#look exactly like when this is done in movies for comedic effect | Explore Tumblr posts and blogs

sideprince · 1 year ago

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A movie question I wanted to throw your way: what do you think about the decision to use a decent amount of physical acting on Rickman’s part for comic effect? I’m thinking his snatch of thin air in Philosopher's Stone, his creeping along the table towards Ron and Harry in Chamber, his dramatic point in that same scene, his walk up to the stage for Dueling Club, his whacking students in Goblet and Order, etc.

On one hand, I feel like this does match the tone of the books; he canonically lurks and prowls and points and snatches at the air, and his menace is often undercut by a physical description that’s meant to be some level of comedic. On the other hand, we don't see Snape nearly as much in the movies as we do in the books, so this aspect of his character seems somewhat overinflated by the movies?

TLDR I don’t think these decisions in the movie were completely out of left field, but it also feels off for some reason. Idk I don’t know how exactly to verbalize my feelings on the matter and wanted to hear your thoughts!

It will probably come as no surprise that I feel like any answer to this question is inseparable from the absolute hatchet jobs that are Steve Kloves' screenplays for the HP franchise. This reply is going to end up inevitably long (you ask me about my favorite subject, you suffer the consequences), but all of it is ultimately framed by the problem of having to make the best of a badly written script. (**edit: This post is way too long. Run away. Don't look back.)

The writing doesn't support the story

The first thing that jumps out to me is that there's a separation between where and how these comedic moments are used, up until the end of GoF and after. They're more a part of the story only until Harry's story arc reaches the point of Cedric's death, when he first witnesses death in the way that allows him to see thestrals after. GoF is when the story takes its first dark turn, and up until then the tone and story is much more in line with children's literature, so it makes more sense that Snape is portrayed in a bit of a playful way. After GoF - even though the films reveal it as an aside and much later than the original story does - Snape resumes his role as spy and becomes more integral to the story as a key character and is thus no longer just a foil in a children's story. I think what doesn't work about it is the inconsistency. The books have comedic moments with Snape too, which are cartoonish, up until the end of DH - I feel those are also out of place, but at least their existence gives a basis to what's done in the films.

Nevertheless, one of the biggest problems with the films is that they're badly edited. I'll leave that analysis for another post (you're welcome), but essentially these comedic moments feel inconsistent in part because there's often a disconnect between the performance a director has asked of his actors and the tone that's established in the editing room once pacing and a soundtrack are added. Any vision a director had for these films was muddled by the involvement of big studio producers and limitations. This is made more jarring by the way that Kloves has interjected light, funny moments in awkward ways throughout the scripts. He struggles overall to convey the world that Rowling has created, and if it weren't for the brilliant production design of Stuart Craig, Kloves' failures would be much more obvious (again, worthy of its own roast post).

Take the scene where Snape whacks Harry and Ron on the head in Gof: why are the students all studying in the Great Hall? Why are various years sitting together? Why is Snape overseeing them? It's a scene almost verbatim out of the book (Fred asks Angelina to the ball casually, he and George tell Ron and Harry to get dates "before all the good ones are gone," we find out Hermione already has a date), but like pretty much every scene that originally takes place in the Gryffindor common room, this one is moved to another location for no discernible reason. The main difference in the change is how restrictive it is: in the common room the children are free to be themselves, but in the Great Hall, under a strict teacher's nose, they have to be quiet and restrained. Another subject that would need its own post is the myriad of ways Kloves goes out of his way to rewrite settings and characters to avoid allowing them to express themselves or grow as characters, and how hard he works to stifle and limit them in ways that are convoluted and work against the story, as if he himself couldn't deal with any kind of emotional vulnerability (in a way, his scripts are a desperate cry for help). This directly contributes to why so many of Snape's comedic moments feel off.

The changes in the scene in GoF don't even make sense from a production perspective, as they required more actors, more lighting, and more setups. Instead of using the cozy setting of the common room to establish camaraderie between the students, Kloves replaced that energy and lightheartedness with Snape in a way that's uncharacteristic. The scene, as he wrote it, is already light and has humor, but Kloves doesn't trust it - he feels the need to exaggerate it and the casualties, as always, are the characters and their portrayal. It's as though he's following a formula and saying, "this page number/scene number must provide relief from the tension of the story" and then doesn't consider how following that directive fits into the rhythm of the narrative. It's closer to being an isolated scene akin to a comedy sketch than to a scene that's part of an act that's part of a film. It's worth noting that, in GoF, Kloves interjects this scene as if he's forcing this moment of comic relief into a story that didn't require it and then relies on playing off of Snape's usual seriousness as its crux. In OOtP, when there's a callback to it as Snape smacks Ron with a book again, it's no longer the point of the scene, but an aside in a comical montage focused on Umbridge (OOtP was also the only film not written by Kloves, so this moment is more likely the result of Michael Goldenberg trying to maintain a consistency with Kloves' work). Overall, I think that feeling of something being off is, again, more rooted in the writing than the performance.

Rickman as an actor playing Snape

There's a lot of criticism in the Snapedom of how Alan Rickman portrays Snape, but not enough acknowledgment that none of the characters are portrayed well, and most of it comes down to Kloves' writing of them. Book!McGonagall insists that all students under 17 are evacuated before the Battle of Hogwarts, where Movie!McGonagall only cares that the Slytherin students are locked in the dungeon, everyone else can stay, what does she care if first years die? Book!Hermione is intelligent and empathetic while Movie!Hermione is a two dimensional maternalistic harpy whose main job is to be a mouthpiece for plot exposition. Book!Ron is funny and brave and fiercely loyal, while Movie!Ron throws Hermione under the bus, is cowardly, and is reduced to a flatly written sidekick. Book!Harry is complex and while I could list a million examples, I'll stick to this one: in PoA when he finds out Sirius betrayed his parents, he's enraged but has no reply when asked if he'd want to kill Sirius. Movie!Harry says with conviction, and without prompting, that he wants to find Sirius with the explicit purpose of killing him. Every single character takes a hit because of how Steve Kloves writes them, and Snape is, sadly, no exception.

While some film shoots allow for improvisation, a big budget production on a tight schedule with scenes that require a lot of prep work can't afford to make many changes. So, for example, while Ralph Fiennes was asked to improvise his scene as Voldemort at the end of DH2 when he re-enters Hogwarts victorious (and that's why the dialogue is redundant and that weird hug with Draco continues to plague us), it could be done because the wardrobe and set and cast were already in place and the time required had already been scheduled in. It wouldn't be possible, though, to add an additional scene - like Snape going feral in the hospital wing at the end of PoA - unless it was written into the script. Additional actors would be required, which would mean coordinating with their schedules and adding them to the budget, not to mention scheduling in additional days with the crew who may already have other work lined up. It would require either pushing every other shooting day back - which is near impossible - in order to use the hospital wing set while it's still up, or tacking on production days to the end of the shooting schedule and rebuilding the set on those days. This can be done for necessary pickups that round out existing scenes, but you can't really say, "hey I decided we need a scene here that didn't exist before" without causing huge problems. Because of how contracts work, any significant scene changes would have to be sent back to Kloves who would have to write alternate scenes and/or dialogue, and even then if you wanted to fix a specific character's arc - like Snape's - you would have to add in so much that it just wouldn't be feasible. Screenplay lengths have to fall within a certain number of pages, because each page is approximately a minute of screen time, so adding a few more to a finished script mid-production is very difficult. The actors have to make the best of what's on the page. Which brings us to Alan Rickman, his choices as an actor, and what informed both him and the character of Snape.

Alan Rickman was a RADA trained actor, so his approach to a character involved a lot of physical work as well as character analysis. As far as I know, he was the only actor to contact JK Rowling directly to ask about his character, because he wanted to make an informed decision about how to play him since Snape was so nuanced and gray. Unlike some of the other actors (like Michael "DIDYAPUTYANAMEINDAGOBLETOFFIYAH" Gambon) Rickman read the books - those that were available when he took on the role, and each as they came out afterwards - and used them to inform his understanding of his character beyond what Kloves wrote (presumably in crayon with all the e's backwards). In interviews and Q&A's it's clear Rickman was fond of the HP books and story, and had a thoughtful process taking on Snape's character. He did not see him as a villain, because, as he's said, he didn't approach characters with that kind of judgment. And while I'm sure the egregious amounts of cash Warner Brothers threw at the actors was inevitably a factor for all of them, several of the ones playing teachers or other adults have said that they took on their role because a child in their life insisted on it, despite them being unfamiliar with the books, whereas Rickman's process was to read Rowling's books in order to decide whether to take the role. Again, he was a RADA trained actor, and thus had a meticulous approach to his work that followed a thoughtful, considered process and a decision based on whether he felt he could embody a character in a way that did them justice/if they were interesting enough to him. By the time he started shooting PS, he also had experience directing a film and was working as a director in theatre as well as still acting, so he understood the process from the perspective of not just an actor, but also as someone behind the camera, someone working with actors both as a peer and director, and someone sitting in an editing room.

We know from his diaries that he became increasingly frustrated with how his own process and expectations clashed with that of the producers on Harry Potter. He wasn't interested in renewing his contract after the first few films (goodness knows how much money they offered him in the end - his wife has said that he never let anyone else pick up a tab in a restaurant and if they argued, he would just say "Harry Potter."). He writes about seeing the films at premieres and being frustrated with how little story and development there is (especially for Snape), which makes me think there are deleted scenes somewhere that haven't been released. At one point he writes about a premiere party where he had internally lost patience with the three Davids (Yates, Heyman, and Barron). It's obvious that there's a discord between the work he wanted to do with Snape's character and what choices the production made:

He describes how, during the filming of the Yule Ball scene in GoF, there was an attempt to get him to dance but he refused because he didn't think Snape would dance:

It was a rare moment of potential for improvisation because, again, the set and cast and timing were already accounted for, and in this case there wasn't even dialogue. The scene where he smacks the boys with the notebook - as far as I know - was scripted. So there's a difference there in how much freedom he had, as an actor, to say no to what he was asked to do. Even in the above diary entry it's clear that, given his way, he felt the character wouldn't even be present in that scene, but he had no choice. This tells me that when he had more freedom to make choices, he did so based on his understanding of Snape as a character and, given that he was an actor who was both very respected (and got away with more than most) and also someone who could get argumentative about his character choices, I think this is the most apt lens to examine his physical work with Snape through.

