#is the storytelling particularly subtle or great

[stackslip]

top five great moments from the codyroman vs solojacob match last night in no particular order:

solo and jacob having to stand and fume in the ring for five minutes while a marching band plays a pisspoor rendition of cody's theme

jacob (and by extension solo) absolutely beating the shit out of cody who keeps pleadingly looking at roman while roman stares on with mild contempt and then occasionally looks at the crowd with rapturous relief as he is finally embraced by the masses who rejected him for years (also known as the "cody's dying" "this ain't about him xoxo")

cody trying so so hard to flirt with roman the entire match to the point of saluting him before doing an insane table bump and roman just keeps on looking in mild distaste (also i think cody's little dance counts as a courtship ritual)

jimmy running in and roman immediately crumpling and his face going so, so desperate and relieved at having someone who matters* finally embrace him and love him and show their support for him unconditionally

*cody does not matter

post match when jimmy and roman are about to leave cody to still get beaten up by the others and jimmy and roman finally go FINE. OK WE'LL HELP THE WHITE BOY. I GUESS

[brielledoesastrology]

Asteroid Makoto Shinkai (55222) in your astrology natal chart

By : Brielledoesastrology (tumblr)

“Have we...met before, somewhere else?"

asteroid "Makoto Shinkai" code number : 55222

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Makoto Shinkai is a renowned Japanese filmmaker known for his work in the field of anime and animated films.

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He gained international recognition for his visually stunning and emotionally resonant films that often explore themes of love, distance, and human connections.

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Shinkai is often praised for his attention to detail, beautifully rendered backgrounds, and ability to evoke a sense of melancholy in his storytelling.

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One of Shinkai's most famous works is the film "Your Name" (Kimi no Na wa), released in 2016. It became a massive commercial success both in Japan and worldwide, earning critical acclaim for its stunning animation, compelling story, and emotional depth. The film follows the story of two teenagers who mysteriously swap bodies and eventually develop a connection that transcends time and space.

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Some of Shinkai's other notable works include "5 Centimeters per Second" (2007), which portrays a tale of long-distance love and the passage of time, and "Weathering with You" (2019), a film about a boy who encounters a girl with the ability to control the weather.

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Shinkai's films often incorporate elements of fantasy and science fiction while exploring human relationships and the impact of time and distance on personal connections.

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Makoto Shinkai's distinct visual style and ability to tell deeply emotional stories have made him a prominent figure in the anime industry, and he is widely regarded as one of the most talented and influential anime directors of his generation.

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Makoto Shinkai's art style is characterized by its breathtaking visuals, attention to detail, and emphasis on capturing the beauty of natural landscapes.

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His films often feature meticulously drawn and painted backgrounds that showcase realistic and stunning scenery, ranging from sprawling cityscapes to serene rural landscapes. Shinkai pays great attention to atmospheric effects, such as light, shadow, and weather, which contribute to the overall mood and tone of his works.

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Shinkai's style tends to be more grounded and less exaggerated compared to some other anime styles. His characters often have a realistic appearance, with subtle facial expressions that convey complex emotions.

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Shinkai focuses on capturing the nuances of human emotions, particularly the feelings of longing, yearning, and the bittersweet nature of love and relationships.

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Color plays an essential role in Shinkai's art style. He often employs vibrant and vivid colors to create visually striking scenes, especially during key emotional moments.

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The use of contrasting colors and lighting techniques helps to evoke a sense of atmosphere and depth in his compositions.

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Shinkai's art style combines technical excellence with an ability to convey powerful emotions through visuals. His attention to detail, stunning backgrounds, and skillful use of color contribute to the distinctive and visually captivating nature of his films.

(source : chat gpt)

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In astrology the asteroid "Makoto shinkai" (55222) could represent : where you have great talent in your art works or story telling, where your art work or story telling have emotional depth, where your artwork or story has really amazing visual beauty, where your art work or story telling have reflection on transience, where your art work or story telling is very inspirational, where your art work or story telling is greatly admired or loved by a lot of people, where you prefer to make your art works or story telling more to the realistic side

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⚠️ Warning : i consider this asteroid as prominent and brings the most effect if it conjuncts ur personal planets (sun,moon,venus,mercury,mars) and if it conjuncts ur personal points (ac,dc,ic,mc), i use 0 - 2.5 orbs (for conjunctions). For sextile, trine, opposite and square aspects to asteroids i usually use 0 - 2 orbs. Yes tight conjunctions of planet / personal points to asteroids tends to give the most effect, but other aspects (sextile,trine,square,opposite, etc) still exist, even they produce effects. If it doesn't aspect any of your planets or personal points, check the house placement of the asteroid, maybe some stuff/topics relating to this asteroid could affect some topics/stuff relating to the house placement . ⚠️

[faejilly]

a while ago i watched someone react to 1.03 and were praising izzy for being an ally and like i love izzy but almost every time she brought up alec’s sexuality it made me super uncomfortable bc who would really want to be constantly in fear that your sibling is going to out you in a very homophobic society while trying to be supportive? and like there’s no way that izzy doesn’t know that the clave is homophobic and she still brings up it up all the time, it just seems weird that she can understand that the clave is racist but can’t comprehend that it is also homophobic, and she never really dropped the topic despite alec being uncomfortable with it

#mood

HOWEVER

The question arises... was Alec uncomfortable, or were pretty much all the queer viewers uncomfortable?

There's a thing with most media, but TV shows & movies especially, which have so many people involved in making them, and so many constraints behind the scenes that we the viewers may or may not know anything about, that sometimes the way a scene appears to the viewer is NOT the way it was intended/the way the characters take it.

Shadowhunters is a particularly egregious example of this, being a (relatively) cheap YA melodrama on a third-rate network whose entire production staff got swapped out between seasons 1 and 2, so 'lol what is consistency or planning?!?' is visible everywhere.

SO.

Is Izzy in-universe actually clueless/dangerous Straight People™️or were the writers/showrunners clueless Straight/White People™️who had no idea that half of their 'rule of cool' / 'quick banter' / etc. came across as micro-aggressions to the audience?

You can go either way, it's all a question of which you think is more fun/interesting/necessary for your own peace of mind/enjoyment of canon. (Fandom is supposed to be fun after all.)

A lot of people settle on 'they are that bad in canon' and write a lot of fix-it fic or 'nephilim have to deal with CONSEQUENCES!' fanworks, and those are great! A lot of other people go with "clearly everyone else in canon acts like they have positive relationships, so this is a failure of execution and I'm going to write fic/make art assuming that these people are who they SAY they are, and figure out what that looks like to me" and those are also great!

Just decide which one you're doing when you start, because combining both in one fic gets... a little weird? Hard to follow, at least. 🤣

SO: Is Alec uncomfortable? How does he deal with that, what does that say about his relationship with Izzy, with other nephilim, with the Clave & Council & Alicante? How does that contrast with how he feels interacting with the downworld, which is canonically a lot more self-aware and accepting of queer people and minorities?

If Alec isn't uncomfortable with Izzy's behavior, if no one else seems to pick up on it, why? Do we go with other people's reactions in canon and assume that she is in fact very careful with what she says where and it seems overt to us the viewers because we're allowed to see it? (Much like inter-party banter over comms in heist movies or tv shows; no one else ever hears it or sees it, so we can see and hear it for storytelling purposes, not for 'reality' purposes.)

If that's the case, what does their relationship look like to people in public? How different are public-facing Alec & Jace & Isabelle from what we the viewers see of their private relationships to each other?

Do you want to assume some mish-mash of both? It's more subtle in the setting than it seems so we can see it, and also Alec knows she means well even if we don't? OR SOMETHING ELSE ENTIRELY?

IDK, I have no conclusions here. I mostly assume that the show is a disaster, and these people all seem to like each other, so how can I write them that fits the results rather than all the dumb-ass details? (I like a lot of authors/artists who go the other way though.) This is encouraged by the fact that the technical/magical worldbuilding is nonsense so I'm making up shit all the time anyway, might as well add characterization to that too! 🤣🤣🤣

[paidmediaadvertising]

What Are Slideshow Ads in Creative Options in Messages?

