, this is not the son they raised, but he's kind and he's good and they love him very much, so that's their son now. finders keepers.

i think postcanon they would have the most difficulty calling him 'lloyd' out of everyone but i don't really think it would be that big of an issue. partially because i think lloyd would understand why they would struggle to use their son's name for him, when he doesn't even look like him anymore, and he wouldn't resent them for it nor would they hold it against him. but also because i think in its place they would start using endearments like 'my son' or 'my dear' and there would be so much love packed into their words lloyd would never doubt for one second that they mean it.

i do think he would be a bit overwhelmed by it at first tho. he's so easy to fluster by sincere compliments in the novel that i think being constantly showered with affection like that would have him cringing out of his skin while also hoarding and clutching every word close to his chest.

there's this really cute scene in the novel (that ofc the comic skipped 🙄) that really encapsulates what i mean

"Yes, I see," the baron said as he gazed at Lloyd. "Um, but why are you looking at me like that?" "Whew, how should I say it? I just think that I am blessed to have you as my son." “...” "Haha, did I make you uncomfortable?" "Um, it's not that, but, well, yes, you are making me uncomfortable," Lloyd said. "And you saying it right at my face makes my stomach churn." Lloyd scratched the back of his head. He did throw a pitch to start another project to the baron, but such praise made his face flush red. But the baron continued to send gazes of confidence to Lloyd despite the latter's evident expression of discomfort. Lloyd was perturbed. Just then, he wondered if there still remained in his heart Suho Kim, the discouraged boy sitting cramped in a small room rental. Lloyd eventually broke into embarrassed laughter.

this happens several times btw. like. lloyd gets so embarrassed by how earnest arcos and marbella are about how much they love him, but at the same time, he can't help but crave and appreciate it. and i think that would carry over later on, even if the layer of guilt he had for deceiving them about his identity is gone.

so. yeah :3

[dk-wren]

Buddy Daddies Week - Ep. 5-8 Rewatch

Welcome to Day 4 of my Buddy Daddies anniversary week! For today, I continue my rewatch of the series and present to you some of my thoughts from episodes 5-8! Enjoy!

No notes, only matching side-eye

Can I just give some credit to Miri? Because even though it was quite reckless of her to secretly follow Kazuki and she more or less got lost, Miri was able to retrace her steps to a certain extent back to Yadorigi

Also, sorry if I was slow on this, but when Kazuki is looking for Miri at the park, the little girl he thinks is Miri is wearing a similar orange sweater. However, during this day, Miri is seen wearing her green sweater, which I feel just goes to show how little sleep Kazuki was running off of

Why did Kyutaro open the door right after Ogino left? He clearly was not expecting Miri, so was he expecting trouble from Ogino? Also, what would have happened if Rei took care of Miri in their apartment and Kazuki was still at Yadorigi when Ogino arrived? What then?!

Like I wrote during my ep. 4 thoughts, this moment of the music instantly cutting for when Kyutaro tells Miri what Rei’s job is always cracks me up. Perhaps it is partially due to pacing, but it's just the sudden shift in Kyutaro giving a lengthy explanation into Kazuki’s job, with accompanying music, to him flat out saying “Middle Eastern Oil Baron” and no further explanation is given (besides Miri’s confused reaction)

“You really like them?” I don’t know why exactly, but I’ve always read this line not as Kyutaro being curious and trying to get more answers from Miri, but just outright judgmental. Like Kyutaro is trying to remain polite and neutral by using “them” instead of “fools” or “idiots”

When watching the ending scene beforehand, when Kyutaro says to Rei that he of all people should know what the consequences are for betraying the organization, I always interpreted this to mean Rei had suffered some of those consequences while growing up and after he originally left the organization. But after this rewatch, I’m starting to wonder if it is because he might have had a role in handing out those consequences (as seen in ep. 8)?

ZOO EPISODE!!!

The banter during the end of the opening scene is so funny. Rei’s telling Kazuki to do his best and he’s gonna do just fine taking care of Miri and Kazuki’s first like, aw, thanks for the compliment, and then instantly realizes and turns around to tell Rei he better help out too

Miri did not need to stick her tongue out at Kazuki but she did, and that was absolutely the final straw that broke Kazuki

Again, gotta give credit to Hinata and Kotori cause they easily could have stayed behind with the rest of the class, but immediately decided to stick with Miri and look after her

Another reason to use these screenshots that I have saved? Yes I will take advantage of this opportunity to share them again

For me it’s the fact that Rei and Kazuki could have easily hidden behind one of the trees to keep a close eye on Miri and her friends, yet (I’m assuming Kazuki) decided no, they are going to cram into one of the small playhouses. Both of them are!

I don’t necessarily know if this is the first time, but I appreciate how after seeing Miri on her own with her friends, Rei and Kazuki can have a more or less serious talk, at least one without teasing each other

I know Kazuki is more than a little fed up with Rei and the amount he helps out with Miri/around the house, but I appreciate how Kazuki doesn’t really fight back or argue with Rei when he says that he is trying his best. I know it’s been pointed out before, but it really just goes to show how much Kazuki acknowledges that Rei is trying, even if Kazuki's expectations are a bit higher

I know this isn’t the point of the scene, but LOOK AT MIRI! LOOK AT THE WAY SHE’S HOLDING ONTO REI! LOOK AT THE WAY SHE’S LOOKING AT REI! There is nothing but love in those eyes.