Knowing that he wasn't interested in continuing the role of Snape after the first couple of films and that he was often frustrated with the lack of characterization and story arc, his physicality in his first scene in CoS (when he reprimands Harry and Ron for flying the car) says a lot. (Caveat that one of the reasons he didn't want to renew his contract was that the shooting schedule restricted his schedule and he wanted work on other projects, but I can't help but wonder if that had been the case had HP provided a more satisfying process.) It's almost certain that he had read all the available books by the time the scene in CoS was filmed, including PoA where Snape becomes apoplectic with rage in a way that, to a child reader, is comical (and intended to be) and to someone analyzing Snape is clearly rooted in triggered trauma.

Alan Rickman knew from the outset that Snape's motivation was his love for Lily, so he would have understood the dynamic between his character and Sirius re: who Snape thought sold Lily out to Voldemort. He would also have understood that Snape's reaction in PoA was more about distress and anxiety, and that this was connected to the promise Snape had made to protect Harry for Lily's sake. This would have therefore informed his portrayal of Snape's anger at Harry in CoS, and it's reasonable to assume that Rickman was trying to walk the line between the way Rowling portrayed Snape in full unhinged rage in PoA, what this tells him about this character when angered, and the connection between the moments in PoA and CoS when it comes to Snape's anxiety over Harry's safety. Unlike the author of a book however, who has full control of how they tell a story, Rickman was an actor in a film - an inevitably collaborative medium which therefore made his portrayal reliant on the decisions of others as well.

Chris Columbus, the HP movies, and feral Snape

PS and CoS were directed by Chris Columbus, the guy who directed both Home Alone and Home Alone II and Mrs. Doubtfire. He was a successful director from the 90s tradition of children's movies whose sensibility was informed by the era's attitude towards children's media: kids wanting to see themselves in narratives, in ways that felt empowering and allowed them to process the confusion of a world run by adults in playful, quasi-cartoonish ways within a 3 act structure where the villains - mean adults - get their comeuppance because it feels fair. One thing that set Harry Potter apart was that the villain was not the mean adult; Snape, the mean adult, is a character kids can hate and project their own experiences onto, but Voldemort is a true villain who represents evil and is vanquished by the hero. Chris Columbus established a tone for the first two films that was no longer apt by PoA, not only because it didn't work for the story, but because that 90s era of children's movies had ended and the culture moved on to more complex narratives (and Columbus has focused more on producing than directing since, because his style doesn't work for audiences anymore).

What's ironic about the way Snape's scene at the start of CoS comes off is that, in the book, there's a great comedic moment that's left out:

This is cut from the film, and instead it's Filch waiting at the top of the marble stairs who catches Ron and Harry being late and delivers them to Snape (I don't know why, the scene in the book is much more dynamic and would have taken up about as much time on screen). Rickman, meanwhile, is using the information he's gotten on who Snape is from the books, and imbuing some of that feral Snape energy into his portrayal of a Snape who is genuinely angry:

(Thank you for making these gifs @smilingformoney , they are truly the gift that keeps on giving.)

The thing is, no matter how much of feral Snape Rickman brought to this, no matter how menacing his performance is, this moment still lives within the dynamics of a Chris Columbus children's film. It gets cut off by Dumbledore's entrance - meant to be a comeuppance for Snape, since Dumbledore (being the voice of wisdom and fairness in this world) prevents him from punishing Harry and Ron (you know what, at least in the books they got detention, but ok). Despite Rickman's performance, Columbus as a director has framed this scene in the same context as the one Kloves cut. The tension is brief, and the focus is on Snape being foiled, because it's what children want to see - a mean adult experiencing consequences. It's down to the editing and soundtrack, choices Columbus made in the editing room. In addition, we don't know how many different ways an actor tries a scene, only what ends up in the final cut of a film. The process of the work done on a set is often much richer and more diverse than what an audience sees in the finished film.

Tbh I think this is also why Snape's feral moments were cut from PoA: it's a darker film, but had to straddle the line between being for both children and tweens and not getting too playful, nor too intense. As much as I want to see feral Snape on screen, it's extremely difficult to make work in a narrative that is about Harry and his friends. It either skews too intense, making the audience uncomfortable because seeing an adult becoming unhinged and in pain is difficult and frightening for most young people, even adults, and would therefore take away from Harry's goals and narrative as well as his changing relationship to Sirius (all of which is already barely supported by Kloves' writing). Alternately, it could also skew too comical and over the top, which takes the audience out of the tension of the film's climactic moments.

If Snape's story had gotten more focus and screen time, an unhinged moment would be better justified because the audience would have been more invested in the character and their arc. PoA sidesteps pretty much all of the most compelling parts of the book, which is the realization that Harry is not only connected to Sirius personally, but that his dad, Sirius, Lupin, and Pettigrew created the Marauders Map, that they were animagi, that Harry's patronus takes the form of his father's stag, and that Snape was initimately connected to all of them as well. For me, reading the end of PoA was what cemented Snape as someone who would be crucial to the narrative and whose role would increase as the series went on. As a result of Kloves skimming over these essential plot twists, Snape is a minor character in the film, showing up mostly as a foil who tries to expose Lupin and then catches him and Black in the Shrieking Shack (this also sets his character up to be minimized in every film down the line, which has a worsening impact as Snape becomes increasingly integral to the plot).

One thing I find interesting is that Snape's comical physicality changes over the films. In PS and CoS he's menacing, a looming, larger than life figure the children fear and easily assume to be a full-fledged villain. By GoF there's a relationship embedded in how he interacts with Harry and his friends. He's no longer terrifying, just intimidating, more of an adult Harry challenges than someone he must defeat. The comedic effect now comes from a rapport within an established dynamic between characters. By HBP, the only comical moment is at Slughorn's party, and it's no longer Rickman who uses physicality - the action happens around him, and the comedic effect is in his lack of reaction to any of it. In other words, he's no longer the comic one, he's become the straight man in a (badly written) comedy sketch (with abysmal timing, what even).

Ultimately, as with most of the characters in the HP films, Snape is undermined by the writing. Rickman was stuck working within the confines he was given. No matter how well he may have understood the character, the limited screen time and character development were always going to stifle how Snape was portrayed on screen. I'm very much pro Let Snape Be Feral but I also don't fault Rickman in how little we saw of that.

How Feral is Snape?

If I'm honest, I feel like the Snapedom has taken the Let Snape Be Feral thing and has started forgetting that he wasn't all-feral-all-the-time. The point of Feral Snape is that it's a heightened state of tension in a character whose trauma is being triggered. Apoplectic Snape wouldn't have an impact at the end of PoA if that was his usual way of being. And, as you so brilliantly showed @said-snape-softly Snape's speech patterns are primarily quiet and controlled, his speech gets softer the more dangerous his mood, and it's only after he reassumes his role as a spy that the description of his speech becomes increasingly volatile (but is still controlled). Feral Snape's definitive aspect is the lack of control shown by a character who usually is so exceptionally capable of self restraint and compartmentalization. So again, while I would have loved to see Feral Snape on screen, I think it's also important to acknowledge that this is not the defining feature of his character and is more about what those moments mean to his arc. Their absence is primarily due to poor writing that didn't create space for them (including what leads up to them), and the direction that didn't carve out any kind of niche for them, not Rickman's choices as an actor.

In fact, Snape as a character is defined by descriptors of his voice more than any other character by far. I have my own theory about why this is, and it has to do with Alan Rickman being inextricably connected with how Snape is written. Chris Columbus said that Alan Rickman was always Snape as far as he was concerned, because when JK Rowling showed him a sketch of Snape she had made, it looked exactly like Rickman. I don't think this is accidental.

Alan Rickman was always intended to be Snape

First, what's important to remember is that before Harry Potter, Alan Rickman was best known in the 90s for playing both villains and sad romantic leads. His signature defining feature was his voice. I think it was Ang Lee who described the casting choice of Greg Wise and Alan Rickman in Sense and Sensibility as wanting Willoughby (Wise) to be dashing and Brandon (Rickman) to be sexy (if this was Emma Thompson and not Ang Lee, my apologies, I can't remember where I read this and can't find the source). This is how Rickman was perceived by audiences up until Harry Potter. And I know a lot of the Snapedom considers him to be sexy as Snape too, but the general audiences of the films don't, so please don't @ me, I'm just setting up a point here.

This is relevant because, as we find out in the end of the books, Rowling wrote Snape's motivations to be rooted in romantic love (I'm very nobly putting aside, for the sake of focusing on Rowling's intentions, my personal interpretation that Snape's feelings for Lily were platonic, please acknowledge how brave I am for this). She pulls a lot from gothic tropes into how he's written, and as much as she's talked about the character having been inspired by a chemistry teacher she disliked, and as much as she's talked about Snape being both morally grey and someone she personally dislikes, she also romanticized him. Between this and what Chris Columbus said about her sketch of him, it's hard for me to ignore that this character, conceived of in the 90s, wasn't written with Alan Rickman in mind from the beginning, especially since Rowling herself has said that she envisioned him in the role. Whether or not he lived up to Rowling's imagination is, frankly, his choice and Rowling's problem.

The story of how Harry Potter was written according to JK Rowling is that it started with the idea coming to her on a train ride in 1990. She completed the PS manuscript in 1995. While everything I'm about to say is absolute conjecture, I can't help but wonder at the connection between these films and the way Snape was written (spoilers ahead, no regrets, these films have been out for over a quarter of a century - forgive my reviews, I can't help myself):

1988: Die Hard comes out. Alan Rickman plays Hans Gruber, a villain who is a genius, composed, controlled, and soft-spoken. (Great film, a classic, the only valid Christmas movie.)

1990: Truly, Madly, Deeply. Rickman plays a man whose wife can't get over his tragic death, nor can his own ghost, who comes back to spend more time with her. No one else can see him, and they can't really share a life anymore. She eventually lets him go as she realizes that his spirit doesn't belong in the mortal world and her own life can't move on as long as she clings to it. (Beautiful film, will break your heart and put it through a shredder.)

1991: Robin Hood, Prince of Thieves. Rickman is the Sheriff of Nottingham, an unhinged, feral villain who wears all black complete with billowing cape. (Terrible film, disaster of a period piece, Rickman's performance is the only redeeming thing about it. Halfway through its press tour talk shows started booking Rickman instead of the lead, Kevin Costner, because Rickman stole every scene.)