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[mdhwrites]

You are so right when you say that TOH always tries to separate itself as being different or better than other fantasy shows or kids' shows while not actually doing anything particularly special. Your blog is what made me realize that this aspect of TOH more than anything else is what frustrates me about it. Because honestly I don't need kids' cartoons to be amazing and groundbreaking. It's great when they are, I love Steven Universe which I think took way more risks than TOH did and was way more unique. But I also had a lot of fun with MLP which in the balance was a pretty generic kids' cartoon. I found it entertaining and comforting and I liked the characters, but it was a pretty simple show. But MLP also never really asked you to think it was anything else. It knew what it was, it was good at what it was, and you could take it or leave it. Meanwhile TOH simultaneously refuses to accept that it's fundamentally a pretty basic kids' fantasy narrative, while also refusing to take any real risks with its storytelling that would push it beyond being a basic kids' fantasy show. So there's a disconnect between what the show wants me to believe and what I'm actually seeing on screen. And that disconnect is the source of my frustration with the show. I do still think it's fun. But it frustrates me. And I like reading your blog because I feel like you've helped me put into words some of the reasons why. 🦎

So this strikes a cord with me that makes me want to ask a question back: When did a good story stop being enough for people? I'm going to go WAY left field for my example here. Like... Maybe ruin my credibility left field for this one but it's the one I always think of with this. Why were we all too good for the Emoji movie? I saw it WAY after it came out because my parents have On Demand and told me they liked it. So I was like "I mean, worse case scenario it's probably laughably bad. May as well try it while I'm living with them." And it's not a bad movie. Like at all. Is it better than TOH? Probably not but I don't know how much worse I'd consider it either in hindsight. It does a LOT with its gimmick, is pretty fun throughout the whole thing and actually has a good theme for the concept of emojis with the idea that... Yeah, one emoji is really hard to express complex feelings with and what succeeds at the end of the day is someone breaking their singular emotion into something grander than that. Their self expression mattered and their want for expression played into the grand problem that was going to get them all killed. Is it groundbreaking? God no. This concept isn't anything new, it's not done in a particularly special way, none of its twists are novel, even when done well, and its humor is nothing to write home about. It's got some good jokes, it's got some bad jokes. Overall though... It's just a solid, basic story told well. This is actually like 90% of the success of Hi-Fi Rush's story. That game has about as basic of a plot as you can get without devolving into "Save the princess" with only two real twists, neither of which are that huge, even if they're fun. However, that story takes its gimmicks and runs like hell with them and does a really good job of telling a story about a group of rebels coming together, growing and beating the bad guy. I would say the only 'brave' thing about is that the first two characters in the band of rebels are kind of assholes but lovable ones and that's hardly a risk when one of Marvel's most beloved series right now is Guardians of the Galaxy. But it works. It uses its tropes well, it's incredibly charming and the cast is incredibly likable. It also knows when to stop being funny for a moment of humanity, unlike Marvel movies, and gut punches you a couple times with the subtle but definitely there growth of the characters. Both of these, in the elements that work for them, because there are parts of the Emoji movie that are not good, have a common trait. It's actually the trait that most makes me think that I, as a writer, couldn't ever make something that truly feels like TOH. Sincerity. A lot of basic stories when told well shine through with their sincerity. It's part of why a remake of something can feel so much more lifeless going through the same plot beats because those small changes made to 'modernize' or have 'meta commentary' etc. like that (think the majority of Disney Live Action remakes) aren't sincere. They're calculated, smug and obnoxious oftentimes and not nearly as heartfelt as the original pieces' choices. Another example but not animated: John Wick. On paper, it's a bog standard revenge story. In practice, that movie is going so hard, committing so full force to EVERY creative decision it has and not blinking at anything that could even be considered silly, while recognizing when it's going for a silly tone, that it is my FAVORITE action movie. Period. And again, above anything else, sincerity to the tropes of John being this mythical figure, the fun of all the fights it can show, etc. like that is what sells that movie. God I wish I liked 2 or 3. What a fucking waste 3 was. In my opinion. So yeah, I agree. I don't know why TOH decided it had to be so smug and egotistical and what not about its tropes when sincerity is enough. ... ..............

Okay, I have to bring up the other side of this coin, partially because I'm writing this while building up to Crises Girlfriends' original release.

Sincerity is great. What the fuck is the marketing pitch for sincerity? I've been pushing the fact that Crises Girlfriends is from someone who actually has these issues, that it tries to handle depression and the like better than most media because it's kind of the marketing point. I'd MUCH rather just tell you "I think I did a great job with the characters, their development and their relationship" and just sell you on it being a good romance but... What makes it special versus any other romance title out there? I'm not actually even going to use TOH as my flip example for this. Yes, a LOT of people use TOH's subversive element to sell it, just like Warrior Nun's community only ever let me know it was gay, but I've got an even older example: Gravity Falls. It took me FOREVER to hear someone say literally anything about the characters in that show. Before then, all I heard about was the mystery. How amazing its little Easter Eggs were. And why not? I've seen a couple episodes. It's a pretty damn good, but not special, modern fantasy show that's taking after stuff like the Spiderwick Chronicles. So if a fan wants to tell me why I should watch it over, say, Randy Cunningham, why not go with the genre blend that is actually pretty different for a kid's cartoon. I feel like that's probably at least half the reason people kept calling TOH horror at one point and I'm happy that stopped.

With all of that said, there's still a difference. Gravity Falls' mystery doesn't actively mock the tropes it itself is using. It is genuinely enjoyable, even if you don't care about the mystery and the mystery is more than just a marketing gimmick. For Crises Girlfriends, I literally have chapters dedicated to teaching some of the lessons I've learned in therapy that have helped me and make sense for the characters in question to get better. You can call these gimmicks but it's more that the concept is being properly used. That's where TOH, and the Disney Live Action remakes frankly, fail. The marketing gimmick IS the substance. They want you to post on Twitter about how bold it is for Disney to be doing X. That it's not like other shows. That it's not like the old Disney movies or fantasy movies in general that you know. Which is frankly hilarious when people try to say TOH was shortened because it doesn't fit in with the Disney brand. Laughing at itself while actually being as corporate and bland as it's trying to claim it's not is an entire branch of Disney. People have been eating up since Frozen though.

This actually led to me commenting on Twitter a while back that if the 90s were the age of irony as I've been told, the 2010s, from Disney to Game of Thrones, etc. like that might be the age of subversion. Where the story be damned, so long as we can claim to be more clever than we actually are, that's what's important. So long as we do something the audience isn't expecting. And it started in earnest with Frozen because... I'm sorry that movie is good, perfectly fine popcorn, but not the god damned masterpiece that it was heralded as when it first came out and I feel like a lot of the narrative praise for it was specifically because it was mocking Disney narrative tropes. It did so well though that it sent ripples out though. Some are doing it smart, some are not. I bet Rise of the TMNT is the way it is because the team being actually good warriors that feel trained by a proper master is what's expected so leaning on the teenage side and them not being the best, but not bad, is subversive theoretically. Subversive in a way that is actually useful for new stories and ideas to be told though. It's a smart way of doing it. Meanwhile, TOH asks the bold question of "What if the pointless romantic subplot in most fantasy stories was gay?" And then puts it in a world where a gay romance will be treated the same way as a straight romance. The point is it's not clever. But it sure is good for making posts on Twitter, isn't it? Frankly, there are a lot of elements to TOH that I think are chosen partially for social media bait and a LOOOOOT of them have to do with Hexide. That is a different blog. And hey... If you want someone who's sincere... Well, here are my normal links because it's still my job. I just wish I could tell you a better pitch than my goal is to just make a good story. Before anything else, that's all I want to do.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead, If you want to hang out with me, I stream from time to time and love to chat with chat.

And finally a Twitter you can follow too!

[alectology-archive]

a day of fallen night final thoughts below the cut, but to summarise I think this is a book people can enjoy easily but it didn’t really do anything particularly great for me in terms of the themes it was dealing with (although I do feel very positively about it’s scathing criticisms of monarchical systems of power especially when they wield power in alliance with the fantasy!church. also that climate fiction is always delicious to read about). spoilers include the ending and partly the general character arcs.

thoughts on the technical aspects of the book:

having finished the book I still strongly believe that the pacing of the story progressed at break-neck speed and left no room for the characters to breathe. I do think this is specifically an issue with the editors involved with this book because all of her other books have never given me the same impression and samantha has repeatedly mentioned that her editors trimmed a lot of words from tpotot and adofn. male writers get to keep nonsensical bits of useless exposition; she should’ve been allowed to throw in a couple more thousand words to let the characters breathe and develop and feel. not that it necessarily means that the manuscript didn’t need to shed some weight, but you know what I mean. the scenes also cut off pretty abruptly sometimes to shift POVs which is well. not good.

… speaking of which a lot of scenes that we build up to take place off-screen despite having a lot of emotional and narrative significance (for instance we learn off-screen that wulf spent 9 months in the priory and also that he was easily convinced that cleolind really defeated the nameless one). this happens multiple times, and made for a very frustrating reading experience - I think dumai’s storyline particularly suffers from this.