I don’t actually know how true this is, but growing up, my mom would always tell me that I had to blow dry my hair really well so I wouldn’t get sick. So a) it was sorta funny to see that come up in this episode, and b) I love how towards the beginning of the episode, when Miri announces she finished in the bathroom, Kazuki asks if she dried her hair well, while here, you can clearly tell her hair is still wet and Miri is sick the following morning. I know she had been out in the rain (which is another thing I was told by parents, if I stayed out in the rain too long or got too wet/cold I’d get sick), but it was funny seeing this small, potential connection.

Maybe it’s just my imagination, but the attention to detail of Miri progressively getting redder (i.e. hotter) as events escalates. Incredible!

Kazuki’s line at Yuzuko’s grave, “Don’t worry. I haven’t forgotten” is so freaking loaded! “I haven’t forgotten” can be interpreted in so many ways, two of which being he didn’t forget to come visit her and he didn’t forget what he did (and why he’s unwilling to allow himself to change)

Every time I watch this scene, my mind goes back to one of my high school English teachers talking about weather symbolism in Shakespeare. And my mind just goes rain!!! Sadness, grief, ah it’s all connected. (And then the sun comes out when Kazuki has the epiphany he can change/be happy without forgetting Yuzuko?!)

Can I please add to the echo chamber of how soft Rei looks with his hand protectively over Miri’s?! This is where Rei belongs! Not with the organization and certainly not with his father!

And now we begin with the Rei focused episode

So you’re telling me…Rei walked all the way from their apartment to the mansion? That is definitely one way to prove his stamina and willpower to the Boss.

I cannot get over Kazuki and Miri’s coordinating outfits! So cute!

Could just be the framing, but with the audience getting to know Rei as he opens up more emotionally and in accepting his role as co-papa to Miri, I love how there is the slightest change in facial expressions (such as Rei’s eyes widening in shock) that the audience can pick up on, but for Shigeki, and being so unattached and uninvolved in Rei’s life (which given their background together, isn’t necessarily a bad thing), it takes some time for him to notice the change in Rei’s attitude

Random thought that keeps me up at night: what was the last straw for Rei? What made him finally say “no more” and run away? Were their previous attempts? And why do I have a full story in my head as to what led up to Rei running away, but probably won’t have the time to write out?

During their phone call, I like to think Rei isn’t really responding to Kazuki’s questions because he doesn’t want to think about their implications or have to think any longer about his father’s demands, along with just wanting to hear the voice of his daughter and partner. He’s in a place that is likely filled with countless memories of pain and trauma, and yet he cannot fully escape it yet. So, even though we see Rei still wearing more of a frown, I bet it’s comforting to hear the voices of the two people he loves the most (oops don’t tell Shigeki that) while there alone.

In a pretty twisted way, it’s crazy how Satoru is the man that both taught Rei how to be an assassin while growing up and kinda the man to teach Rei that he can fight to protect the ones he loved

Moment of appreciation for the sound design of this moment, like come on! Satoru’s final words, along with a sort of rushing wind sound to convey the fall, Rei’s gasp followed by a moment of silence before hearing the impact, followed by a few more seconds of silence. So effective in my opinion!

And now, let me gush over the symbolism of this image! Rei facing the city/city lights, but distinctly separated from it, like how he was raised at Suwa Manor and likely only got a taste of normal life after leaving or when Kazuki entered his life, causing him to still feel like an outside. The distance between Rei and the city because of the water creating a clear separation, really reminds me of the metaphor Rei brings up in ep. 11 about being a boy looking through the window looking at something he thought he would never get. And the fact that his back is turned toward the light, as if admitting his defeat and that he belongs with his father in the darkness of that world. And later, Kazuki comes in their car, bringing even more light into Rei’s world, and pulling him into it.

Another detail that I just love, on the table full of food, there’s two bottles of drinks: one being a wine, presumably for Rei and Kazuki, and another bottle of what I presumed to be apple cider. That way, Miri gets to be a part of the fun and have a bubbly drink too.

And what a cute ending with Rei blowing out the candles, followed by the credits, and that’s it, no post-credit scene

I know today was another lengthy post, so I appreciate your support and time reading it!

We're halfway through the week and I cannot wait to share what I have planned for the next three days, especially tomorrow if all goes according to plan!

-Dakota Wren

[battlekidx2]

Rise of the TMNT First Time Watch Thoughts

Rise is a series I didn’t get into right when it came out. It was released very soon after my favorite tmnt cartoon, 2012, had ended and I was going through a major transition in my life. 

I watched the first few episodes, but my schedule was jam packed and I fell off of watching it rather quickly. I still wanted to give it a shot but later when more episodes were released and I could binge it because I felt that this show deserved more than a fleeting shot. But I didn’t really get around to watching it in full until recently.

I do want to say right off the bat that the backlash against this incarnation when it was first announced was ridiculous. The show hadn’t even aired and people were rallying to cancel it. You can’t judge the quality of something before seeing it and changing something from past iterations isn’t necessarily a bad thing even if it is an adaptation. 