1995: An Awfully Big Adventure. Rickman is an actor who comes back to his hometown to revive his role as Captain Hook in a local theatre production of Peter Pan. In the process he has an affair with a young ginger stagehand who reminds him of his lost love, a vivacious woman named Stella with bright red hair who, as far as he knows, birthed his child - a son - before she died. It turns out the girl he has an affair with is his daughter, which he realizes when he visits her home where she lives in the care of her aunt and uncle - whose name is Vernon - and connects the dots of who this girl's mother was. (He then rides his motorcycle out to the pier, screams "Stella" at the heavens like he's in a revival production of Streetcar Named Desire, trips and hits his head on the edge of the pier and falls into the water, drowning. I can't make this up. Mike Newell directed this. The same guy who directed GoF. As if following in the vein of the 90s movie obsession with incest as the controversial-trope-du-jour wasn't enough. I don't even need to review this, just sum it up.)

1995: Sense and Sensibility. Rickman plays Colonel Brandon, a forlorn, grieving man who lost his first love at a young age and spends most of the film pining for the only other woman he's ever had a romantic interest in. Wears all black, rides a black horse.

Given what a well-known actor Rickman was in the 90s - especially in England - and how connected his characters all seem to be to various aspects of Snape, it's hard not to see a connection. The entire premise of Truly, Madly, Deeply sounds like the inspiration for the Resurrection Stone in Deathly Hallows. The redheaded lost love whose child is left in the care of an Uncle Vernon in An Awfully Big Adventure is difficult to look past. All of these characters either exude menacingly soft-spoken Snape energy, feral Snape energy, or forlorn because of his lost love Snape energy. As a result, I feel like it's almost inevitable that Rickman inspired Snape, especially when you consider how known he was for his voice and how frequently Snape's voice is used to describe him. When Rowling said that she envisioned him in the role, it makes me wonder if she meant during the casting process for the first film, or well before it. I think his previous roles were a contributing factor in how the character was written in the books. After Tim Roth - who was originally cast in the role - had to back out due to scheduling conflicts, she got her way. Authors don't often get to choose who plays their characters, but in this case it worked out as the production thought Rickman was a good fit as well.

I'm done, I promise

So where does this leave things at the end of this horrendously long post? Rickman's choices of how he physicalized Snape - comedic or not - are only part of a larger whole. He was playing a character who was written based on his other roles, and limited by the shortcomings of how Steve Kloves translated that character from Rowling's books into his own screenplays. Whatever Rickman did on set was limited by that writing, by the directors he worked with, and by the choices made in the editing room.

I'm fascinated by the idea that Rickman was playing a character written with him in mind - but not really him, the him who embodied other characters whose echoes show up in Snape. It's difficult enough to contend with an actor playing a character in a screenplay you wrote with them in mind when you're directing your own script, because they'll never be what you imagined in your head. But for that process to get filtered through several directors, a team of producers, another writer who changes your work, and an editor, let alone throughout a decade of films - that's downright wild. The original intention gets lost and reinterpreted like a game of telephone, and I think that a lot of the consistencies between Movie!Snape and Book!Snape are down to Alan Rickman's nuanced and generous nature as an actor. If I'm honest, I'm not convinced that every Snape moment that comes off comical was meant to be so by Rickman. But again, film is such a collaborative medium that his intentions aren't the only ones that matter, ultimately, at least they aren't the only thing that ends up in the final cut.

My take, personally, is that I'm more interested in critical analysis than personal criticism. I respect that everyone has their own vision of a character and fandom is absolutely here for, among other things, having a place to share those thoughts and feelings. But a character is rarely going to appear on screen the same way you see them in your head, and that's not always going to be a fault, even if it's a disappointment to you. It's interesting to hear different people's perceptions, but there isn't that much to discuss there - you can't refute how someone feels, and you can't argue that their truth is what it is, to them. Whereas with critical analysis there's a lot more to talk about and examine, so it's where my own interest is much more invested.

#asks #long post #said-snape-softly #do I have regrets about the length? not one.#is anyone still reading? not one.

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broken-clover · 7 months ago

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So after rewatching with the director's commentary (yeah, technically I watched the movie twice in two days, but the second time I mostly had it in the background while doing other stuff) and having some more time to collect my thoughts, I think I'm just deciding to do a list of all the things I thought the movie did really well, expected or otherwise. Like, everyone knows about the bizarreness and the so-bad-it's-good memery but I want to highlight some stuff I thought was genuinely admirable

-In watching the director's commentary, it seemed that he had a pretty realistic and relatively grounded and familiar understanding of the source material, which is inherently more than the live action Mario movie did. Even if it didn't pan out like expected, it's cool to see that passion went into it and he had a sense of respect for the games instead of writing them off as childish and trying to 'improve' it

-Likewise appreciate the director sharing petty grievances with the film, it humanizes things quite a bit. In fairness I also want those swizzle sticks and Bison dollars and would've been bummed if I was the only one who didn't get any.

-100% will always respect practical effects and physical set design. There were a few areas where CGI was used but for the most part it's all tangible

-Also!! Practical fighting!! Yes it's easy to make jokes about Van Damme's accent when playing someone so cartoonishly American but in a movie like this that relies so heavily on fight scenes he's exactly the sort of person you'd want to cast.

-(Perhaps an odd aside but upon reflection and trying to see other peoples' opinions on the film I think @ninewheels makes a very solid point in that having an immigrant Guile subtly works in the narrative's favor while also downplaying the plot's 'white savior' element to a degree)

-Again, discarding the canon divergences, Honda and Balrog had some terrific moments as a comedic duo, and for as little screentime was they had they managed to make their characters compelling. It's made completely understandable that given all three having their lives ruined by Bison in some form that they and Chun-Li would gravitate towards and work together. Unironically would watch a whole side series just about the three of them they bounce off of each other in a strangely natural way

-Likewise, Dhalsim!! Was not expecting to find him so compelling. I know it's a steep deviation from canon but at the very least they gave him his own little character arc, and the desire to use his skills for the betterment of humanity does sound a lot like canon Dhalsim behavior so I'm fine with it.

-Like I mentioned before, I was quite shocked at how well done Vega's presence was in the film, being rather spot on visually and personality-wise. As I found out while looking up more info, apparently his actor was still learning English at the time, so it's understandable why he only had a few short lines. However, just about everything else makes up for it. The costume design was near-perfect, and even without dialogue his body language did a terrific job of having him come across as condescendingly smug and dismissive. I see a lot of (absolutely deserved) praise for Mr. Julia but Jay Tavare did a fantastic job and absolutely deserves more credit

-On that note in general a recurring sentiment I kept having was that the silent/gesture comedy in this was really, really sharp. Some of the funniest parts in this movie were ones with no dialogue whatsoever

-This movie was funny on purpose!! I've seen some people describe the memetic moments in this and make it sound as though the whole thing is a straightforward action flick, but there were a whole lot of actually intentionally comedic elements and most of them landed perfectly well!

-Zangief is another underratedly terrific performance. Even if he's much duller than he is canonically it's played with so much gusto and enthusiasm that it's so enjoyable to watch him in action.

-Raul Julia. No explanation needed.

-Ming-Na Wen. Slight explanation needed bc WHY DID NOBODY TELL ME SHE WAS SO GOOD IN THIS. Woman did her own stunts and gave the movie a dose of colder realism that worked excellently with the somewhat unsteady tone

-Bazooka Cammy. Also as iffy as I was initially at having a pop star acting in this Kylie turned in a pretty solid performance.

-Gun Ken. I don't have much elaboration for this one it was just funny. Super magical spirit karate from living in backwoods Japan for like a decade with some old guy and you just decide to use a gun. We brought back Neck Snap Cammy from the II OVA for 6 so we can totally bring back Gun Ken for SF6 too right?? Please?? Don't even have to do anything too fancy just take regular Ken and give him Gun.

#wheeeee #street fighter #street fighter the movie #op back on her bullshit

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nutty1005 · 4 years ago

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“A Dream Like A Dream” Fan Review Report by 十月息

Original Article: https://weibo.com/6574125081/KcrfzBjYL?type=comment#_rnd1619312989712 Original Author: 十月息

(TN: This is the translation of the famous 10,000 character repo on Weibo, so be warned that this is very long article. Permission to translate granted by OP.)

Part 1 – Review of Xiao Zhan’s Acting According to the Script

Finding Patient No. 5 B

At the start of the play, there were many people surrounding the stage, I was very frantically searching for Xiao Zhan. One of the ladies besides me patted me and said, that one with the messenger bag! After that I immediately found him. His legs were really long! So, at the start of the play, watch out for the messenger bag! (That was the look in the waiting photo.) After this, I was following him around using my binoculars, hahaha.

Patient No. 5 and His Wife’s Initial Encounter

This part was very interesting. No. 5 was queuing behind his wife, then still a stranger, and buying movie tickets, and his wife had an argument with her then lover on the phone, and rashly stuffed her other movie ticket and grilled corn cob into No. 5’s hands. When handed the movie ticket, No. 5 was still able to comprehend, but after he was given the corn cob, he was starting to get confused — Xiao Zhan’s No. 5 widened his eyes, stared at the corn cob in his hand, and then turned around and looked around, looked at the people queuing behind him. In the next second, the 7 or 8 people behind him magically took out their own corn cob, as though getting a corn cob at the movies was a perfectly normal thing to do, and if No. 5 did not have one he would be out of place. There was full comedic effect, the whole theater laughed, No. 5 was embarrassed as he turned around and entered the cinema holding the corn cob. Starting from here, we could see that No. 5’s body language had completely corresponded with that of a comedic trope, it was relaxed and lively, and even when he met with unexpected situations, it was clumsily adorable.

Patient No. 5 Eating Sushi with His Wife

This segment was at the stage left, which also happened to be my visual blind spot, so I could only see the projection from the big screen, which was very regrettable. His wife said the the person she just argued with on the phone was a pig, and she did not want to talk about it, so when No. 5 mentioned that person, he used snorting to represent him, “…. that *snort snort*…”, that snorting was in imitation of a pig, it was really too cute! Xiao Zhan had also snorted in “Our Song”, here, No. 5’s snorting was even more lively, to the point that I was stunned, took 2 seconds to react in my brain that, oh my goodness that was actually Xiao Zhan snorting! It was simply too cute!!