I never really felt my heart leap in my chest the way it did multiple times while reading priory and tbs - her writing style involves making her characters face a continuous stream of conflicts that seem insurmountable which is kind of what really drew me to her books in the beginning. I suspect this might be because I kind of have a sense for her writing patterns now that lets me predict her style of storytelling.

I think glorian’s storyline should have started around the time preceding/following sabran vi’s death because I really tired of her POVs before that - it just didn’t have any plot significance. I also admittedly don’t care for reading about characters who’re in their teenhood any more.

with dumai’s storyline, the story seemed to promise court intrigue but failed to really deliver on it. samantha’s also pretty good at writing flawed antagonists but none of them landed well for me in this book.

adofn also seemed to feature a lot of Telling rather than Showing, but this might also be a personal issue because I prefer books to be a lot more subtle with their character development and themes. this was not really the case when I was 16, so I’m not sure if I’ve just become more critical of her work (it’s probably just that).

I think samantha isn’t very good at writing Nice Male Characters. I say this fondly. I love that she excels at writing terrible men, though. jaxon tbs sucks! I love him.

we spend more time with training sequences than we seem to with scenes with conflict between the protagonists and antagonists which is kind of a shame.

this is a very vague criticism and people might not agree, but I also did get the impression that samantha had a hard time letting women just be… horrible in this book. really morally questionable in a significant way. this was not a problem she had in priory. I do think it’s interesting to really deconstruct the concept of a witch in the woods and instead present her as a person who seeks to protect the land, but it also seemed to… contradict kalyba’s pre-established characterisation? like she retconned her background while working on this book? just…. let women be horrible lol. nikeya also wasn’t nearly half as devious as the narrative tried to convince us she was.

she often clarifies how a certain character is queer sometimes in ways I don’t necessarily like (this is specifically referring to the point about how I’ve gradually grown to appreciate more subtlety in books recently). in nona the ninth, we learn that camilla hect has two dads and tamsyn muir never descends into discussing the minutiae the way samantha does.

while the climate and balance element of the magic system was dealt with a lot of nuance a lot of the antagonists lacked the depth that the magic system had with a bunch of conflicts being painted as black and white scenarios (it doesn’t really turn out that way at the end of the book, but you do spend most of the book with certain assumptions that are only countered in the very last chapters of the book. it doesn’t make for an fun reading experience).

kediko onjenyu should have waged a war against the priory. prince guma and robart ellar should have been allowed to mount a more formidable political opposition to glorian. the river lord and nikeya shoild have done more politicking. there was a lot of opportunity for more politicking that was wasted as empty threats.

I was personally a little annoyed that religion played such a heavy role in every single POV we got, but it’s fine, it’s not a big deal. I love examinations of religions in text, but I also don’t enjoy stories that have a high density of religious characters because I don’t like the touch of false belief that religion infuses into the narration of the characters who keep strong faith.

While her writing style was really the one I first remember falling in love with, I do think you could tell when certain sections of the book were better edited and went through more rewrites. it’s fine! she cares a lot about writing as a craft and that’s all I really expect from an author. it didn’t particularly wow me this time, although I continue to love her usage of metaphors.

thoughts on thematic coherence:

the single most frustrating narrative was the very unsatisfactory conclusion to siyu’s storyline - it ended with the narrative seemingly concluding that she needed to properly submit to the suffocating structure of the priory that caused her severe psychological and emotional distress ie it ignored the family as a tool of oppression. I’m not saying the criticism was entirely absent - the narrative is pretty sympathetic to her and generally indicates that she was treated very cruelly - but that criticism is negated when it’s ignored in the latter half of the series. why would you do this to her! I’m glad she was allowed to go to inys at the end of the book, but the conversation where tunuva and esbar apologised to her should have taken place, and it never did. ead’s storyline did focus more on the need for reform in the priory, but I don’t recall if it really dealt with the questions siyu’s storyline was posing.

^^^ speaking of which I do think it’s weird to reaffirm the need for siyu to integrate into a system that has hurt her when samantha specifically writes with the intent to critique the concept of family and marriage. she needed to do some more retrospection in that department, I think :/ also I’m probably making it sound worse than it really is, but the resolution was still Not Great.

the reproductive burden that women face in continuing bloodlines and its significance in monarchies particularly was dealt with excellently, as was the mechanisms through which the institutions of power that they were a part of played a role in the dehumanisation of women and in denying them any real autonomy over their bodies.

samantha’s personal struggles with mental health also give her an informed view on depression and I could Relate. excellently done, no notes, I did mark the quotes so I’ll hunt them down and post them later.

the individual endings presented to us in the epilogue were all pretty great though! I always love her endings - particularly, the touch of tragedy she infuses into them always makes them very satisfying.

[ahundredtimesover]

Mimi, oh my god, Mimi, what did you just put me through?😭

In all honesty, it was a terrible day. The thrice in a year sort of terrible day, and the mere notification on my phone reassured me. I had something to look forward to, and I can't express just how much I feel better by reading this.

That aside, OH MY GOD WHAT THE HELL??? The tension that had been growing so thick was just set loose like a whirlwind in this chapter. Oh my god, everything - I'm literally rendered speechless. I can barely form the words rn because oh my god did they just kiss? YES THEY DID😭😭💗🫶 The way I cried out loud when Jungkook finally decided to talk to Y/n. I was soo happyyy and relieved and tbh, I was beyond the stars and moon when I read what followed. The subtle teasing from Jungkook literally blew my mind, and I have solemnly commited it all to my memory and saved it all so that I can read it over and over and over again. And the kiss, oh my my, it was literally fire. It set loose all the desperation I had been feeling, and put me on cloud nine. I loved, loved, loved it. I can't express enough just how happy I am😭🫶

And also, the way the story finally clicked into place after Mr.Ri's confession. His story is so tragic, and in a way, the ultimate declaration of deep and unconditional love that he feels for Y/n's mom. It was such a beautiful story - heart-achingly so. Everything that had been lurking was finally out for us to know, and the revelation was just so wonderfully done, Mimi. Hats off to you for writing such a climax, because your writing and storytelling is just *chef's kiss😭

I also love how particularly Jungkook understood Y/n and choose the decision to let go. Ultimately, love is letting go when the time calls for it. And you writing that in text just reminded of that, and was such a gentle nudge to our own reality that stands to face us outside all known comforts. I was crying every few lines😭 Like, quite literally. Today had been emotional and this fic just made me experience all of those emotions in more depth, and relieved me so much of that well known crippling anxiety. I can't thank you enough for that, Mimi.

I loved, loved the chapter, and I love how Y/n finally allowed herself to truly acknowledge her feelings. The last scene stood a reminder for that considering how she's not one of those who lets themself cry that easily. It was just so heartbreaking, but I love to think that Jungkook has caused this change of heart in her where she allows herself to truly feel things for what they are, and what gravity those emotions hold. Just as Y/n allows Jungkook to do the same. I love their understanding of each other, and how they are the same when it comes to these thing but still willing to subject themselves to change, all for the sake for their feelings for the other person.

It's truly wonderful to see this change in both of them, and seeing how far they've come.

And I'm so heartbroken for Jungkook, knowing he will hate to let Y/n out of his radar, but he will do it all the same for her sake. It's just so tragically beautiful to see him like that, so down bad for her. The way he's down bad for her tho, lol. I'd swear all hell will be set loose at some point in the fic once again (or more *fingers crossed), like it did in the kiss scene, hehe. It's just so satisfying to see him break like that. I live to read that, I swear.

Well, that's enough of a rant and I hope you have had a great week so far. Don't pressurize yourself too much, as I sense that you're quite the person to push yourself. Take care of yourself and pat yourself for all that you do everyday - even the tiniest tasks.

You have me whipped for this beauty of a fic you've written, Mimi🤍

Hii I'm sorry this is late. And the fact that I didn't get to reply considering you had a bad day. I'm sorry you did but I'm glad that the chapter gave you a bit of joy. I hope you're feeling much better now! ☺️☺️

And yay. I did hope that the chapter would make people go through a whirlwind of emotions! I mean, JK went from teasing to being down so bad and then... yeah. We at least got to see that side of him!