My rule for adaptations is that what’s most important for new iterations is that they understand the heart of the series and characters that they are adapting and I would say that Rise clearly understood the heart of its characters and series but it just chose to adapt it in a different way. And in my opinion that’s great.

And I’m not going to pretend that all the changes worked for me. Some changes just didn’t mesh with me personally and I found myself preferring certain iterations of the characters and their dynamics/arguments from past iterations more. It’s just a matter of personal preference.

I have spoilers below the cut but I want to say that if you haven't watched it I really recommend giving it a shot!

I want to get into my full actual thoughts on the series now that that’s out of the way.

While Rise of the teenage mutant ninja turtles is a great series, it got off to a bit of a rocky start. The first half of season one, while fun and full of amazing action scenes, wasn’t the type of start to absolutely grip me like the first seasons of 2012 and 2003. It did, however, manage to set itself apart from the other iterations of the turtles and firmly establish the unique personalities of these versions of the turtles, Splinter, and April O’Neil. 

The show clearly had some issues finding its footing at first and I think one of the major issues was that the show itself had trouble figuring out how exactly to implement the changes it made to the lore and characters from past incarnations into the first season, which led to pacing issues and some mixed characterization that took a while to get used to from characters such as Splinter (he gets a lot better later on and I really grew to like him but at first I wasn’t that fond of him). 

But, while I didn’t personally love the first season as much as other iterations of the teenage mutant ninja turtles due to this slow start, once it established its lore and changes and firmly knew what it wanted to be the show really took off and could reach great heights in a way completely unique from the other interpretations. 

This shift occurs about halfway through the first season with “The Evil League of Mutants” when the origins of Splinter and the Turtles and their connection with Baron Draxum finally get revealed (in a really good musical number I might add). This is where I really started to get invested in the new lore of this series and the changes the show made to the characters and backstory.

This is when everything that was slowly and sometimes awkwardly established started to come together and form a much clearer picture of what this series was trying to do. Those disparate pieces that felt a bit strange such as the new characters of Baron Draxum and Big Mama, the idea of the yokai, and the very different and at times kind of perplexing iteration of the foot clan finally interacted to hint at an endgame for this season and it worked much better than I anticipated.

I also was glad we finally got some development for Splinter, his relationship to the turtles, and his backstory. Up until this point he didn’t really work that well for me and the lack of any meaningful interactions between him and the turtles was a bit off putting, but starting with this episode so much new information was revealed about him that vastly improved the character and endeared me to him.

This continued development for Splinter leads to some of my favorite moments from the series.

For example, one of my favorite moments from the first season is when Splinter tricks Donnie and Mikey into going to a demolition derby with him. When Donnie discovers that Splinter lied he gets really upset and believes that Splinter didn’t really want to spend time with him.

It’s made clear leading up to this point that Donnie is really effected by the lack of attention and affection Splinter gives him and before now it was mostly said in a joking way that didn’t betray just how deeply it hurt him but he finally lets it out in a rare moment of vulnerability. And in response Splinter calls Donatello by his actual name for the first time in the series and apologizes. There’s a real and authentic moment of connection that wouldn’t have hit the way it did if Splinter wasn’t characterized the way he was early on. (I also absolutely love rise's version of Donnie.)

It’s not something that necessarily makes him more likable earlier in the series but that characterization early on makes his development and eventual connection with his sons heartwarming. 

The season’s momentum doesn’t stop with “The Evil League of Mutant” or Splinter’s development. It keeps building until it finally reaches the finale, which is a great culmination of all that came before, and ends with the shredder finally being formally introduced into the series and things feeling really dire for the turtles. 

This version of the shredder took him in a completely different direction from all the ones that came before and took a big swing by making him a man merged with a demon. One that’s thousands of years old that the Hamato clan was staked with keeping contained forever.

While this version of the shredder doesn’t have the depth of 2012 or the menace of 2003 they managed to build him up in a way that made his threat feel palpable. The desperation to keep the foot from collecting the dark armor paired with the revelations about the Hamato clan’s duty made it so that the inevitable confrontation felt like one that must be avoided at all costs.

This connection to the Hamato clan brought in an interesting conflict between duty and family for Splinter that we hadn't gotten to see before. When the turtles are captured Splinter is pulled in two different directions one that upholds his duty and one that preserves his family. Splinter eventually chooses his sons over his duty. (This carries over into the second season when they managed to combine the two and become their best selves as warriors and family.)

Another really fascinating aspect of the finale that I haven’t touched upon is how it subverts expectations by having Baron Draxum simply be a stepping stone for the shredder’s release. Up until this point Baron Draxum had been the closest thing to a big bad the series had. We had followed his plan step by step and believed he was the one pulling the strings only for the rug to be pulled out from under him at the last second when the turtles believed they had won.

This led to a cliffhanger that had me on the edge of my seat. It really felt like this was another turning point in the series like “Evil League of Mutants” had been…

But I don’t really feel like the second season carried that momentum over as well as it could have. The battle with the shredder wasn’t the tour de force I expected or the turning point in tone I anticipated. And there are things that were set up in the first season that, when finally seen, felt like anti-climaxes. This is most notable to me in the season premiere and the episode “Goyles, Goyles, Goyles” when we finally see the day that Splinter and the turtles were mutated.