His wife had squeezed a large amount of wasabi on the sushi, No. 5 said “no one puts so much wasabi”, (TN: Chinese had their own term for wasabi, jiemo, but Xiao Zhan used the Japanese term instead), I really loved it when he used languages other than Chinese, I just felt that it encompassed so much cuteness, moreover it was with the Taiwanese accent that belonged to No. 5, it was even more adorable. Both of them ate that wasabi laced sushi, and coughed wildly due to the irritation, Xiao Zhan was coughing so vigorously, by the sound of it I thought he was going to cough out his lungs, just exactly as though he really ate a huge amount of wasabi. But amazingly, his voice was exceptionally clear while coughing, perhaps because his voice for lines had became deeper more robust, in comparison, he did not deliberately deepen his voice while coughing, so he sounded literally like a young man.

No. 5 continued to chat with his wife, in this conversation, No. 5’s Taiwanese accent was even more obvious, which once again became part of my adorable collection of “Xiao Zhan’s various accents”, I was quietly punching the air in my mind!

His wife told him that she had never seen her father before, and she was unable to face him, No. 5 then told his wife to close her eyes and give it a try, she was initially unwilling, No. 5 coaxed her gently, and then she closed her eyes. Thereafter, No. 5 started talking in a old man’s voice deliberately, “My girl! Turn around and look at Papa! Papa owed you too much, forgive Papa, I’ve also missed you terribly! My good child! Papa bought a very beautiful doll to meet you!” Everyone could attempt to see how you would sound like when you talk in an older voice deliberately, it would definitely be quite funny, when Xiao Zhan acted it live, it was even more funny, the audiences laughed heartily. What made me even more excited was that this was the only the beginning of No. 5’s story, but I had already heard Xiao Zhan snorting like a pig, Xiao Zhan speaking Japanese, Xiao Zhan coaxing people, Xiao Zhan talking like an old man, I felt as though I was exploring all the different voices of Xiao Zhan! When Xiao Zhan spoke like an old man, it was also very cute!

Almost forgot a very important point, that is from this old man act and the snorting previously, we could actually see that No. 5 was very good at flirting, and it was the sort that was very natural and well practiced! In the instant as he acted as an old man, besides laughing with the audiences, I also thought in envy, good job young man, you are flirting again and again! I just had to say this, Xiao Zhan’s No. 5 was really very charming in and out.

Patient No. 5 Begging The Doctor to Save His Child

This part seemed ordinary based on the script, but you would only feel the amazement when watching it live! When looking at the script, it seemed like only the wife was begging the doctor, but in fact I remembered that it was his wife who stood further away from the doctor as she carried the child, No. 5 was beside the doctor, just like the stage photo shared by XZ Studio. His wife was more emotional from start till end, No. 5 was initially more calm, and even looked back to signal his wife to calm down. But later on as the doctor kept rejecting him, No. 5 started to lose the controlled calmness on the surface: he turned around and kneeled before the doctor, begging pitifully, his voice full of hurt and pain, with an agonizing crying tone. In here, his emotional progression to explosive was not that long, but it was very excellent, that moment he was just a father of a child, with an unbearable pain of loss on his shoulders. The doctor continued to refuse, No. 5 said no more, and the whole theater went silent.

Patient No. 5 Getting His Wife to Pick Up the Phone

After the child passed away, the relationship between No. 5 and his wife drifted apart, and No. 5 contacted that strange disease. At the same time, he started receiving calls in the middle of the night, but no one spoke after he picked up. There was one night, it was rare that No. 5 was at home with his wife, and he picked up that call again. No. 5 yelled into the receiver for a long time but yet no one replied, so he yelled at it, “I’m going to fight it out with you… after all, the telephone fee’s on you!” His tone was incensed, but yet the words he used were exceptionally funny, it was supposed to be a scary suspense story, but it wore the cape of a comedy.

The lines following that were similar. No. 5 finally yelled at the receiver, “Fine, I’m done playing with you today!” Till then it was still quite normal, but unexpectedly before he hung up he suddenly yelled another line: “Good! Night!” This type of contrast continued to add comedic colors to the play, because No. 5 was actually speaking harshly, but in the end he still politely said good night, but yet that good night was still harsh and irate. I believed that no matter how unclear the image of No. 5 was in the audiences’ hearts, in this moment they would definitely feel that No. 5 had a cuteness stemming from the contrast in his personality, he was interesting, cute and lively.

I feel that this was something that was hard to control in performance. On a whole, “A Dream Like A Dream” was a very serious and standard play, and would occasionally use comedic tropes to balance the heavy keynote. Hence when actors were performing, they had to say those random lines in a serious tone, and if done too lightly, the audiences would not feel that it was funny, but if done too heavily, it would destroy the pace of the story. Whereas Xiao Zhan’s performance was simply just right, it allowed audiences to easily understand the funny bits, but yet it did not breakaway from the general tone of the story. I remembered when we studied or appreciated ancient poems in high school, there was this term called “using lively music to contrast sorrow”, in fact “A Dream Like A Dream” was like this. The more amusing the funny parts were, after the audiences were done laughing and continued to immerse themselves in the story, the heavier they would feel.

Following this was the part, which Xiao Zhan angrily yelled at his wife to pick up the call, that many reports had mentioned. There was actually a progression, the script as below, the parts in parenthesis was how I remembered it was acted out:

No. 5: It's your turn to pick it up. (His tone was quite calm）

His Wife: What for do I pick it up? No. 5: It could be for you. (He was starting to raise his voice)

His Wife: How could that be?

No. 5: Secret lover! You should pick it up. (You could hear the anger)

His Wife: Why?

No. 5: Because it is yours. (His tone had already went from questioning to factual) Every time he calls, not long after, you would return, I think he hasn't finished talking to you. (This looked like narration, but in fact when Xiao Zhan said this he was speaking hastily, already at the brink of exploding, his voice was very loud, and was starting to ring in the audiences' ears. In reality when someone hears a tone like this, we would subconsciously avoid it, as we feel that this person would explode the very next second.) You pick it up. (I was starting to shake)

His Wife: For what? It's not mine. (I was starting to fear for his wife, I mean was this not adding oil to the fire? Please don't... I was praying this in my heart, because the very next moment, lightning was going to strike!)

No. 5: PICK IT UP! [TN: The word used was a single syllable, jie.]

Just that word, the tone was so harsh, I could say that I have never encountered this in my life; the sound was so loud, it almost deafened me, the word was echoing within the hall, and gave me a feeling that when Xiao Zhan yelled out this word, he was also resonating with it. My father’s temper was not that good, and he would yell at me when I was a child, his voice was loud enough, but I actually felt that it was not as loud as a third of Xiao Zhan’s. Not only the voice was loud, the tone was very fierce, so fierce that if he was your boss, you would have kneeled before him, if he was one of your peers, you would have felt weakness in my legs and could not even run away if you wanted to. At that time in the theater, I was truly frightened, I felt as though my heart had frozen in my chest, and then there were palpitations, I felt as though all the yelling I had received previously were not worth mentioning. The whole theater definitely had a fright, because after Xiao Zhan yelled it, the whole theater was silent, not just ordinary silence when watching a play, but even the sounds of breathing stopped, the air was scarily quiet.

Patient No. 5 Searching for His Wife among the Passersby

No. 5 and his wife went to watch another movie, just like how they first met. When queuing, his wife went out to pick up a call, and suddenly disappeared, No. 5 started searching for her everywhere. Over here as well, I did not feel that it was very emotional when reading the script, No. 5 was like going through the process of looking for his wife, but when I actually watched the performance, it was another of Xiao Zhan’s highlight.

No. 5 was holding onto the grilled corn cob, and grabbed hold of a passerby, asked, “Sorry, can I ask if you saw my wife?” but this passerby did not hear him. No. 5 continued to run forward, the other passersby were stoic and slow, No. 5 frantically walked through them and seemed especially out of place. He grabbed the next passerby, continued asking, “Excuse me, did you see my wife?” The passerby continued to ignore him. I don’t know how to explain this specifically, as these two lines were similar, but the emotions in No. 5 was obviously changing, the sense helplessness and breakdown that was transmitted through his tone and his body language completely grabbed the hearts of the audiences.

No. 5 continued to grab passersby, asked, “Sorry, did anyone see a lady holding two grilled corn cobs? Her hair is slightly yellow, she’s very pretty, her eyes are very big…” “Excuse me, did you see my wife? She’s of mixed race, she never saw her father, our child died, she’s very upset… I’m really not feeling well… did anyone see?” I believe that even if I did not describe Xiao Zhan’s tone, we could see from the lines that No. 5 had already went from precise questioning to emotional rambling, the lines contained family background information unrelated to the search. In the final questioning, he was already in crying tones.

After countless of his question left ignored, No. 5 finally despaired, he stopped in his tracks, broke down and shouted, “Did anyone see my wife?! She just bought two grilled corn cobs!!!” This howl completely used all his strength and was even hysterical, it was filled with helplessness, despair and utter collapse. This lines actually contained comedy, since who would have brought up grilled corn cob at this point in time? But No. 5 did, and this was similar to what I said previously about “using lively music to contrast sorrow”, the more ridiculous the trope was, the better the contrast could highlight the sorrow in the reality, and in reality most of the tragedies did not happen like a Shakespearean story, but accumulated from the smallest and most ridiculous things.

In comparison to the doctor scene, I felt that this No. 5 broke my heart even more… Because he asked different people again and again, but he was ignored and tossed aside, bit by bit, he despaired and broke down… He used all of his strength but he could not do anything, except cry and howl helplessly…

Patient No. 5 and Jiang Hong at the Laundromat

This was a completely propless performance, with the exception of a laundry basket, there was no props, so Xiao Zhan was performing with the air as he opened the washing machine, took his clothes, folded them and placed them in the laundry basket. But his movements were very natural and ordinary, it was not deliberate, you could understand what he was doing with a look, i.e. that sequence of actions I mentioned previously. The way he folded (air) clothes was very cute, and there was the part that he did not know how to use the washing machine, and was poking poking poking at the air, that was also super cute! Haha.

Patient No. 5 at Jiang Hong’s Apartment

After No. 5 caught his disease, his posture, etc, had started displaying the weakness of his illness, Xiao Zhan very accurately portrayed this point, no matter whether it was his walking speed or his hunched back, as well was occasional coughing and panting, constantly reminded audiences that No. 5 was a terminal patient with not many days left. However in comparison to these, what best displayed No. 5’s illness was when he went up the staircase to Jiang Hong’s apartment, Jiang Hong stayed on the 7th floor, every time No. 5 went upstairs it felt like an ordeal and a massive challenge, he kept holding onto the handrails (which of course did not exist, there were no staircases onstage, he was acting with air), he would rest every 2 steps, panting, and made us feel that No. 5’s health was rapidly leaving his body.