As for Mr Ri, tragic is the right word. It's one of those times where either choice he made would've hurt him regardless, as if he was fated for that life. But I'm glad the revelation had that impact! Literally that storyline just came to me one day and it ended up being such a core aspect of the plot. Thank you for liking it!! 😊

Jungkook has caused this change of heart in her where she allows herself to truly feel things for what they are, and what gravity those emotions hold - this is such a good point! We know that OC doesn't like feeling all that much. Sure, she's kind and warm but a lot of times, it's all towards others, it's like her defence mechanism so that she doesn't share herself. And JK is making her feel all these intense emotions. It's just that she doesn't know what to do with them, just like JK. But still, we'll see how it's really not easy for either of them to manage it. I think that'll be the heartbreaking part that we'll see in ch12.

This was so lovely to read. I'm glad you've enjoyed it. And yes, I do pressure myself a lot haha but it pushes me to write something worth sharing and I'm just happy you like it! Thank you so much for dropping by!! 💕💕

[iris-nonsense]

why are you even reading one piece if all you do is complain about it? like after 600+ chapters if you still don’t like how oda writes just move on it’s not for you and that’s okay!!!!!! it’s clearly not bad writing if it’s a well beloved franchise that’s been going strong for 25+ years and has millions of fans across the world, it’s just not your speed and that’s okay!!!!!!

Anon i don't know why you're here but since i have some free time i will answer you in good faith.

First and foremost i started reading one piece being fully aware of the fact that it wasn't for me. I never particularly liked it when i was a kid, i never enjoyed the character design and looking at some panels i never found them pleasing. But, as you said, it's been ongoing for more than i've been alive and it's widely loved and i wanted to understand why, and to do that i have to read it even if it's not for me.

Now i don't think that the entirety of one piece is bad, on the contrary i enjoyed most of my reading till enies lobby. Some parts weren't as good as the others (like drum was too long imo) but overall i had a great time. Honestly i will put Skypiea and arlong's park between my favourite shonen arcs of all time, because they're just THAT good.

My main problem with oda's storytelling after enies lobby is how he seems to drag the story on just because he can. We all know that one piece's story is built on some core mysteries, but, instead of answering them organically by giving some more information when the opportunity arises, oda style seems to be telling "you would like to know" to the reader and then move on (looking at you Rayleigh) which is one frustrating and two not good writing.

When it comes to the artsyle i already said that it's not for me, but oda showed again and again that he's good at constructing a panel. He knows what to do and how to do it masterfully, so when i got to marineford and every single double page is bad (and this is not an opinion those panels are bad) i get angry because i know that he can do better than that, because it looks like he didn't try and like he had no supervision on it, which from what i understand is exactly how it went. At some point the editor had no more say in how oda did things and it shows.

Getting to luffy's flashback (which from the look of it those are the posts that made you send this ask) i think that it's bad. There's no other way to put it, that flashback is bad writing. It completely discard everything previously established about luffy's past, his island and his childhood, and it goes against everything we knew till this point, all of this just to write in a new character to replace ace (because, let's be real, that's the only reason sabo was never mentioned before this). And this is bad writing, and it's not even subtle. You can see what oda is trying to do from a mile away, the execution is incredibly clumsy and it doesn't matter if people like it, that doesn't make it good.

I think that i've been pretty fair with oda and one piece so far, i praise it when it deserves it and i criticize it when it's bad. Last night i didn't have anything positive to say about it because that flashback is bad, but i hope that it will get better going on. I know that my posts can come off as too harsh but i like to complain, in particular when it's something silly that doesn't affect my life like a manga.

So yeah one piece is not for me but i will read it and blog about it anyway because i can. If you don't want to see my negative comments anon that's fair, and you should just block me or block the tag "iris reads un pezzo", it's the one that i use for my comments on the manga and it's there for a reason.

In the end i hope you had a fantastic day anon! See you around :)

[lightdancer1]

A key element in my characterization of the Dream-Death relationship:

As per Endless Nights, the two were not always close. Dream was originally much closer to Desire (and there's no indication Desire and Despair were particularly close at the time). In my background, as laid out in Dawn of the Endless, the personalities and dynamics kind of went through a whole switch. In the beginning Dream was the great enthusiastic chirpy artist, who took a great delight in creation and his role as the storyteller and artist took precedence over the kingdom of the Dreaming.

Death was a stoic brooding dour person haunted by her failures and by her inability to bear up to her job's demand. Her mortal days and that her brother refused to let her run him off helped make Death into the cheerful person she is, while the ennui of a long lifetime in a realm where anything he wishes is real because he made it and the corrupting effect of living in a realm of unfettered absolute power and literal worship by his creations made Dream progressively more murderous and assholish with time.

So for Death and Morpheus there is a fundamental contradiction/irony at the heart of their respective perceptions of things. Dream sees Death as the kindliest, most compassionate Endless (she is) and puts her on a pedestal for it (which isn't exactly healthy or helpful or what either of them really need). Death sees one person in her family who saw her, warts and all, and chose her for who she was (and hence the irony that she never can quite tell Dream that the pedestal is the exact opposite of what she actually wanted for fear that she'd alienate him, too).

Meanwhile for Death and Daniel there's the closeness that as a result of being born out of what was once Daniel Hall, Daniel-Dream is far more mortal-like/human like and this is his own source for an equally deep connection that has something of a very different vibe to that of Morpheus. In some ways Daniel and Death are more emotionally healthy than Morpheus and Death ever really were, because Daniel is written by me as he's meant to be written, a more emotionally healthy successor to Morpheus. And he gives Death something she's never really had and it takes her time to adjust to.

Specifically someone who can and does connect to her at that humanlike level, making her no longer alone in the way she'd been up until that point in her life. Leading, equally ironically, to a mirror of the show's dynamic with Desire and Despair, in a way, while emphasizing both the specific tragedy of Morpheus (and Death very much does grieve for Morpheus and mourns him for a long time even as she accepts Daniel is her brother) and that Daniel is every bit Dream of the Endless and that as he's changed in subtle ways, so has his relationship with Death.

[cavernfullofexistentialdread]

OK HERE WE GO LIST ON WHY EX WIVES IS THE BEST THING TO EVER <3

It instantly tells you what to expect. Bunch of amazing women with insane vocal ranges and the energy of a Taylor Swift concert.

Amazing composing

The use of motifs, every single verse with the queens saying lines in order has the green sleeves melody snuck into there

Great symbolism with said motif! We are quite literally forced to hear it even if the situation doesn’t particularly call for it

EBM GREENSLEVES MY BELOVED <333333

The use of the different vocal ranges overlapping in the “Wives” and the first sung note in musical is just ✨chefs kiss🤏✨

“All you ever hear and read about!” RAW LINE. RAW. OMFG YES

All of K Howard’s lines. That’s the entire bullet point.

Great introduction to the queens! The problem with Uranium Suite and Fall Fair Suite is that Uranium depicts how people would see the choir (only on a surface level) while Fall Fair shows us how their actually like but doesn’t provide that much context as to that their a choir. However what Ex Wives does it that it shows them as individuals as well as clearly shows they CAN work as a group but they don’t get much individuality from it

Also speaking of RTC’s St. Cassian Chamber Choir, the Queens are technically a choir! MAKING THISE DAMN MELODIES SO MUCH MORE SATISFYING TO LISTEN TO

Also iconic lines

Quickly foreshadows in subtle ways (AUDIBLE STORY TELLING MY BELOVED)

Once again comparing my 2 fav musicals, RTC has this thing where each character gets a version of Karnak’s theme, SIX does this too in the Queen’s intros

AND ALL THE REMIXES. ALL SOMEHOW MANAGE TO SNEAK IN MORE GREENSLEVES. THE SYMBOLISM. THE MOTIFS. YESSSSSS

Already tells you the amazing humor of wit and sarcasm you can expect to see through out the musical

More audible foreshadowing via the style of each remix

Lina is simple at first with a few strings, but has a lot of little bits added from time to time. It toys with the melody and what it can apply into the already catchy tune. Her intro is probably the one with the most inconsistency as it does not keep the added stuff going. It has a relatively low and steady beat but makes up for simplicity in vocal potency. ALSO JUST SO SAVAGE SHE ATE THAT UP FR FR. Just like No Way

Anne has a slightly higher and more excited melody. The Tempo is the same but serves less of a heavy role unlike Lina’s and is mainly just the supporting cast to the melody. While Anne’s vocals stay relatively high throughout at the end she goes lower and more sinister. Great audible storytelling! There’s little to no playing with what’s been set up and when there is it’s all subtle. As mentioned before the break is only at the end. It’s so cherry and cheeky but if you look at the lyrics it uh- kinda intense. Very DLYH if ask me

JANE SEYMOUR JUST IS PUN FILLED, THE JOKES. It perfectly sets her up to be the one overlooked and the more… patient and forgiving one of the group. She only ever snaps in one of the two fight scenes. Also the fact that she claimed she was the only one he truly love, while sadly likely to be true, also contrasts how loving and caring her sing ends up being with the slight cockiness that the line can be read as along with the infamous “RUDE!”. Her melody is the middle. The added wind pipes(?) later are the high. The tempo is a sort of balance from the higher notes. Her melody is so melancholy and monotone. It’s very Jane and very Heart of Stone fr fr let’s keep this greatness up!