With the premiere it was a weird split between things I absolutely adored– Leo finally displaying his excellent planning and leadership skills– and things I felt were anti-climactic compared to the build-up– the turtles’ fight with Shredder. 

I feel like the Leo stuff is self explanatory. Everyone knows that Leo is traditionally the leader of the turtles and up until this point Leo didn’t show much of that or have any significant development outside of a few select moments, but this was the episode that really showed his potential. 

It wasn’t just his ingenious plan that was really enjoyable to see come together, but also the fact that he knew his brothers well enough to trust in their skills and know exactly how they would be able to fend off and find the shredder. 

As a longtime fan of the turtles I loved this development. I had really enjoyed this version of Leo before now, but this was the moment that won me over to this version of him.

But the way the show handled the face off with the shredder didn’t really work for me. The biggest reason was that most of it happened off screen and then when we did get to see what was going on it was to show that the shredder was weak to tickling. 

After all that build up for the shredder and what a threat he will pose the way it went fell flat, especially considering how the first season finale ended with the turtles thinking they beat the shredder only for a much more powerful version to emerge from the smoke to face them down.

The ending with Big Mama set up some very interesting possibilities that I was excited to see come to fruition in the future (and eventually lead to a phenomenal season 2 finale) but it and Leo’s arc didn’t negate the disappointment I felt with how the shredder and his showdown with the turtles was handled.

Goyles, Goyles, Goyles felt like an intentional anti-climax, but even with that obvious intent it still fell flat for me. This moment was one of my favorite reveals of the first season. The way it was revealed in song by Draxum and his henchmen and the amazing still animation reflecting the words was a real turning point in just how much I enjoyed this series as I said above. And when we finally got to see exactly what happened… it was almost all a joke.

And this type of subversion is very common in Rise. It usually works better for me though because there isn’t as much build up and excitement towards them like there was for the shredder fight and the Draxum and the turtles backstory. 

In fact, there are plenty of moments in this series where this type of subversion works really well for me. In the season one finale the random reveal that the turtles cracked Splinter’s teapot as children and never told him being an important plot point was one that worked really well for me. 

The biggest difference between those subversions is that the one in the finale didn’t magically solve things or completely dampen the more dramatic and emotional moments. The teapot reveal didn’t retroactively make Splinter’s decision to put his sons above his ancestral duty any less meaningful and it didn’t magically save the day like they expected it to. It allowed things to still carry the weight they were meant to while still being funny and unexpected.

The show goes back to problem of the week episodes and as a result does fall into a few of the pacing and tonal issues that plagued the first season, but they were overall stronger and more fun episodes here than they were in season 1 due to the fact that there is a larger cast to bounce the characters off of and a lot more locations to explore. This allowed for some really interesting and unexpected character pairings that made some of the most entertaining episodes of the show.

The episodes centered on April and Splinter are a particular favorite of mine in season 2. 

I wasn’t expecting how much I would adore their dynamic, but it was easily one of my favorites in the entire show. I really liked Splinter’s unwavering faith in April and how they came together to better each other. 

Splinter very rarely has this type of relationship in any of the other shows. He’s mostly the one lifting others up and giving them wisdom and is rarely the one getting support in this type of way. April is able to interact with Splinter’s past in a way the turtles in this show can’t and it allows him to re-establish a connection to who he was in a healthier way than he had prior to her coming into his life.

It’s a great mutual relationship that finds a unique spin to what their dynamic usually is in turtles canon.

Now it’s time to talk about the final few episodes of season 2. These episodes showcase all the best aspects of the Rise show. They take what the series does differently from all the other interpretations and run with them, really showing what the show can do at its height.

These episodes gave me the shredder showdown I was hoping to see in the premiere. He posed the type of threat he had in many of the other shredder incarnations and served the turtles losses that they struggled to bounce back from.

This is the type of enemy shredder should be and the way they had this tie into Splinter’s past was amazing and moving.

The episode where the Baron Draxum sent the Turtles into Splinter’s mind was one of the most emotionally poignant episodes, showing the pain and emptiness of Splinter’s life before he mutated. It puts Splinter’s life before and after the turtles into stark contrast.

Splinter isn’t alone like he felt like he was before and he found a new family after the loss of his mother that gave him the strength and courage to accept the duty he had rejected because of the loss it brought him.

Splinter has grown from the character I was most disappointed with to one of my favorites of the series and this episode really hammered home just how great the writing for him in this series has been.

Splinter isn’t the only one that gets an increase in focus, April also gets some spotlight and a unique and unexpected role in this finale.

April’s growth from human ally to the turtles to a member of their family was amazing to watch. Having that bond that had been cultivated over the course of the two seasons that culminates in these episodes where she becomes an honorary member of the Hamato clan, fusing with Karai and teaching the turtles the way of their ancestors, was such an interesting change from past iterations of the character.

It really felt like her arc and relationship to the turtles was coming full circle when April was the one to talk Raph out of his despair. It really hammered home how far all of them have come and just how much a part of this family April is.

April’s talk to Raph leads into a great moment where the brothers unlock their mystic powers through their connection and trust in one another. They aren’t alone in this struggle or the fight with Shredder. It doesn’t come down to just one of them but their whole family. 