After this was basically the envy inciting scene of the whole play. Jiang Hong’s apartment was very small, No. 5 could only sit on her bed. So we slowly watched how No. 5 and Jiang Hong got closer and closer… Amitabha. I do not want to describe it in detail, ｡･ﾟﾟ･(>д<)･ﾟﾟ･｡. There was this part that was very cute, Jiang Hong said, “No other person ever lived in this space. When I first moved in there wasn’t even space to have a cat, but now there’s a man, when he lies down, he uses up the whole bed.” After the line ended, Xiao Zhan basically laid on the bed in a 大 shape, instantly occupying the whole bed, both of his legs even extended beyond the bed. The audiences laughed at that moment, and I also directly understood even more that Xiao Zhan is really tall! Big sized! Before that when Xiao Zhan curled on his side on the bed, he was still very big.

Patient No. 5 and Jiang Hong’s Couple Details

It was not that moment of intimacy that made me envious, but it was the continued subconscious intimacy that really made me envious. No. 5 and Jiang Hong became a couple, they were like they had been together for a very long time, the intimacy was natural and well practiced. When she and No. 5 walked together, he would hold her hands; when they stood side by side, he would hold her waist; when they spoke face to face he would look down at her, very focused on her eyes, as though only she existed in the world, and would also gently stroke the back of her head, or smooth her hair; sometimes No. 5 would even slightly adjust her collar… etc, every detail was exceptionally natural.

When No. 5 and Jiang Hong went to see a gypsy with spiritual powers, that person told No. 5 to look at the crystal ball like how he would look at his lover, No. 5 turned around, looked up and looked lovingly at Jiang Hong standing behind him, saying coquettishly, “Yup, looking at my lover,” just like a willful boy in his first relationship who is unable to leave his lover. In that moment I became extremely envious.

Patient No. 5 and Jiang Hong at Normandy

This section is completely No. 5’s highlight!

At the start in the town’s hotel, the Grandpa gave No. 5 a flower circlet, No. 5 took it and placed it on his head. This was just right on stage left, which was my blind spot, I could only see it from the blurry screen, I was so angry and regretful! I could only imagine Tang San wearing the flower circlet, when Xiao Zhan wore it live it would definitely look a lot better, I could not see that with my own eyes, that was the biggest regret of my life ｡･ﾟﾟ･(>д<)･ﾟﾟ･｡.

When entering the hotel, the receptionist said it was 1,550 Francs per night, Jiang Hong immediately felt that it was too expensive and tugged No. 5, but No. 5 was instead very relaxed and yet unyielding as he said, “It’s almost the same, it’s all this price! It’s reasonable!” “No matter, I want it, I’m paying.” And then he pulled Jiang Hong into the hotel. That time I could only think, good job dude, that was how an unreasonable boss trope should be like!

No. 5 and Jiang Hong went to have a meal in the hotel, but however the rule of the restaurant was formal wear, but both No. 5 and Jiang Hong were in casual wear, so the host gave No. 5 a tie, No. 5 was to wear the tie and take a seat. In the script, it was No. 5 who tied his own tie, but in Xiao Zhan’s version, he did not continue to tie it himself, instead he raised his chin and leaned his neck over, signaling Jiang Hong to tie for him. My goodness, this part was seriously too sweet, I started complaining in my heart at this dude ｡･ﾟﾟ･(>д<)･ﾟﾟ･｡… I am not sure if everyone watched a behind-the-scenes from “Superstar Academy”, where Xiao Zhan finished a drink (or tidbits, I cannot remember), and he just waved the cup in his hand, requesting the co-actress beside him to take it, and then the actress simply took it. His sort of natural ability to influence the opposite gender really makes me fall head over heels for him.

No. 5 and Jiang Hong were mistaken for Japanese, the two of them went back to their room and started conversing in synthetic Japanese, this was really No. 5 at the peak of his cuteness!!! No. 5 gave Jiang Hong a gentlemanly bow, and said “Hi!” in Japanese accent multiple times, the tone was both serious and flippant at the same time. No. 5 also said “Ah li ga duo” for arigatou. When No. 5 was describing guns to the French waitress, he use the onomatopoeia “Bang bang!”, with finger guns action, super cute. He also said “Duo La A Mong” for Doraemon, “Sa yo na la” for sayonara, and most select phrases mentioned in countless reports were “Ka wa yi” for kawaii and “Da me da me” for dame dame, these phrases did not exist in the script, they were basically his own creation. My description of that scene was basically like this:

When he said “Ka wa yi”, he placed his palms on his cheeks like a flower shape, and dragged the “yi” sound, the tone was slightly coquettish; when he said “Da me da me”, he swished his hands around (similar to a orchestra conductor), his tone was coquettish but also lilting.

After he said these two phrases, the audiences were no longer calm, many of them were sniffing in envy and these sounds filled the hall. I almost fainted at the spot, blanked out and stared at the ceiling, wondering how lucky I was to be able to hear Xiao Zhan said “Da me”, and in a coquettish manner, who was I where was I, I must had been dreaming.

No. 5 also told Jiang Hong “Ah yi xi tie lu”, which was “I love you” in Japanese. This phrase in Japanese is actually very formal, because in normal circumstances, the Japanese would use “suki” to confess their affection, which meant “I like you”, “I love you” was very rare. Then No. 5 placed his arms on Jiang Hong’s shoulders and hugged her, looked lovingly down at her eyes, his expression full of emotion and tease, and said every syllable with a pause “Ah, yi, xi, tie, lu”. That moment I hated myself, I wondered why I had to understand Japanese, why!

Following this is another highlight of No. 5, when he was mistaken as an artist he gave a speech in the restaurant, in the script, there was this big segment of lines, it was slightly different from what Xiao Zhan said in the play, but in general it was the same:

"From that day when a disease that I don't recognize found me, everything changed. I had no choice! Did I know this virus? Why did it come to me? I don't know. But it just came! Just like you said that until now there are still children in Cambodia with a missing limb due to mines! The war had already ended for 25 years! Who placed the mines? Did he know that child? Where did such great hatred came from, that you had to blow up someone you didn't know? How different am I from that child? He is just like you and I, that one day, standing under the sun, standing on the road, and suddenly, bang! It's over! The 'freedom' we yell about everyday is just bullshit! How could we have choices?!..."

I felt that I had to type out this section in full because I felt that Xiao Zhan’s live performance had to be appreciated with this section. Frankly speaking, when I first saw the original script, I felt that here, No. 5 was just someone who was very adaptable to the sudden situations, able to talk his way out, so I did not really look into the contents of this section. At that point in time, there were people who also posted this part online, but I felt that it was making a mountain out of a molehill when we place Xiao Zhan’s personal experiences along side it, No. 5 appeared to be making up a speech without much deeper meaning. When I saw Xiao Zhan himself performing this part, I realized that I was too flippant then: Xiao Zhan really had the ability to help his audience empathize, when he said this section, it felt as though every word struck my heart, as though there were other hidden meanings, especially when he said these two lines “Where did such great hatred came from, that you had to blow up someone you didn’t know?” and “The ‘freedom’ we yell about everyday is just bullshit!”, I really had instant flashbacks to the unpleasant memories of 2020… I always felt that hardship is just hardship, there is never a need for us to be thankful to it, but I had to admit, for Xiao Zhan to walk to this stage, he had went through the trials and tribulations of hardship.

Patient No. 5 and Gu Xianglan’s Kiss

In the script there were no kissing scenes between Young Patient No. 5 B and Young Gu Xianglan (by Xu Qing), i.e. the video clip that was posted by Yanghua Theatre on the 22nd. So that day, the last scene of the upper half, everyone exclaimed (of course, a big part of it was that no one guessed that there would be other kissing scenes besides that with Jiang Hong). In the video clip, No. 5 and Gu Xianglan walked slowed to each other, their shadows overlapped, their faces slowly overlapping into a kiss, it told a story, and that sense was even stronger when watched live. Just that the live performance did not have the later half of the clip, that is after they kissed they slowly separated, during live the two of them kissed using the trick of positioning and then the lights dimmed, and with that, the upper half ended.

No. 5 wore a leather jacket with jeans, Gu Xianglan wore cheongsam; No. 5 was from modern Taiwan, Gu Xianglan was from the 1930s Shanghai. So as they slowly moved towards each other face-to-face, there was really the sense that two eras were slowly merging and overlapping, the feeling was very wondrous, almost as though there was a time and space disorder, yet there was also a sense of revolving fate that merged the past and present, East and West, and created this love story that transcended space and time. I had to say that this additional scene was really fantastic, it had such a sense of story and of fate that it could match the scene of 2 different Gu Xianglans walking in the long corridor of illusion and shadow, which would really stir the audiences’ curiosity and wonder.

Hence, I surmised that the script for this tour had made some changes, No. 5 would likely be Baron’s reincarnation, confirmed when the dying Old Gu Xianglan laid on her bed, holding Xiao Zhan’s No. 5 B’s hands, and directly called him “Henry”.

Patient No. 5 on the Hospital Bed

Over here I really wanted to punch myself, I clearly read the script, but yet I forgot that in the second half, the person on the hospital bed would be No. 5 B! I entered the hall early, and I long saw the doctor at the hospital bed aiding the patient’s breathing, but I really did not pay much attention, I was so regretful!! After the show started, No. 5 started talking, the whole hall started to exclaim as they realized that oh dear, that was Xiao Zhan!

Wearing the patient gown, Xiao Zhan seemed even more ill, looked especially frail, weak, and immediately reminded me of Xianxian in the red undergown, I believe when I said this, everyone would have the image in their mind.

Patient No. 5 with the Dying Gu Xianglan

Old Gu Xianglan laid on the hospital bed, Xiao Zhan’s No. 5 sat by it, his left hand had always been on Gu Xianglan’s back, gently patting and soothing Gu Xianglan, never stopped, I had been staring for a long while. I kept feeling that this was especially “Xiao Zhan”, because Xiao Zhan himself is just that gentle and considerate.

Gu Xianglan narrated her story until she was short of breath and passed away, No. 5’s gaze had never left her, and he held her hand. No. 5 was like just like that, quietly watching Gu Xianglan until she passed away, he did not say anything, but his compassionate expression, slightly furrowed brows, exuded a strong sense of unspeakable sorrow gushing out from his body. As I wrote this part, my mind would sometimes flash back to the scene of No. 5 sitting by the bedside, and suddenly I would feel like weeping.