ICH BEN ANNA VON CLEVES. This one does not disappoint either! You can already see the consistent parallels of Anna’s relationship with online dating throughout the song, so it’s good that’s it’s inky reinforced here but not much! Also Haus of Holbein foreshadowing so I guess that softens the whiplash somewhat- Also this intro if the only one where the other Queens serve vocals more than once, I guess you could connect it to how Get Down is the only song that has Anna going out of her way to get the Queens involved (THATS ISN’T BY U BEING PROBLEMATIC ANNE). Also Anna’s snarky comment at the end is ironic as she was probably the only one besides Cathy who didn’t have to deal with Henry in that aspect. Also very very simple only having the accordion, tempo, and clicks to compliment. Get Down!

PRICK UP YOUR EARS IN THE KATHRINE! WHO LOST HER HEAD! For the longest time I thought it was “beheaded; before I promised you I’d see outside of wed” referencing both how short her life and time with Henry was. But no it’s “promiscuity outside of wed“ 💀. Either works however! Kinda ironic that Kat is the one to interrupt Anna’s comment as… ya know… But anyways. The chord progression on this one is especially of note as it’s actual kinda different from AYWD. While AWYD goes High and ten descends, this one go High -> Lower -> Lower Medium -> Low. Interesting indeed! Long of stings and slashes to replace the clicks that Anna had! Also not sure but Tempo seems to be more dominant?

BAM TINY WHIPLASH STRAIT INTO A LAMENT BABY. Then it goes pop again as Cathy gains her balance. Notice how the beats don’t comeback until that point. The first two lines rather have the piano as the click clack. Past that THEN the tempo beats come back once Cathy is talking about and addressing them as a GROUP. She is the one to slide them back into the chorus after all! Foreshadowing as how she convince them to write fanfic- I mean reclaim their stories! Anyways as I saying, she’s probably the one who shakes it up the most. More foreshadowing!!! Also Pt. 1 of Cathy being an independent women’s who may or may not come off as slightly protective and clingy-. Still very IDNYL!

So to recap that giant section; it’s Good use of simplicity, effects, and contrast -> Vocal centric within a happy lucky tune and beat that breaks at the end -> Puns and a somewhat monotone melancholy feel that easily shows character -> More simplicity and focused on the vocals to carry it, also ironic jokes and sarcasm! -> Interesting chord progression and really good wordplay -> Amazing and subtle foreshadowing mix into a lament turned beautiful transition to chorus

Also apparently the Queens go from right to left if you have ear buds in but as a half deaf person I will sadly never get to get the full experience-

Have I talked about the amazing vocals???

MUST WE HAVE A GOOD PLOT WHEN WE HAVE GODLY VOCALS???

THE DAMN RISING NOTES ON THE LINE “WIVES” AHHHHH

IM SORRY ITS JUST TOO SATISFYING

ALSO NOT TO MENTION THE LINE IS ALSO YET ANOTHER GREENSLEVES INFUSED SNEAKY RAT THING

I SWEAR THE OVERLAPPING VOICES EFFECT GOT ME IN A TRANCE

THE RISE AND THEN THE STOP AND THE LOWER RISED IS SO

SEJSJKSKEMSKKEMEMSKEKEK

Also can we talk about how dramatic the beginning is? I love it lmao

Also how over time when they the rhyme their just like “ugh this b*tch again stfu I’m too tired to deal with this”

The fact that Catalina is the first every voice you hear in the entire musical but Cathy isn’t the last line in the sing or the whole show is a nice detail, idk if it was intentional fore shadowing but it’s great!

Also the fact that Hamilton ends on “Who lives who dies who tells your story” and SIX instantly throws you with a “Listen up let me tell you a story!” Is my favorite coincidence

Kat’s lines are potentially longer to match AYWD’s length

ALL THE REFERENCES TO BOTH THE QUEENS AND TUDOR HISTORY I CANT GO INTO BECAUSE THERES TOO MANY

LOOK AT GENIUS

LITERALLY EVERY LINE HAS SOMETHING BEHIND IT

EVERY. LINE. EVERY. SINGLE. ONE.

Ill try my best to fit as many as I can off the top my head

I can’t fit everything so this is it- thank you for coming to my Ted talk

[paytonslitreviews]

Literature Review of “Travels with the Snow Queen,” by Kelly Link

Kelly Link’s 1996 short story “Travels with the Snow Queen” tells the story of a woman embarking on an adventure to find her lover, Kay, who has seemingly left her. The narrator, Gerda, recalls being told by a man working at the corner store that he watched Kay get into a long sleigh with a beautiful woman, the sleigh pulled by thirty white geese. While on her journey to find Kay and this Snow Queen, Gerda meets several interesting characters along the way, most notable among them a princess called Briar Rose, a robber girl, a prince-turned-reindeer named Bae, and eventually, the Snow Queen herself. Although she set forth on this journey to find her lover and together live happily ever after, Gerda’s view of Kay has changed throughout the course of her travels, and in the end, she makes the choice to leave him.

Link’s writing style breaks the rules of conventional fiction writing in a captivating way, and for the purposes of this story, it works extremely well. Her writing is humorous and at times satirical, creating a retelling of a classic story that is a fun read with a modern spin. The story is, interestingly, written in a second-person point of view, directly inserting the reader into the role of the main character and narrator. Reading the story, the audience experiences the events of the journey and meets the various characters ourselves; we are Gerda. Gerda is a sarcastic and funny narrator, and we find ourselves embodying that characterization.

Along with being a more modern reimagining of Hans Christian Andersen’s 1844 fairytale, Link’s story is written for an adult audience, whereas Andersen’s story was intended for children. Link’s story contains sexual themes and explicit language, at one point the Princess Briar Rose tells Gerda, “He was a nice guy, okay in bed. She was a real bitch, though … The Snow Queen,” she says, “the slut in the sleigh�� (The Big Book of Modern Fantasy 570). In addition to mature content, in writing this story, it is clear that Link wants the audience to think about themes like misogynistic depictions of female characters in media, that a child likely would not fully understand.

In the story, we meet several characters that are representative of ways in which women are often depicted in media like literature and film. Link uses specific words to describe these female characters, and these words are deliberately used to represent common female archetypes. The bimbo, the slut, the bitch, the plump older woman that is past her prime, and of course, Gerda, the jealous ex. Link’s subtle social commentary about these boxes society often puts female characters and, ultimately, all women, into while also giving us a quite complex female narrator with notable character growth is a wonderful demonstration of the multitudes a woman can be. There’s also the inclusion of Gerda noting that the princess doesn’t actually turn out to be a bimbo, and the Snow Queen isn’t actually a bitch, reminding us that women are not these labels.

“Travels with the Snow Queen” is rich with imagery, descriptions of glass-cut feet, bloody tracks in the snow, and freezing exhalations into in the cold air giving the audience a visceral description of the characteristic wintery atmosphere. Also heavily woven into the story are allusions and references to many popular fairytales, such as Hansel and Gretel, The Wizard of Oz, The Little Mermaid, and Cinderella, among others. At one point, the story implies that Gerda is the great-granddaughter of Little Red Riding Hood, describing her beautiful red cloak, now smelling like wet dog and ragged like it had been chewed on, a detail that I found particularly amusing.

The plot of the story easily kept my attention while reading, and combined with Link’s unique storytelling, I was never bored. There were lines where a witty remark shocked a laugh out of me, which I enjoyed. In addition to being wonderfully sarcastic, Link’s humor is also beautifully absurd in a way that is addicting to read and refreshing as it is rare to find in literature, especially in a way that pays off so successfully.

Overall, Kelly Link’s “Travels with the Snow Queen” is one of my favorite pieces I have read recently. Her writing style is so unique to her, and her fun in writing this story was evident to me while reading it. Link is an excellent and effective storyteller, suddenly dropping lines of beautifully written prose between sections of humor. In the story, the narrator repeatedly mentions the bloodied and torn soles of her feet, cut with the glass shards of her map to Kay. In the story’s resolution, Link writes, “The robber girl’s boots cover the scars on your feet. When you look at these scars, you can see the outline of the journey you made. Sometimes mirrors are maps, and sometimes maps are mirrors. Sometimes scars tell a story, and maybe someday you will tell this story to a lover. The soles of your feet are stories—hidden in the black boots, they shine like mirrors” (575). In the last paragraph of the story, she leaves us with a perfect conclusion, “You tell the geese that your feet are maps and your feet are mirrors. But you tell them that you have to keep in mind that they are also useful for walking around on. They are perfectly good feet” (576), indicative of Gerda’s own personal growth and realization of self-worth independent of her past lover and encompassing her character arc throughout the story.