The heart of the turtles and their various series, at least to me, has always been the Hamato family and their bond with one another and this moment shows just how much this show understands that.

There’s just so much about this finale to gush about but there were two minor issues I had. Those are the reveal of Cassandra Jones and Splinter naming Leo the leader.

Cassandra Jones felt like a last minute reveal. The series made a few jokes about Cassandra being called unnamed foot soldier yet had her as a recurring character so it felt obvious that she was going to be a legacy character in some way but having her be Casey Jones felt odd. 

I don’t really know a better way of putting it. I’m not mad or anything and I don’t believe the show butchered Casey like I’ve seen some people say (especially considering how they brought Casey Jones into the movie), but it felt like the most out of left field choice rise had made up until this point. (I do want to say that I feel like this could have turned into a very interesting interpretation of the character if the show was allowed to continue and flesh this decision out.)

And Leo being named leader was especially rushed considering just earlier in the finale (parts 2 and 3) the show really felt like it solidified Raph as the leader. He was the one who was able to make the tough calls and he was the one who learned to trust his brothers in a way he needed to be the best leader he could be.

Leo only really had the second season premiere to set up the idea that he would make a great leader and strategist if he really applied himself but that thread felt like it was dropped for the rest of the season and had no real buildup within the finale unlike Raph’s leadership skills.

These didn’t really impact my enjoyment of the episodes especially considering that they were such a small part of the finale and they were both fixed/expanded on in the movie.

Speaking of the movie. It was absolutely phenomenal. 

This movie focuses on Leo and his journey into growing into a leadership role for the team with the Kraang as the turtles’ adversaries. 

Right off the bat this movie is considerably darker than the main series with the opening alone showing blood and the deaths of both Mikey and Leo. It immediately shatters any possibility of past conveniences present in the series like the Kraang being ticklish or the turtles escaping due to incompetent sidekicks. 

There’s a palpable danger established by this shift in tone that carries on throughout the movie and creates actual tension and stakes to the sacrifices made later on. 

I can also say with full confidence that this is easily the most intimidating the Kraang have ever been in turtles canon. 

While the Kraang have been threats in some of the series and even beaten the turtles more than once I never felt like they were the overwhelming threat they are here. That the turtles were completely outmatched.

This amazing update of the kraang and the threat they pose is paired with a great arc for Leo where he has to confront the more immature and impulsive side of him that has been ever present in the series up until this point.

These flaws had been addressed at varying points throughout the series proper but they were never treated anywhere near as seriously as they are here. 

And it addresses these shortcomings through Rise’s interpretation of the classic Raph and Leo conflict.

Raph and Leo are almost always the two brothers that come into conflict the most often in every iteration of the turtles. Their ways of thinking are incompatible in ways that make it hard for them to see eye to eye. This was something the main series of Rise didn’t really address. For the most part the brothers got along well and any conflicts they did have were either resolved or ended on a joke which fit with what the series was trying to do with them before this point.

I’ve heard a few complaints about this because the conflict between Leo and Raph is something the movie makes it seem like is a recurring problem for them when in reality Leo and Raph don’t really get into any real serious arguments/conflicts throughout the series. In fact, Raph almost never gets angry the way he does at the beginning. Rise Raph’s anger is almost always aimed at himself rather than others. 

And I can understand that to a degree because these aspects weren’t really established in the series but I don’t think either of these inconsistencies really hurt the movie and are in fact explained rather well within the context and time frame given. The conflict itself is well written and has the two coming to an actual understanding that feels organic to both characters.

The movie’s take on Leo and Raph’s conflict has the two switching places from their usual roles. Leo is the impulsive brother that does care deeply about his brothers but makes mistakes due to his personal flaws that gets them in trouble, while doubting/going against the older brother’s wishes/orders. Raph is the older, more responsible brother with the weight of his brothers lives on his shoulders because of his position as the de facto leader of their family (at least before the season 2 finale).

It’s not necessarily a completely unique take on the conflict since the roles are simply reversed with a few tweaks to better fit their characters but it plays out in a way that makes Leo’s arc and journey of growing into his leadership role very impactful in a way that separates itself from 2003 and 2012 Leonardos.

Leo’s arc culminates in such an amazing and heartbreaking sacrifice that, while it obviously didn’t last, was the moment from Rise that hit me the hardest.

The way the movie managed to really hammer home the weight of Leo’s decision and the growth of his character in that moment through everyone’s reactions, the music, and the stunning animation and coloring was incredible.

Outside of Leo’s fantastic arc and the Kraang the animation is absolutely stunning. There’s a reason the fight with the Kraang leader was all over the place after this movie released. The animation for Rise has always been fantastic and here is no exception. I don’t really think I can add anything to this point that hasn’t already been said by anyone who has seen the film.

Honestly if you haven’t seen it yet you should definitely give it a shot.

I’m just really disappointed this movie is probably the last we’ll see of Rise of the Tmnt because from my experience watching the series for the first time this show just continually got better. It introduced and hinted at so many elements from past iterations of the turtles near the end that I really wanted to see their take on.

Overall I think Rise is a really fun series that has amazing highs and a finale and movie that are legitimately great but it is a bit inconsistent in terms of pacing and tone with a rocky start and contains some changes to the characters that didn’t work completely for me personally. 