Patient No. 5 Reading a Letter at Jiang Hong’s Apartment

No. 5 returned to the apartment where he and Jiang Hong lived, and from under the floorboards he found a letter, he was simply kneeling as he read the letter, and kneeled for a very long time. “Hi, the person with the fever…” As he kneeled there, I could only see his back, and I just kept watching his back, listening to him read the first few lines of the letter and after which Jiang Hong continued, I felt that there was nothing else in my heart, I was very upset, but yet my tears were locked in my eyes. I stared at his pointed toes and the long, long legs in jeans, stared at the hands that were grasping the letter. Once again, No. 5 encountered another separation of a lifetime, and I knew that I was going to bid farewell to him as well.

Before the Passing of Patient No. 5

Here, No. 5 A laid on the bed talking, while Xiao Zhan’s No. 5 B stood around 1m away at the left side of the bed, looking at No. 5 A. Here is the most obvious display of compassion from No. 5, because he stood for a long time, so I kept staring at him — his gaze was gentle and sorrowful, looking at the other version of him lying on the bed almost reaching the end of his life, I wondered what he was thinking of? Xiao Zhan’s eyebrows were especially good looking, I kept thinking that if I studied him from a certain distance, the first thing I would see would be his eyebrows, and that was something I did not think would happen when I looked at him via a video on my mobile phone screen. His eyebrows were just too good at conveying emotion, if it was relaxed I would feel relaxed as well, when it frowned I would feel upset as well. No. 5 kept his brows furrowed, it was melancholy and sorrowful, he did not need to have tears in his eyes, he could convey emotions with his brows.

Finally, No. 5 A stopped breathing, and the light on No. 5 B dimmed, he was slowly consumed by darkness, in that instant I felt as though my heart had been drowned by sorrow, I kept on staring at Xiao Zhan, and unwittingly as I wrote to this point, tears started brimming in my eyes.

Patient No. 5’s A Cappella

The lyrics to the song was like this in the script:

Did anyone, see my face before? I think I remembered, I think I forgot, You used to wander in my dreams; I think I remembered, I think I forgot, I used to sing in your story; I think I remembered, I think I forgot.

At this point, all the actors will take out candles, Gu Xianglan A would ring a bell, all the actors will blow out their candles, and the play ends. I wrote on Weibo that this part wrote a cappella: Xiao Zhan sang it at the end, I was literally shaking. It was clearly a cappella, without any instrumental music or sound effects, but it was particularly ethereal and pleasant. It sounded like I went to a tall and quiet church, and listened to the choir’s singing. His voice came with its own bass. There was really this sense of sanctity, which made you feel as though any stray thoughts would be a blasphemy. I was clearly seated at an elevated location, but spiritually I felt that I was looking up at him. It was almost surreal, a dreamlike illusionary existence.

When I was seated in the hall, I was more excited, because I remembered that there was still the curtain call and gratitude ceremony. Now, reviewing this with the script, I am completely immersed in the sorrowful atmosphere of the script, and as I recall Xiao Zhan’s a cappella, I am now especially upset, and I miss him terribly.

Part 2 – Praising Xiao Zhan from All Different Angles

What Was Xiao Zhan’s Role (DUH)

At the start, No. 5 was an architect, a salary man, as he hurried on the streets, the sense of salary man was really obvious. After he met his wife, he started his flirtation mode, which was a humorous and interesting young man. After he had a child and as he carried that child, he was really like a father, I almost yelled “Daddy” in my heart! After that he fell sick, and no matter where and when, he was able to portray the sense of someone who had an illness.

Xiao Zhan’s Lines

Before the start of the show, Xiao Zhan broadcasted the important notice, his voice was like a newscaster, the XFXs around me could not believe it was him. In the hall, the voice was especially vigorous and magnetic, which was quite different from how he was like in previous interviews, overall it was especially pleasant, it felt like he changed his vocalization method, there was probably more technique into it.

Secondly, his pronunciation was very clear and professional, I could hear every word clearly, and when he was at stage left where I could not see him, I pretended I was listening to a radio show. No. 5 was from Taiwan, hence Xiao Zhan specially spoke with a Taiwanese accent, very natural and very cute. His emotions were very very on point! When he was coquettish his voice slightly lingered, when he yelled it was fierce, when he was sad it was sorrowful… When he was joking, it was as though every sound he made had a smile, when he was stern it was very shocking! “Ka wa yi” and “da me” were my top favorite!

Xiao Zhan’s Body and Face

Xiao Zhan’s No. 5, his back was hunched, he occasionally coughed, and we could see that his style of walking was different from Xiao Zhan’s: No. 5 was ill, he frequently had fevers, and he would tire when he went upstairs. From the play, we could say that we could not see the healthy and strong Xiao Zhan at all, we would only feel that he was No. 5 with a terminal illness, that was acting and character portrayal from in to out. But when he bowed with his back facing me, I still could clearly see the lines from his back muscles pushing against his shirt.

His legs were especially long, his proportions were really extreme, I always felt that humans could not grow like this, did he steal Jianguo’s leg length (No). His face was particularly small, especially when viewed from my distance, it was outstandingly exquisite, as though I could pinch it with just a hand. This hairstyle really showcased his ears, which were pointed, completely elf-like!

Besides his outstanding eyebrows, his nose was also super magnificent! Even if you looked at him from the front you would feel that he really looks very chiseled! Even more so from the side! A miracle of beauty!

From my location, I had a lot of chances to look at his 70% side view, as the light shone on that face, it was like a sculpture, I wondered what kind of divinity would be able to sculpt that: that nose line, that lip and that melancholy eyebrows…

Xiao Zhan’s Compassion

The tone that Xiao Zhan’s No. 5 as a whole gave me as a whole was melancholic, or I could say it was his compassion. Previously, I frequently saw that everyone said that Tang San had a sense of compassion, but I feel that the compassion in No. 5’s aura was superior to Tang San’s. Firstly, he himself had a terminal illness, and then he experienced so many changes, the departure of his family and loved ones. Secondly, the inner aura of No. 5 himself came with a bit of compassion.

I saw at the back row, at times when I used the binoculars, his facial features would be slightly blurry, of course most of the time it was clear, so I always first spot the most obvious, the tightly furrowed eyebrows.

Accompanying that frown would be his exquisite facial features, his eyes, especially the line of his nose, it seemed almost supernatural. Hence I would really relate it to the Greek sculptures, as in their expressions were also solemn, as though they were looking down upon the emotions and pain of the world. And they themselves were the representation of human beauty.

I always felt that the reason why Xiao Zhan’s good looks were well accepted by the masses was because his good looks was universally acceptable.

Of course, for Xiao Zhan’s No. 5 to be able to attain this level of compassion, it not only depended on his innate aura, but even more so, his own hard work, which caused his looks to be able to give off this kind of aura. For example, he became even more thin, such that his cheeks were more protruding, and there were possibly shadows on his cheeks, this would make you feel that, truly, his melancholy and compassion was clearly affecting his body.

His aura, his physical shape, was completely in service of the character.

Xiao Zhan’s Acting Skills

I posted on my Weibo that Xiao Zhan’s No. 5 was very compassionate, and then there were comments asking if it was because of his past experiences, such that he was able to portray this kind of compassion, actually it was not that I did not agree completely, but it was something that I did not even think of.

Why? Because when you watched Xiao Zhan’s dramas and movies, it was the same, when you watched his play life, his performance was even more so — just that he was not deliberately acting, you would feel that he did not use any life experience, or very obviously using his experiences to aid his portrayal in the drama. He was not like this, he would give you a very very natural sensation.

Xiao Zhan’s acting was like spring water, naturally flowing down from the cracks on the hill side, and not like cracking a water pipe, which would come gushing out suddenly, it was not like this. Even if it was an explosive scene, it would also smoothly flow downwards like a waterfall tumbling from the top of a cliff.

Although I say that Xiao Zhan’s acting was very, very natural, so much so that you could not see any trace of deliberation, but in fact this did not mean that this skill came inborn, on the contrary, this acting skill required doubly effort to attain.

My Trance

I don’t know how to explain my feeling: that is when watching the play I would sometimes feel hazy, like I would suddenly break away from the play, and then stare at Xiao Zhan, thinking — wow, this is a real Xiao Zhan, a lively Xiao Zhan, and he’s under the same roof as me in this very second, moving and talking…

And then I would go into that trance.

The Ocean of Flowers in the Courtyard

So romantic, star chasing is so romantic, loving Xiao Zhan is so romantic.

The night of Wuhan, I stayed in the midst of the crowds, outside of my windows were the streaking colors of everyday life.

My heart remained sweet, because I knew that in that very moment, I was sharing the same sky with the one I love.

And yet my heart was weak, as soon as I saw that endless brilliance of red, I would feel that my tears would well up.

Walking through the ocean of flowers, I saw countless adoration, gentleness, admiration, well wishes…

In that second, I was in Wuhan, and I had a romance with No. 5 at the ends of the world.

Appendix: 2013 Version of “A Dream Like A Dream” Behind-The-Scenes Documentary Review

(Written on 23 Mar 2021)

Upper Half

Firstly, the documentary emphasized on its star-studded cast on its very first Mainland China premiere in 2000. Besides the well-known famous actor, there was also a renowned female singer crossing domains, as well as some familiar, well-known actors, such as Tan Zhuo, Xu Qing. Xu Qing was going to continue her role as one of the Gu Xianglans in the upcoming 2021 version of “A Dream Like A Dream”. At the same time I also discovered that Shi Ke was in the 2013 version of “A Dream Like A Dream”, she was the lead actress for Xiao Zhan’s “Heroes in Harm’s Way – Blessed Community”.

In the documentary, besides bringing more attention to this play, the star-studded cast also brought another challenge, because the group’s actors had to spend more than a year to break into this 8 hour play (that time when “A Dream Like A Dream” first came into Mainland China, everything had to be started from scratch, there were a lot to adapt, hence the timeline would be longer, 2021 version had the previous foundation, and therefore did not need this long for preparation), and singers would have to take a few months to prepare for their fan meetings and concerts, television and movie actors would have to take a few months to film their dramas. In rehearsing this play, the actors would have to reject many invitations, their “loss” in revenue could be up to millions or even more.

Xiao Zhan’s rehearsal period for “A Dream Like A Dream” appeared to be an empty period to the external world, but plays truly needed wholehearted participation into practice time.