Link, Kelly. “Travels with the Snow Queen.” The Big Book of Modern Fantasy, edited by Ann VanderMeer and Jeff VanderMeer, Vintage Books, 2020, pp. 566-576.

Read here:

[denimbex1986]

'Although Interstellar frequently ranks among Christopher Nolan’s best movies, there’s no denying that the project would’ve been completely different with Cillian Murphy in the lead role of Cooper instead of Matthew McConaughey. Murphy later went on to be Nolan’s leading man in Oppenheimer, but casting the actor earlier could’ve been a fascinating choice from Nolan that would’ve changed Interstellar on a fundamental level. There are plenty of differences between Murphy and McConaughey that would’ve had a massive impact on the movie.

The question comes after Murphy revealed he wished he’d been in Interstellar in an interview, claiming that it was an extremely moving story that had a huge effect on him. The actor is a long-time collaborator of Nolan’s, working with him on movies such as Inception and The Dark Knight previously, so it wouldn’t have been totally unprecedented for him to appear in Interstellar either. While it’s great that McConaughey was ultimately cast and given a chance to bring his own take on the character, it would’ve been fascinating to see how Murphy tackled it differently.

Murphy’s Subtler Acting Style Could’ve Made The Emotional Beats More Internal

The most obvious difference between Murphy and McConaughey is their distinctive acting styles, and this would’ve had an enormous impact on the way Interstellar tells its story and presents its emotional beats. McConaughey’s casting was an inspired choice because he’s very outward with his emotions, really projecting how Cooper feels through his voice and physicality. Murphy’s typical acting is much more internal and restrained, (which he displayed upon working with Nolan on Oppenheimer). The actor is known for expressing his emotions more subtly, which could’ve made Cooper a totally different character that audiences don’t completely understand at first.

Interstellar would’ve been a much more cerebral and challenging project with Murphy’s subtle acting style at the forefront, but that isn’t necessarily a bad thing. Forcing the audience to consider how Cooper might be feeling instead of displaying it so openly might’ve made viewers connect with the character more. Murphy could’ve definitely brought this quality to the character.

Murphy’s Existing Friendship With Nolan Could’ve Made Interstellar More Personal

Another aspect that’s different about Murphy is that he’d already worked with Nolan several times in the past, most notably playing the character of Jonathan Crane in the Dark Knight trilogy. This previous experience could’ve made him a more fitting candidate for Interstellar, as he already understood how Nolan’s process works and his specific vision as a storyteller. He would’ve been a much safer choice, and while it’s clear that McConaughey absolutely nailed the role anyway, Murphy’s friendship with Nolan could’ve made Interstellar more personal and authentic - particularly since it’s a story that’s extremely important to both men regarding their own children and position as fathers.

Murphy’s Experience Playing Astronauts Could’ve Made Him More Believable In The Role

Over the course of his career, Cillian Murphy has starred in multiple sci-fi movies, including one from several years before Interstellar where he plays a scientist on a mission to save the sun from destruction. This movie, Danny Boyle’s Sunshine, explores very similar themes to Interstellar, with humankind fighting against nature to protect themselves and understand their place in the universe. Murphy must’ve gathered plenty of useful knowledge and experience on the Sunshine set that he could’ve brought to Interstellar, whereas McConaughey had never really done sci-fi on that scale before. This would’ve probably made Murphy more believable as Cooper, since he’d done something very similar in the past.

Murphy’s Casting Would’ve Caused A Dark Knight Reunion With Hathaway

Interestingly, Interstellar wasn’t the first time that Anne Hathway had worked with Nolan either, having played the character of Catwoman in The Dark Knight Rises. This would’ve also made for an entertaining reunion between Murphy and Hathaway if he’d been cast in McConaughey’s place, potentially even giving the two characters an entirely new dynamic and chemistry. The pair didn’t share too many scenes in The Dark Knight Rises, but they likely got to know each other on-set and could’ve used this to develop the friendship between Cooper and Brand.

Murphy Would’ve Made A Slightly Younger Cooper

Although it’s not too much of a difference, Murphy is actually several years younger than McConaughey, so his version of Cooper would’ve been a slightly less mature and potentially more irresponsible one. It’s unclear whether Nolan would’ve actually rewritten Cooper to fit with Murphy’s younger age, but it definitely would’ve changed the character’s background at least. Maybe with a younger protagonist, Interstellar’s themes of climate change and protecting the next generation would’ve hit even harder. There are plenty of profound moments that make the audience think in Interstellar, and a younger Cooper would’ve really emphasized the risks of this mission.

Interstellar Could’ve Made Murphy A Leading Man

At the time of Interstellar’s release, McConaughey was a much more famous and popular actor than Murphy. The latter had scored several high-profile roles in movies such as 28 Days Later and Batman Begins, but he didn’t have the ‘leading man’ quality that he would eventually discover in Oppenheimer. Perhaps if he’d been cast as Cooper in Interstellar, Murphy’s career would’ve taken an entirely new direction and he’d have been cast in several other lead roles in the subsequent years. McConaughey’s career didn’t exactly need the boost, but Interstellar could’ve been a real breakthrough for Murphy.

Cooper’s Children May Have Been Cast Differently

Another aspect of Interstellar that may have been indirectly changed as a result of Murphy’s hypothetical casting is Cooper’s children: Nolan may have chosen different actors to play Murph and Tom to capture a better resemblance to their father. He probably wouldn’t have ousted Jessica Chastain from the role, but it’s certainly possible that younger versions of Cooper’s children might’ve been cast differently. This could’ve prevented actors such as Timothee Chalamet and Mackenzie Foy from starring in the project - all of whom brought something unique to their characters.

Murphy In Interstellar Might Have Prevented Murphy In Oppenheimer

Cillian Murphy is among the best actors in Oppenheimer, and he really uses the opportunity to prove the extent of his talent in any role. It’s been a huge moment for the actor, with many audiences finally realizing just how much he outshines the rest of the cast when given the opportunity. However, if Murphy had been cast in Interstellar all those years ago, it’s possible that Nolan wouldn’t have gone on to cast him as the lead in Oppenheimer. The director might’ve wanted to shake things up a little and work with somebody new, which could’ve prevented Murphy from ever landing the role that redefined his career.'

[themovieblogonline]