At its best this show easily stands toe to toe with the heights of the previous series. And in many ways those heights are completely unique from all the other iterations because of how much it twists the previously established lore and characters to make them its own.

After watching this series I can completely understand why so many people love this iteration of the turtles and I do consider the show great. I will definitely re-visit many of these episodes and the movie time and time again.

Extra Thoughts

What is it with tmnt series and dark futures? There’s Same as it Never Was, Mutant Apocalypse, The Rise Movie, The Last Ronin, etc. The brothers can never catch a break and get a nice happy ending can they?

I really love this version of Donnie and I think he's the character that worked best for me in this series. Donatello has always been my favorite turtle and in early iterations of the turtles I was a bit disappointed with how underutilized he was in the series. The episodes focused on him were great, but until 2012 Donatello was easily the most underappreciated turtle with the least amount of focus and screen time of the four. 2012 and Rise finally gave him the attention and focus I always wanted.

I kind of feel bad for saying this but I prefer Rafael and Leonardo’s conflict in the 2003 show, 2012 show, and 2007 TMNT movie to their conflict in this series. I also prefer the Character interpretations of Rafael where he’s the hothead. Where he chafes under Leo’s leadership and is forced to grow and mature so that he can handle his anger in better, more productive ways. I’m not saying this version of Rafael is bad or that Leo and Raph’s conflict isn’t complex, just that I personally prefer different versions of these things. And I completely understand that that’s personal preference. I think that this iteration will definitely work really well for other people and I think that’s great.

I really enjoy this version of Mikey and I'm disappointed he is given significantly less focus than any of the other turtles in this series. All the rest of the turtles get episodes dedicated solely to them and their struggles even April gets more individual focus than Mikey in season 2. I think Mikey is a great character to bounce off of but I was disappointed he never really got much time in the spotlight.

While the lore grew to become one of my favorite things about the series, not all of it worked for me. It was actually mostly the mystic pizza joint and some of the yokai that didn’t work for me because Big Mama, The hidden city, Draxum, the battle nexus, and the shredder/foot all grew on me whereas that part didn’t. I think this had more to do with the fact that the episodes centered on this part of the world were my least favorite in the series than anything else.

This series made the interesting decision to move away from the more grounded tone of past turtles incarnations. The turtles, at least in the shows, had progressively gotten more and more grounded in “reality” with even Donnie’s inventions, while still being incredible, reflecting the limited resources they would realistically have when living in the sewers. This series abandons any tether it might have had to reality and has the turtles out in broad daylight with only hoodies/tops to hide in, Donnie's inventions are even grander than before, and there's a whole hidden city where the turtles can be normal. They also immediately get mystic power and rarely interact with street level crime like their past incarnations. In some ways this worked and made the series immediately recognizable and stand out from its predecessors but in others it made them feel very disconnected from their roots and what made them so relatable in the first place which unfortunately alienated some people.

This ended up working really well for me after things started to come together and I think it’s a bit unfortunate that this will be a roadblock for people getting into the series.

The backlash the character designs got is something that I never really understood. Each turtle looks completely unique and for most of them you can grasp aspects of their personality and what they like by looking at them. This is a mark of good character design.

[the-great-ladyg]

Hi hi!! How about 4, 6 and 8 for whoever you'd like?

Hi Ghosty! So nice to see your ask! :D For this one I'll have Rabban since I'm having a massive brainrot over him (I totally blame Dave and Denis for this)

4. who was your first favorite character when you initially got into your f/o’s source content? was it your f/o from the very beginning?

If we talk about the book, I think I really didn't have a favorite character, maybe Leto since he seemed pretty nice when compared to other characters.

For the movies, it was definitely Leto because ✨Oscar Isaac✨, he's got too much charisma in only 5-10 minutes of screentime. As for Rabban, I've got to say I was disappointed that he appeared so little, I expected a bit more of him (thank you Dune part 2 for listening to my prayers).

6. if your f/o is from a series, which episode/movie/game/book of their source content is your favorite?

I think I'm between the book "House Atreides" and "Dune Part 2", the novel doesn't have many moments from Rabban but those are enough, you can understand he's cruel and impulsive, and his family doesn't appreciate him (I don't like when Brian Herbert and Kevin Anderson write cruelty, it seems cartoonish, and I think that's what they did to him on "House Harkonnen", like a no cartoon villain).

For "Dune Part 2", there are a couple more scenes for Rabban, as well as it portrays other aspect the novels fail to pay attention, and that is familial rejection. Both his father and uncle rejected him as heir, Rabban does his best to live up to expectations but no one, specially the Baron and Feyd, believes he's capable of anything (just check that scene at the beginning, he's so desperate for approval and he gets none).

8. are there any scenes/chapters/moments your f/o is in that you skip when you revisit their source content?