Director and playwright Lai Shengchuan said, plays are even a greater challenge to these stars, because their capabilities, their acting skills, would be obvious to the audiences after 2 or 3 shows, and this will dictate the success of the play in Mainland China.

Hence for the first entry to Mainland China, all the preparation from all angles had to start from zero, the 2013 version encountered many difficulties in terms of location, props, etc. While the cast attracted a lot of attention, the strict control behind the stage, for example, prop preparation was actually done by a Year 4 Journalism student; the rehearsal initially started in a crude empty factory. Then, the in-charge of Yanghua Theatre, Wang Keran, was the main in-charge for bringing in “A Dream Like A Dream” into Mainland China, he and his team’s office was in a simple 3 bedroom apartment, he directly said that bringing in this play was to raise the influence of plays but he could not bankrupt the backstage, hence cost also had to be tightly controlled.

For the 2021 version, the documentary gave me the most anticipation was the process that in the 2013 version, the actors and the directors went through a lot of breakthrough and recreation process during their rehearsals. While rehearsing, Xu Qing gave a totally opposite view on her role to Lai Shengchuan (on Gu Xianglan’s love to Baron), the understanding and identity from the actors themselves were in fact the most important part to character creation. Finally, Xu Qing’s persistence convinced Lai Shengchuan, who specially added some scenes in Act 9, and allowed the character Gu Xianglan to be more logical. Lai Shengchuan was a renowned Asian Theatre master, “A Dream Like A Dream” was his 3rd script after his 10+ years of experience. Even so, when meeting a brand new acting crew, the script might still display its inadequacy or limitations with the times, etc. At this moment, it would require actors to use their acting experience to improve upon it, and perform character and scene recreation. We could say that, Xu Qing was a good actress who had her own opinions and thoughts, and was persistent about them, Lai Shengchuan was a good director who progressed with the times.

It just so happened today that Xu Qing praised Xiao Zhan, I believe that with my narration on this part, everyone would understand how much weight Xu Qing’s praise carried — there is no praise that is more encouraging than that from a fellow actress who is persistent and serious.

I believe that Xiao Zhan is also a hardworking actor who will seriously analyze his scripts, and have his own opinions and thoughts. Hence, I really look forward to fireworks that Xiao Zhan and “A Dream Like A Dream” would create, as well as the new soul this would bring to the role, Patient No. 5.

Lower Half

Firstly, the documentary introduced the costume designer for “A Dream Like A Dream”, renowned designer, Ye Jintian. Ye Jintian was the costume in-charge for many movies and dramas, the most famous ones were “A Better Tomorrow” and “Crouching Tiger, Hidden Dragon”, he also won the Oscar for Best Costume Design for the latter movie. 2021’s Costume Design Executive was still Ye Jintian. When rehearsal conditions were unable to reach the performance conditions, actors would have to use costumes to find their entry into the character, and as such, it showed how important costumes were to the play.

The premiere in 2013, was such a major cultural event, in the press conference before the first show, they exhibited a shorter segment of the play. Lai Shengchuan wanted people to focus on the story itself, but the media placed their attention on the star-studded cast, the 8 hour long performance, the ring shaped stage, and other gimmicks etc. Lai Shengchuan said, that was the misguidance of the media focus. I felt that, that was unavoidable, since it was a challenge, it was even more so an opportunity, because everything would increase the attention on the play itself eventually. Lai Shengchuan hoped that people would not watch this play for entertainment or escapism, but instead, use this story to face their problems directly, to think about the meaning of life and death.

Surprisingly, the documentary then emphasized on the participating well-known singer’s influence. It said that she had millions of passionate fans, many of them entered the theater because of her, whereas in Lai Shengchuan’s vision, the audiences for “A Dream Like A Dream” were those who had watched many other plays before. We could even say that such a young and influential singer’s addition then truly changed the audience composition for such an elite form of art. On this, Producer Wang Keran expressed that it was something the production team was happy to see, because marketization was the nutrient for such highend art. Moreover, “A Dream Like A Dream” was 8 hours long, they had 400 over sets of costumes, as well as many innovative stage art design, the cost was very huge. Hence, the show for this type of play became a gamble, a gamble between art and market. After all, theater workers would have to eat, and audiences only cared about results, and they would not analyze the difficulties behind it.

The 2021 version that Xiao Zhan joined was built upon the mature experience of 7 years of public showing from the 2013 version, and definitely had lesser problems, but due to Xiao Zhan’s commonly known qualities, the 2021 version would carry the same mission as the 2013 version: using the actor’s huge influence and interest, attract more “first time goers” for theaters, and use the market to nourish the play. To Xiao Zhan personally, this was the rarest and best experience for an actor.

I would mostly skip through the following interview of the famous actor, but there was an important phrase within which he generally said, “To return to theater is to remove the burden of a celebrity.” I felt that this point was suitable to Xiao Zhan.

That time, the production company for “A Dream Like A Dream” (should be Yanghua Theatre) was actually not rich, we could see that the theater scene was still in its infancy. The Stage Designer Zhang Zhelong, was also very competent, he created many aesthetic and unique stage effects for “A Dream Like A Dream”, the most famous was the handover between 2 Gu Xianglans, 2 graceful figures, the former slowly absorbed into the light, blurry and vague, just like a dream. The 2021 version’s Stage Designer is still Zhang Zhelong.

Finally, it was the interview with the well-known actor Jin Shijie, who acted as Baron then. He said that now is the era for speed, everyone could use an electronic device to watch many shows in a night, they could even watch new technologies such as 3D. But, plays were like they carried many ancient rituals. You would need to leave the house, take a car ride, queue, and then sit in among a group of strangers, and watch the stage in the dark, and finally return home. These process were complex, but yet it also seemed especially ceremonious — hence Jin Shijie said that the stage was the most primitive. Whereas for me personally, I like this type of primitive art, this is a form of art that up close, without any misplacement in time and space, and the most realistic.

#xiao zhan #sean xiao #xiaozhan #肖战

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striveattemptfail · 3 years ago

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Which BOYS’ VOLLEYBALL CAPTAIN are YOU? | G, 1.1k

Summary: Written for the Interactives section in @hqmagazine.

Read on Ao3

A/N: I got Kuroo—reblog/reply with who you got! c:

See the accompanying art of the captains by @aradied~! On Tumblr / On Twitter

🏐🏐🏐🏐🏐🏐🏐

the QUIZ

Across the country, high school volleyball captains give their all on- and off-court. Find out which of these top six captains you are with this quiz! Choose the number that best suits you and add your points in the end to find your result. Have fun!

What do you believe is the best form of potato?

Regular french fries

Hash brown

Sweet potato french fries

Potato chips/crisps

Baked potato

Raw

What is your role in a group project?

The Brains (you do all the research)

Group Leader (you organize everything and everyone)

Team Player (you do what you gotta to get things done)

Slacker (you do the least amount possible)

Perfectionist (you make sure everything is correct)

Presenter (you do most of the talking at presentations)

What do the tabs on your internet browser look like?

A tab with Spotify and/or SNS of choice is usually open

You only have one tab open at a time

You’re about to lose your mind because you can’t find that one tab that has autoplay on

You can no longer read the title on the tabs because there are too many

Several tabs are open but grouped into different categories/subjects

Incognito mode

What are your manga reading habits like?

Moderate Pop (you keep up with a few popular manga)

None (you would rather read something else)

Moderate Niche (you keep up with some of the lesser-known manga)

High Pop (you read all the manga all the time!)

High Niche (you read only for specific manga/genres)

Low (you only read what your friends recommend)

Choose which style of texting suits you most.

Almost perfect syntax but occasionally slip with typos

Completely perfect grammar with capitalization, punctuation, and sentence structure

Very casual typing with things capitalized or punctuated for Comedic Effect

CAPS LOCK ONLY OR ELSE WHY BOTHER

You don’t mind getting cute with it. Emojis and emoticons are everywhere~~! (>3•)b

A strange combination of everything above

Someone just confessed to you. What’s your reaction?

You don’t realize it’s a confession until someone tells you afterwards

Politely decline because you’re not looking for a relationship right now

(Finger guns)

Accept and excitedly ask where your first date should be

Turn on the charm and flirt back to cover up your own excitement

(Left on read)

A difficult assignment is due tomorrow, but you haven’t started yet. What do you do?

Get into a study group with others who haven’t finished either

Nothing, because you finished that right after it was assigned

Beg a friend to copy off them

Nothing. You accept your fate and take that L

Stay up late finishing the assignment but make it look like you didn’t spend all night working on it

Calmly spend the evening completing what you can and still receive a good grade

What Hogwarts house do you belong in?

Gryffindor

I never got into Harry Potter

Slytherin

Hufflepuff

Ravenclaw

A different school altogether

What is your opinion on superhero movies?

Completely neutral

Dislike

They’re pretty good, but it’s too easy to piss of a superhero fan

Love, love, love, LOVE them!

Sci-fi (or another genre) is better

You’d rather watch something else

Choose an opposing team.

Shinzen High

Date Tech High

Nohebi Academy

Johzenji High

Kitagawa Daiichi Junior High

Itachiyama Academy

(See your results below the cut~!)

🏐🏐🏐🏐🏐

the RESULTS

(10–18 pts) Sawamura Daichi | The Team Dad

You got... Sawamura Daichi!

You’re practical and grounded—a reliable foundation and fit to lead others. You achieve balance with your hard work and dedication. Perhaps you’re a little scary or intimidating when things get out of hand, but everyone always looks to you for guidance and support. You’re probably the parental figure of your friend group, or at least the one who asks people to text them that they arrived home after dispersing from a get-together.

(19–26 pts) Kita Shinsuke | The Serious Caretaker

You got... Kita Shinsuke!

You like to be frank about what you think and observe. Others may think you have robotic tendencies as a result of your logical approach to things, but this quality is exactly why you get things done. When the going gets tough, you have the firm confidence to achieve success. Your serious nature may be off-putting to some people, but beyond the hard exterior is a very warm and soft side where you express your affection with the same amount of careful calculation.

(27–35 pts) Kuroo Tetsurou | The Provocation Expert

You got... Kuroo Tetsurou!

You like to tease and poke fun at others but it’s all out of love and respect. Sometimes the best way to bring the best out of someone is to provoke them just a little bit, and you subscribe to this belief like a monthly magazine. It can get you into trouble sometimes, but in the end no one underestimates your cunning strategizing. Besides, your jokes are ultimately harmless and pretty funny too.