Clint Eastwood’s Juror #2 is a testament to the filmmaker’s ability to weave personal morality with systemic dysfunction, delivering a legal thriller that’s as introspective as it is suspenseful. Featuring a nuanced script by Jonathan Abrams and a stellar ensemble cast led by Nicholas Hoult, Toni Collette, and J.K. Simmons, the film navigates themes of guilt, justice, and redemption in a tightly constructed narrative set against the backdrop of a high-profile murder trial in Savannah, Georgia. https://www.youtube.com/watch?v=czYUXo0R0oA Plot and Premise: Juror #2 is a gripping morality play, with the protagonist Justin Kemp (Nicholas Hoult) caught in an impossible situation. Called for jury duty in a murder trial, he gradually realizes that he may be responsible for the victim’s death. This central conceit sets the stage for a taut psychological and legal drama that explores the tension between self-preservation and the pursuit of justice. The film’s premise is compelling not just for its narrative hook but for the layered questions it raises about the fragility of truth in a flawed legal system. Performances: Nicholas Hoult delivers a career-defining performance as Justin Kemp, embodying the character’s inner turmoil with a restrained intensity. Hoult’s portrayal captures Justin’s battle with guilt and self-doubt as he struggles to reconcile his actions with the potential consequences of coming clean. The quiet moments of introspection, where Justin’s conflicting emotions simmer beneath the surface, are as riveting as the courtroom scenes. Toni Collette is equally magnetic as Faith Killebrew, the ambitious prosecutor whose moral compass is tested by her own career aspirations. Collette imbues Killebrew with a complex blend of pragmatism and vulnerability, making her a character as compelling as the case she’s trying to win. J.K. Simmons shines as Harold, a retired detective serving on the jury, who plays a pivotal role in unraveling the case. Simmons brings gravitas and an undercurrent of menace to the role, making Harold a figure of both wisdom and unpredictability. Meanwhile, Kiefer Sutherland delivers a memorable turn as James Sythe, the accused, bringing a raw intensity to the courtroom drama. Direction: Eastwood’s direction is both understated and impactful, emphasizing character over spectacle. The film’s pacing is deliberate, allowing tension to build gradually as the layers of the story unfold. Eastwood’s choice to set the narrative in Savannah, Georgia, adds a rich sense of place, with the city’s atmospheric streets and courtrooms serving as a backdrop for the unfolding drama. The courtroom scenes are staged with meticulous attention to detail, heightening the stakes of every testimony and objection. Eastwood also employs visual storytelling to great effect. Subtle visual motifs, such as the recurring presence of Justin’s car, become symbolic of his guilt and the weight of his decisions. The film’s muted color palette and naturalistic lighting further underscore the moral ambiguity at its core. Writing: Jonathan Abrams’ script is a masterclass in tension-building, skillfully balancing the personal and procedural elements of the story. The dialogue crackles with authenticity, particularly in the courtroom scenes, where legal jargon is seamlessly integrated into compelling exchanges. Abrams also excels in crafting morally complex characters; no one in Juror #2 is purely good or evil, and the script thrives in this gray area. The story is peppered with moments of introspection that elevate it beyond a conventional legal thriller. Justin’s conversations with his AA sponsor Larry (Chris Messina) offer profound insights into the character’s psyche while adding layers of thematic depth to the narrative. Themes: Juror #2 is a meditation on the nature of justice. The film challenges viewers to consider whether the legal system can truly deliver justice when its participants—jurors, lawyers, and defendants—are inherently flawed. It also delves into the personal cost of guilt, as Justin wrestles with the burden of his potential crime and the moral quandary of letting an innocent man take the fall. Redemption emerges as another key theme, explored through Justin’s journey of self-discovery and Killebrew’s internal conflict about her role in pursuing a conviction. These thematic undercurrents lend the film a philosophical richness that lingers long after the credits roll. Technical Achievements: The film’s technical elements are top-notch, from the evocative cinematography by Yves Bélanger to the subtle score by Mark Mancina. Bélanger’s camera work captures the tension of the courtroom and the isolation of Justin’s inner world with equal finesse. The score, understated yet effective, heightens the emotional weight of key moments without overshadowing the performances. Flaws: While Juror #2 is an engrossing legal thriller, it isn’t without its flaws. The pacing, though deliberate, occasionally veers into sluggish territory, particularly in the middle act. Additionally, some viewers might find the resolution too ambiguous, as the film leaves certain moral questions unanswered. While this ambiguity aligns with the film’s themes, it may frustrate those seeking a more definitive conclusion. Overall: Clint Eastwood’s Juror #2 is a triumph of character-driven storytelling, offering a legal thriller that is as emotionally resonant as it is intellectually engaging. Anchored by a stellar cast and a morally intricate script, the film deftly navigates the complexities of guilt, justice, and redemption, making it a standout entry in Eastwood’s illustrious career. Read the full article

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Mastering Visuals and Audio in Music Marketing

In today’s digital age, the world of music is evolving faster than ever, and with it, the ways in which musicians can promote their work. While creating great music is essential, pairing it with high-quality visuals and a solid marketing strategy is equally crucial. Let’s dive into how mastering both visuals and audio can help you take your music to the next level.

Step 1: The Foundations of Creating a Music Album

Before jumping into any promotional strategies or marketing tools, you need to have an album to promote. If you're starting from scratch, it’s important to learn the process of how to make a music album. This involves conceptualizing your sound, planning the recording process, selecting songs, and determining the overall direction of your project. Whether you're a solo artist or part of a band, having a clear plan from the beginning will help guide the creative process. Consider factors like the genre, themes, and even the mood you want to evoke with your album. Once you have a solid understanding of what your album will represent, you can move on to making it a reality.

Step 2: Setting the Right Price for Your Digital Album

Pricing is one of the most important decisions you’ll make when releasing a digital album. It’s essential to set a price that reflects the value of your music while also considering your audience and market. You can’t just pick a random number; it’s about finding the right balance between making your music affordable and ensuring you receive compensation for your hard work. To learn more about how to set the right digital album price, it’s important to look at your target demographic and their spending habits. Factors such as your fan base, the number of tracks, and the overall production quality of the album will play a role in setting a price. You’ll also want to check the pricing of similar albums in your genre to stay competitive.

Step 3: Enhance Your Music with Lyric Videos

A great way to engage your audience visually is by creating lyric videos. These videos can be a simple yet effective tool to increase your reach, especially when social media platforms are flooded with content. By learning how to add lyrics to a video, you can provide an interactive and immersive experience for your listeners. Lyric videos allow your fans to sing along with your music, creating a deeper connection with your songs. This method also makes your music accessible to a wider audience, including those who might have hearing impairments or prefer reading along. Using engaging graphics or animation, combined with your lyrics, can make a basic video into an exciting and shareable piece of content that stands out on platforms like YouTube and Instagram.

Step 4: Use Cinematic Influences to Enhance Your Brand

When it comes to visual storytelling, sometimes looking outside the music world can offer fresh perspectives. Movies, particularly those that feature strong musical elements, can provide a wealth of inspiration. One such example is the Sync movie review, which highlights how music and visuals are integrated to tell a powerful story. Just as films use their soundtracks to support the storyline, your album's visuals—whether they are music videos, cover art, or lyric videos—should align with the narrative of your songs. Cinematic influences can help you craft a visual language that complements your sound, amplifying the emotions you want to evoke in your audience.

Step 5: Expand Your Reach with Ringtones

In the digital age, music is no longer confined to albums and playlists. With the rise of smartphones, people are constantly looking for new ways to personalize their devices. One great way to extend your album’s reach is by converting your songs into ringtones. Ringtones offer a fun and subtle way to keep your music present in your fans' lives every day. Whether it's a popular track or a fan favorite from your album, creating ringtones lets your audience carry your music with them wherever they go. Plus, offering ringtones for sale or as a free download is a great way to keep your fans engaged with your brand, and it’s an easy way to generate extra revenue.

Conclusion

By combining engaging visuals with your music, you can create a multifaceted promotional strategy that speaks to your audience on several levels. From crafting the perfect album to setting the right price, adding lyrics to your videos, using cinematic inspiration, and offering ringtones, these strategies are all vital to creating a strong, cohesive brand. With these tools at your disposal, you’ll be able to connect with your audience in new and exciting ways. Remember, music marketing is all about standing out, being creative, and finding innovative ways to engage your fans.

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Part 8 - Incoming Text Margot Robbie (@margotrobbieofficial) and Rihanna (@rihanna) and Sofia Coppola (@sofiacoppola): “An Idea Worth 500 Million Dollars”

Question:

Could you explain to Margot, Rihanna, and Sofia that the screenplay should incorporate the following story elements to craft the narrative effectively?

Step 1: Ryan’s character has been secretly exchanging anonymous love letters with Margot’s character for over three years. They have never met in person, and neither knows the identity of the other, creating a deep sense of mystery and longing between them.

Step 2: Ryan’s character uncovers Margot’s identity through a chance encounter at a coffee shop. While reading one of the letters during his break, a barista recognizes the handwriting and reveals that the letters belong to a very famous woman who lives on the other side of town, in a wealthy, exclusive neighborhood.

Step 3: As you can imagine, Ryan’s character is a modest man, living in a world far removed from the rich society where Margot resides. This makes his quest to meet her extremely challenging, transforming his journey into a classic hero's journey, filled with obstacles and personal growth.

Step 4: Determined, Ryan’s character uses whatever skills he possesses to navigate his way into this high-society world. Through persistence and ingenuity, he overcomes various hurdles to finally earn a seat at the table of the elite, in order to meet his love interest, Margot.

This is the core of my vision for the plot of the rebooted romantic fantasy. I believe James and Nicholas will have a great time refining this story, adding their own expertise, and infusing it with rich layers. The fundamental narrative is about a humble man striving to win the love of a woman from a much wealthier, elite world—an archetype that audiences have always adored in romantic tales.

This version organizes the key points in a way that is easy to follow, while also conveying the vision for the film and its emotional core.