He barely has any moments on Dune, so for the movies I don't have any, for the novel might be his death, but definitely most of his chapters on "House Harkonnen", I really hate how cartoonish Brian and Kevin made him and how they try to set up important events that are referenced on the original novel like his father's murder, for me it looks forced and fake

Yeah, I edited it because I'm dumb and got confused over the questions </3

[fairytale-poll]

ROUND 3! MATCH 3 OUT OF 4

Propaganda Under the Cut:

Original Fairytale:

The girl, the myth, the legend. The one who started it all. She skips into the forest with head held high, unknowing of the wolf and the many, many retellings of her story. Something, something, puberty, something, something, men are wolves. Just let my girl wear her red cape and be on her way to Granny's, please and thank you.

I feel like in a lot of modern adaptations they get lost in making Red Riding Hood more a girlboss who fights back or making her secretly (or not secretly) the real wolf or having her and the wolf be love interests, they lose a lot of what made the original fairytale so good. AND SO CHILLING! We have been told this story so often since childhood we can forget how frightening it can really be. A lost young girl, punished for the follies of childhood. I also think that even in the "happy" endings when the huntsman saves her there is this sense that she will never be the same. Her childhood is over. And that's haunting! The horrors of unprotected innocence.

Ylfa:

She just went through so much and so much growth and i love her very much.

She becomes a big bad wolf

She met Death and Death wanted her to live.

Great depiction of a teenager by Emily Axford. A lot of scenes get really emotional with her being a symbol of the cycle of life and death and eventually she will always become the Big Bad Wolf.

she faced off with Death and he told her to live. this Death, who was much older than the Death she was supposed to meet, stared off with Yilfa for days until she succumbed to hunger and ate him alive. other iterations of death apologized to her for the story she was forced to suffer through, for the punishment she had to endure over an unrealistic and unabidable rule she was destined to break. her corrupted story turned her into the big bad wolf, into death itself. she sacrificed the beloved memory of her grandma, her namesake, so that her friends would be able to save their world. even though she gained it back in the end, she was willing to live the rest of her life as the wolf, a harbinger of death, and when she was reminded that she was just a child, that it wasn’t her responsibility to guide the dead, she cried, and separated from the wolf. she was able to grow up normal and happy after suffering from the looming presence of death. i’m gonna make me friend also submit yilfa bc they’re smarter than me and can make better propaganda

my mutual really likes her

Her narrative arc about growing up and life and death is so beautiful and her being a werewolf is so cool. Emily Axford gets girlhood like nobody else.

she is the bravest little girl in the world she met death and death wanted her to live she split his skull and ate the innards of death himself she is just a little girl!!!!!!!

PRIMO Red Riding Hood adaptation. Ate the wolf who ate her gramma. Is a werewolf and a metaphor for puberty. Loves her friends. Can break her bones to reshape her body into various animal forms.

Not only did she have to lose her grandmother, but she also nearly dies of starvation and exhaustion until The Big Bad Wolf, aka Death, convinced her to live, by her killing him and eating his flesh, therefore making her Death

Ylfa has a snazzy orange top hat given to her by a very attractive fairy. Three Blind Mice is her favorite story. She brought her grandma lollipopcorn and threw the broth in the river halfway there. She first developed a crush on Pinocchio when she saw him use his nose as a stripper pole and didn't kiss him until they were twenty-one and having an awkward conversation about her grandma's death and Toy Island. She fought a baron with a spoon. She wants a bra. She jumped into The Terrible Dogfish’s stomach to save her friend. She has pinkeye and grandma hobbies. She fought off a shit ton of homicidal tables at once. She is pals with Little Miss Muffet. She killed her family. She sacrificed the memory of her grandmother to become Death. She was basically adopted by Mother Goose (who is a cool old gay dude). She Wildshapes by horribly contorting her body into animalistic forms. She is a Barbarian who acts as a support character. She is the bravest little girl in the whole world.

Behold, 3 minutes of the weirdest and best little girl! [Link]

Her weirdgirl swag is off the charts :) [Link]

Ylfa Propaganda: [Link]

Ylfa turns Little Red Riding Hood into a metaphor for not just puberty but grief and death and the inevitability of loss--of innocence, of childhood, of who you had and who you were. The Wolf is the End of All Things, and Ylfa met Death and Death wanted her to live. She gave up the memory of her grandmother--her namesake, her humanity--and became Death, and she was there to be the end of her grandmother's grandmother's story, because there always has been and always will be a wolf. But in the end, she is just a little girl, and she doesn't have to take this burden. There is a wolf-that-is-not-a-wolf waiting for everyone with a snazzy orange top hat, and there is a strange girl playing cards with witches and kissing a boy who used to be a puppet, and they all lived happily.

Vote Ylfa cause she pulled through when it came to the Riding Hooded Mercenary and I know a worthy opponent when I see one.

[funfettiheart]

I saw Spies are forever in London and it was SO GOOD and I have many Thoughts TM about it.

All of the new actors did an INCREDIBLE job with the roles (my faves were Obioma Ugoala as Agent Mega, Emily Ooi as Barb and who could forget Dean John-Wilson as the Deadliest Man). They all brought something a bit different to the roles whilst being just excellent versions of the characters. Claire Hall's Mama Mega was hysterical. She really had the nosy mother walk DOWN. Jak Malones Baron Von Nazi was hilariously wimpy and dramatic (and I'm glad they didnt do the chant in Not So Bad). Evelyn Hoskins was so good at playing Tatiana and made up for the lack of non singing time. You dont get to see a lot of Oliver Ormson's Agent Carver but when he IS on stage he is delightfully smarmy and British. I didn't even know there would be a different cast when I got my ticket so honestly I was blown away by how great everyone did. Joey and Brian were great partially reprising some of their original roles too.

The vocal performances were top notch, honestly beating the original in a bunch of places. And the accents were way better lol. They were hitting crazy notes and using fun vocal techniques (once again OMG Barb) and it really made the show feel like it was improving on the older version! The lounge singer (Emily Proudlock) aaaaaaaaaa. She was incredibly talented and so gorgeous in that red dress.

Other than that it was an amazing experience to see live and I really, really hope they release a new song recording with all the new cast because they were just 10/10. They were singing their hearts out and really embodied the characters so well. I'd love to see them maybe do a full version (maybe even a proshot pretty please) with full costumes and fight scenes and everything!

Overall it was wild spontaniously going to see one of my favourite musicals in London (Shoutout to Mermaid Elle for driving for SIX WHOLE HOURS). I had a whale of a time and recommend it 100% if they ever do another showing!

[abysscronica]

What do you think of the one piece movies?

Oh boi, that's a loaded question. 😭 I will reply honestly but please remember this is my personal opinion, whatever you like it's all legit!

In general, I don't particularly care for the OP movies too much. I did see them, almost all, even enjoy some or part of them, but I'm grateful that they're non-canon. I don't hate them and I'm always happy when a new one is announced (more OP content!), but that's about it. Same goes for the special/OVAs, although they kinda stopped with those. I will only go through the movies in this post.

Movie 1 (One Piece: the Movie) and 2 (Clockwork Island Adventure) are basically like filler arcs in the early days of the anime. They are not bad, nor good. I haven't seen them in a long while but I remember being pretty neutral towards them.

Movie 3 (Chopper's Kingdom on the Island of Strange Animals) and 5 (The Cursed Holy Sword) actually SUCK. They suck so much I could hardly get to the end. The Chopper one is just a total bore with a super predictable plot, while the Zoro one is actually painful. Zoro and the crew are totally OOC, and the poorly-thought magic lore introduced in the movie just doesn't fit with the OP universe.

You'll noticed I skipped movie 4 (Dead End Adventure). And that's because this one I like. It's also like a filler arc, but it fits perfectly in the plot (love the quick reference to Navarone), it flows well, it's dynamic and engaging, and the original characters are actually good. Shout out to Shuraiya Bascùd, whose design is basically Ace in a different color palette, but has a complex personality.

Movie 6 (Baron Omatsuri and the Secret Island) is a unique One Piece product, quite distant from what we're used to, and therefore I consider it a must-see. Not really for the plot, which doesn't make much sense, but for the art and the direction. In fact, it was directed by Hosoda, a very notable anime movie director (Wolf Children, The Girl who Leapt through Time, Summer Wars, Digimon...).

Movie 7 (The Giant Mechanical Soldier of Karakuri Castle)... I remember absolutely nothing of this movie except Nami's bouncing boobs.

Movie 8 (Episode of Alabasta) and 9 (Episode of Chopper plus) are revised re-tellings of the Alabasta and Drum saga. They aren't bad, especially Chopper's, some dramatic sequences are very touching. They made a great use of the soundtrack, or lacking thereof.

I will place Movie 11 (One Piece 3D: Straw Hat Chase) here because it doesn't fit with the remaining ones. This may as well be a special: it's only 30 minutes long, most of the Strawhats barely appear, it doesn't feature a villain-based adventure, and it's in a graphic format never used again. Take it as a slice-of-life episode, and it's enjoyable.

Movie 10 (Strong World) is a turning point, because this is when OP movies became "films", Oda started to get involved, some original canon elements were dropped in, and there were theatrical releases. The difference in quality (at least plot-wise) is immediately clear. Strong World is the last movie set before the timeskip (excluding movie 11), and it may well be my favorite.

Movie 12 (Z) is probably close second. The villain is a great character, and I LOVED the inclusion of Aokiji and Kizaru, how different they were, the implications they brought to the plot.

Movie 13 (Gold) is okay. Enjoyable. Once again, good villain, nice setting, good animation.

Movie 14 (Stampede) has a special place in my heart because it included the Kid Pirates, and Kid & Killer have a few scenes. Buuuut if I have to be honest, the plot is quite weak and, if you take off the (scarce) screen time of my beloved, it's a little boring.

And finally! The most recent, movie 15, Red. I haven't had the chance to watch it yet because it didn't get a theatrical release where I live, so I'm waiting for the DVD to be out. What I can say is that I've watched reviews from my two favorite OP youtubers (Tekking101 and Sawyer7mage), and they were not particularly impressed with it. My best friend also watched it and found it incredibly boring, so my hopes aren't really too high. I think they went waaaay too hard on the marketing for this one, they pushed Shanks and Uta SO MUCH. (Also it doesn't help that I'm one of the very few people that don't really care about Shanks, huh). I heard the songs and they were amazing, Ado is a masterclass singer. I read about the plot and I do think some details are quite interesting, like Uta's whole psychology and possibly the ending (?). I guess I'll have to update my opinion when I actually watch the movie.

That's all for now. Feel free to ask for more details if you want.