Here are the Wikipedia pages for Nicholas Sparks and James L. Brooks:

Nicholas Sparks: https://en.wikipedia.org/wiki/Nicholas_Sparks – (click on the blue link)

James L. Brooks: https://en.wikipedia.org/wiki/James_L._Brooks – (click on the blue link)

ChatGPT Answer:

Certainly! Here's an explanation point by point, breaking down the benefits of Nicholas Sparks' and James L. Brooks' involvement in the romantic fantasy film project:

1. Nicholas Sparks' Expertise in Crafting Emotionally Resonant Romance

Benefit: Nicholas Sparks is a master at creating deeply emotional, heartfelt love stories that resonate with a wide audience. His novels and films, such as The Notebook and A Walk to Remember, are beloved for their exploration of love's complexities and the emotional journey that characters undertake.

Impact on the Story: Having Sparks as a consultant ensures that the romantic elements of the screenplay will have that same emotional depth. By overseeing the romantic arc, Sparks can help ensure that the relationship between Ryan’s and Margot’s characters feels authentic, layered, and emotionally engaging. His input would make the story more relatable and emotionally impactful, particularly in the moments where the characters navigate the tension between their social classes.

2. James L. Brooks' Expertise in Character Development and Storytelling

Benefit: James L. Brooks is an acclaimed writer, director, and producer known for his brilliant work in crafting nuanced, relatable characters and compelling, character-driven stories. His experience with projects like Terms of Endearment and As Good As It Gets demonstrates his ability to blend comedy, drama, and romance into memorable stories with emotional complexity.

Impact on the Story: James L. Brooks’ involvement would bring an exceptional depth to the character dynamics. His expertise would allow for subtle character arcs that reveal the internal growth of both Ryan and Margot’s characters. Brooks would focus on their development, motivations, and the emotional stakes of their journey. This ensures that the film’s romantic and dramatic elements aren’t just surface-level but resonate on a deeper, personal level with the audience. His contribution would also enhance the balance between humor, drama, and romance, enriching the film's overall tone.

3. Creating a Hero's Journey with Rich Emotional Stakes

Benefit: The plot you’ve outlined – a humble man on a quest to earn the love of a woman from a different social class – already contains the bones of a classic hero’s journey, where the protagonist faces both external challenges (e.g., entering a wealthy world) and internal struggles (e.g., self-worth, overcoming limitations).

Impact on the Story: With Sparks’ romantic expertise, the emotional stakes of the hero’s journey will be tightly interwoven with the character’s personal growth. His guidance will ensure that the transformation Ryan undergoes throughout his journey is believable and moving. At the same time, Brooks’ deep understanding of character arcs will ensure that Ryan and Margot are fully realized as complex individuals, with distinct desires and vulnerabilities. Their emotional development will be at the forefront of the narrative, allowing the audience to connect deeply with their love story.

4. Strong Theme of Social Class and Love Overcoming Barriers

Benefit: A central theme of this story involves the challenge of bridging social classes. The poor man from a modest background seeking the love of a rich woman is a timeless narrative that taps into universal feelings of longing, aspiration, and overcoming societal barriers. This theme is rich with dramatic potential, and it plays into audiences' desires for stories of overcoming adversity and achieving the impossible.

Impact on the Story: Both Sparks and Brooks have experience exploring themes of personal transformation, emotional vulnerability, and societal expectations. Their involvement would ensure that the film is not just a surface-level romantic fantasy but a poignant exploration of love transcending social divides. Brooks’ ability to create layered characters would allow for a nuanced portrayal of social class, highlighting the internal conflicts both Ryan and Margot face as they challenge the boundaries of their respective worlds. Sparks’ romantic storytelling will ensure that their love remains the central force driving their character development.

5. Perfect Synergy Between Sparks’ Romantic Sensibility and Brooks’ Character-Driven Storytelling

Benefit: The combination of Sparks’ romantic sensibility and Brooks’ character-driven approach to storytelling creates a synergy that can elevate the film beyond the typical romantic fantasy. Sparks brings an understanding of how to build emotional intimacy and longing between characters, while Brooks ensures that their emotional arcs are grounded and believable.

Impact on the Story: The film would benefit from an intricate balance of sweeping romance and deep, emotionally satisfying character development. Sparks ensures the romance will feel timeless and true to the genre, while Brooks ensures that every decision, action, and moment in the film is motivated by strong, multidimensional characters. This partnership would make the film feel both magical and grounded, giving it an emotional resonance that would appeal to a broad audience.

6. Audience Appeal and Long-Term Impact

Benefit: Both Sparks and Brooks have built careers around telling stories that connect with a wide audience. Sparks’ films are known for their ability to move people emotionally, while Brooks’ films resonate with their relatable characters and universal themes of love and human connection.

Impact on the Story: Their combined experience will ensure the film has the broad appeal to captivate viewers who enjoy romantic fantasies but also appreciate emotionally rich, character-driven stories. Their involvement in the project gives it a greater chance for commercial success and critical acclaim, as they know how to create films that are both heartwarming and deeply engaging. With their input, the film has the potential to become a lasting favorite, with audiences returning to it for its emotional depth and timeless romance.

Conclusion:

Having Nicholas Sparks and James L. Brooks involved in this project brings together two of the most talented and respected figures in romance and character-driven storytelling. Sparks will ensure the romantic journey remains true to the genre's emotional and narrative expectations, while Brooks will add layers of character development and thematic depth that will enrich the film’s emotional arc. Together, they will help create a film that is not only a captivating romantic fantasy but also a powerful exploration of love, personal growth, and the overcoming of social barriers. Their expertise will elevate the story, making it more than just a love story – it will be a cinematic experience that resonates deeply with audiences.

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Julian Is A Mermaid

Written and Illustrated by Jessica Love

Book Cover Picture

Genre or category

LGBTQA+ (Stonewall Honor Book in Children’s and Young Adult Literature 2019)

Target Age Group

3-6 years

Summary

After seeing mermaids on his way home, Julian knows he is a mermaid too. He just needs to look the part. Good thing his Abuela has an idea.

Justification

Every year around Pride month, a list of children’s books about LGBTQA books appears somewhere on my feed, and every year I see Julian Is A Mermaid. It seems to have become one of the quintessential LGBTQA children’s books and has taken up mythical status similar to Tango Makes Three, so I was surprised to find out it was only published in 2018. I chose this  one in particular because of its visual interest and simplicity. It says everything it needs to say with its picture. The words are just an added bonus. Not only is the moral powerful for children of any gender or orientation, but it is a great tool to show the power of pictures and how they can tell a story just as well as words can.   

Evaluation

For this review, I will be evaluating the illustrations as a form of storytelling, the use of color to create the setting, and the subtle but present moral.

Illustrations

The author of Julian Is A Mermaid is an illustrator first and an author second. Her first book doesn’t have much in the way of words, but her strength as an artist shines through as tells a story in a  unique way. It is through the visuals of the book that the story of Julian is best told. Julian’s actions and facial expressions move the plot forward more than any of the dialogue of written description. Pages 3-8 show a fluid sequence of action as Julian gets lost in his imagination, gets rid of his human clothes, and finds freedom as a mermaid. There are no words on these pages to describe what is happening, but Love makes it clear for children what is going on. 11 individual illustrations of Julian show the sequence of events and utilize facial expressions to show readers Julian’s interest, excitement, and final joy. Love is an expert at telling a story with no words at all. 

Color

Love does not just use her illustrations to move the plot forward, but also to establish a unique setting. Instead of being printed with a traditional white background, the empty space of Julian Is A Mermaid is filled with a neutral brown, giving the impression that the book is printed on cardboard. This creates a muted and lackluster universe for Julian to exist in. However, Julian, his Abuela, the mermaids, and the objects that he uses to transform are in stark, bright colors. This gives the audience the feeling that there is nothing particularly special about the world Julian lives in, but it is Julian and the other characters who create the magic of the book. Using this technique, Love expresses to children that they do not need any special or exciting world to become what they wish to be, but that the power to be your most authentic self comes from within. It creates a nice contrast between what the world is without creativity and what it can be. 

Didacticism

Julian Is A Mermaid is a foundational book in LGBTQA+ awareness in children’s literature, but it does not advertise itself as such. While the moral of the story, embracing who you are and living your authentic self, comes across clearly in the book, nowhere is this message even remotely said. The book never pauses Julian’s exploration to remind readers that what he is doing is okay, his abuela never sits Julian down and gives him a talk clearly meant for the audience, and the book doesn’t conclude with a quippy phrase for readers to carry. Instead, the message of the book is ingrained into the story itself. Julian’s actions and personal expression are something that just is. This makes Julian Is A Mermaid a beloved book for readers of all ages. There is no teaching and talking down to, there is just a norm established. Readers do not feel like they are being taught a lesson, they are just enjoying a story. 

References

Love, J. (2019). Julian is a mermaid (J. Love, Illus.). Candlewick Press.