(36–43 pts) Bokuto Koutarou | The Headstrong Jock

You got... Bokuto Koutarou!

You’re enthusiastic about what you love and not afraid to show it. Even if you’re not an athlete, you’re just as skilled at what you do. Your passion is infectious, impossible to miss, and people appreciate your energy even when they don’t understand it. You’re incredibly friendly and helpful to those who need advice. Being headstrong can sometimes mean that you’re emotional or stubborn, but this strong-willed attitude is exactly what makes you the star of a team.

(44–52 pts) Oikawa Tooru | The Pretty Playmaker

You got... Oikawa Tooru!

You have all eyes on you as the charming leader. You can attract crowds with your attitude, your work ethic, or—in most cases—both. In other words, you look as good as you play. It’s hard to strike a balance between form and performance, but you pull it off gracefully. Beauty may be in the eye of the beholder, but no one doubts that you can finesse things to go your way. The bonus is that you look great doing it.

(53–60 pts) Ushijima Wakatoshi | The Formidable Challenger

You got... Ushijima Wakatoshi!

You have all eyes on you like players facing the Final Boss. You’re the one who makes things happen. You have the talent and skillset to appear invincible, so much that you might even buy into your own myth. Despite how intimidating you can be, you also care just as deeply. You work hard on what you do and expect nothing less from those around you. At the end of the day, everyone understands why you’ve earned the title as one of the strongest around.

#haikyuu!!#haikyuu #haikyu #hq!!#sawamura daichi #kita shinsuke #Kuroo Tetsurou #bokuto koutarou #oikawa tooru #ushijima wakatoshi #haikyuu fic #hq!! fic #hq!!fic #jercy's challenges #jercy attempts words #fanfiction #fanfic #long post

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a-singleboat · 4 years ago

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Locked In

Word Count: 4.1k

Request: great! you’re a really good writer! could I get a Shayne Topp x Reader where they end up doing a bunch of romantic scenes together in a sketch, like slow dancing and a nice dinner and the cuddles, and you guys have been flirting constantly for months and after the shoot Damien, Court, Ian and everyone lock you two in a room because they’re TIRED of it not going anywhere - @mrtopphaasmyheart

A/N: this actually turned out a lot longer than i thought it would... sorry not sorry!

It was Saturday night when they emailed out the filming schedules for the upcoming month. You were sitting at home, reading a book and being “insanely boring” as your friends had so eloquently put it.

But as much as you had wanted to go out with your old college friends, that week of filming had really taken a toll on you and your body. Now, as a YouTube personality, you weren’t required to do your own stunts due to the fact that stuffed dolls could easily take your place for comedic effect. However, being a former stuntwoman for a few months during college, you loved the adrenaline crashing through a window or two gave you.

As Smosh’s stunt coordinator, that meant you weren’t on screen as often as your coworkers. Which is why the upcoming month’s filming schedule shocked you. Aside from a Try Not to Laugh and a few Smosh Gaming videos, you were also scheduled in an Every Blank Ever. Namely, the Every Valentine's Day Ever video.

Considering Valentine’s Day was a little less than a month out, it wasn’t weird that they wanted to get this video recorded and on its way to editing. What was weird was the fact that most of your filming blocks aligned with Shayne Topp’s.

It wasn’t a secret that you were the group flirt. Next to Courtney, you were both the most notorious for flirting with your coworkers on screen and, in your case, off.

But with Shayne… It started five months ago. Five months ago, your harmless flirting turned into something a little more than for-good-fun.

Five months ago, the flirty little winks you sent in his direction meant more than something friendly and the words exchanged turned into something more than just words. But you were sure that was all you.

There was no way Shayne felt the same for you. After all, he was an extremely friendly guy and he acted that way to everyone. That was your best defense. That he was just really nice.

You shook your head as if the motion would shake the thoughts from your mind. You closed your book and laptop, shoving both items off to the side. You reached over and clicked your bedside lamp off, settling in for the night.

You’d figure it out in the morning, you decided, closing your eyes and letting sleep take you off to another world.

The next morning, you met up with Courtney and Olivia for your weekly Sunday brunches. You had settled on a new place, rather than your regular brunch spot. The only difference was this place offered outdoor seating, which was nice despite the fact that it was still January and it was sixty degrees Fahrenheit.

You guessed you could blame the warmer-than-average weather on global warming.

“What’d you do yesterday, Olivia?” you asked as Courtney wrapped up her recount on the movie night she had with one of her many siblings. They had gone out to watch The Turning, much to her sister’s amusement and to Courtney’s torture.

“I just hung out with Sam,” Olivia revealed, shrugging. “Wrote in my filming schedule in my planner.”

You took a sip of your mimosa, nodding along. “Yeah, I had a mellow weekend too.”

Courtney kicked your foot under the table. “But did you see who you were paired with for, like, eighty percent of the scenes, Y/n?”

You shrugged, setting your drink down. “Shayne? Yeah, I saw it.”

Courtney poked you this time. “For the Valentine’s scenes. You know, the romantic stuff!”

She wiggled her eyebrows as you fought to keep the smile off your face. “We won’t even be shooting those until Wednesday.”

You and Shayne had about three or four romantic scenes in the Every Blank Ever, marked ‘Breakfast in Bed,’ ‘Dinner,’ ‘Proposal’ (which was a continuation of ‘Dinner’), and one unspecified scene. You figured they’d tell you what the unspecified scene was when it came time to film it.

“So that means you have until Wednesday to fantasize all about it,” Olivia said, wiggling her fingers like she was a wizard spreading magic.

You laughed slightly, shaking your head. You held up a hand and asked your waiter for your check. You thanked them when they brought over the little black book, shooing off your two friends as they tried to poke fun of you.

As the baby of the group, you figured a little teasing was warranted. It came with the territory.

But by the time Wednesday rolled around, you figured your status of the baby of the group wouldn’t help you much.

Sarah Whittle, one of your bosses, stood near you as you did up your own makeup. She was waiting patiently for the curler to heat up so she could do up your hair, making you feel much like she was your mom helping you get ready for Prom night.

“You ready for today's scenes, Y/l?” she asked in a teasing manner.

You rolled your eyes and took a break from applying your mascara to stick your tongue out at the older woman like the child you were.

“It’s the breakfast in bed scene first,” you complained as you nearly poked your eye out with the wand. “Why do I need to have my hair curled if I just woke up?”

Sarah picked up the curler after sliding on the black cloth glove that was designed so that she couldn’t burn herself too badly with the heated stick of metal.

“Well, you’re going to be wearing a hair covering for this scene so your curls can set for the dinner scene,” Sarah explained before winking. “Plus, it’d be less work for me later.”

Since Sarah had already sectioned off your hair, it made it easier for her to curl the pieces and then pin them up with bobby pins to keep them secure. Once she finished, she reached over and grabbed a patterned shower cap and slid it on over the little bundles of curled hair.

She explained that the residue heat would essentially act like one of those giant hair dryers that you would sit under at a hair salon, but with less health risks.

After you were finished with hair and makeup, you were ushered off to costume where you were given a nightgown and a robe.

You thanked whatever deity was up there that you had been provided a robe before making your way to set, passing a dressed up Courtney, who waved enthusiastically at you. You resisted the urge to jokingly throw up the middle finger at your friend, instead choosing to wave back and give a tight smile that showed off your discomfort.

Thankfully, Ian was the scene’s director, which immediately put you at ease. It wasn’t that you had anything against the others. In fact, you loved being able to work with Ryan. It was just the fact that since coining Ian as your Smosh dad, you found it easier to perform better in scenes like these if someone you had already been emotionally vulnerable with was the one behind the steering wheel.

“Okay,” Ian said, clapping his hands together. “Y/n, you’re going to wake up and maybe yawn a little, and then Shayne is going to come in with a tray of food. I want you to take a bite, and chew through it while pretending you like it. You got that?”

You shucked your robe, handing it off to one of the assistants that were on hand. You gave him a thumbs up before settling into the bed, moving down so it looked like you were sleeping.

You waited, counted three breaths, before you heard Ian call, “Action.”

You waited two more breaths before ‘waking up,’ yawning and groggily rubbing your eyes. You sat up in bed, moving yourself so that your back was flush to the headboard.

“Good morning, Sweetie,” Shayne said, pretending to have come through a door. He made his way over to the bed and set the tray over your lap. You smiled at him, imagining what domestic life with Shayne would actually be like.

“Good morning,” you replied, remembering that this was a scripted moment. “What’d you make for me?”

Shayne settled into the bed next to you, pointing at each item as he listed them off. “I made the pancakes I made you on our first morning together, as well as the scrambled eggs that I know you love so much, and I got you some orange juice in a mug with a heart on it that I found from our local flea market.”

You acted like it was the sweetest thing anyone had ever done for you. Putting on a face that would read to the audience that you two were madly in love. “Oh, honey. I love it, thank you!”

You kissed his cheek, thinking nothing of it as you moved onto the next part of Ian’s directions to you. You put a spoonful of eggs into your mouth, making a face at the ‘taste.’

“Do you like it?” Shayne asked, still in character.

You made a face that was halfway between joy and disgust, acting like it was the worst thing you’ve ever eaten. “It’s great, Steve.”

Ian called for a cut and you reached out beside you as the assistant from earlier rushed to hand you a bucket. You spat out the food, scraping your teeth along your tongue to get the residue egg out of your mouth.

She handed your your robe next, to which you replied, “Thank you, Julia,” before pulling the article of clothing on.

Shayne threw an arm around your shoulders as you got out of bed, pulling you back and wrapping his arms around you. You laughed, feeling your cheeks burn with half embarrassment and half oh-my-God-what-is-he-doing.

“They got us up this early, they can give us a few minutes to nap,” he declared, settling his head atop yours the best he could in the awkward position he had put you in. It was nothing new, Shayne being touchy with you, but this time was different. You couldn’t exactly pinpoint what, but you knew something had changed.

Maybe it was the fact that you had just filmed a scene in which you both were a couple. The fake engagement ring that sat on your finger reminded you of that. The fact that this was fake.

“Come on,” Ian scolded, a laugh also written across his face. “The sooner you both get through the next three scenes, the sooner you can go home.”

You wriggled out of Shayne’s grasp, laughing as he tried to tickle your sides. It wasn’t the fact that you were insanely ticklish, no. It was the fact that his hands on you felt so undeniably right, that your brain had thought of no other reaction but to laugh.

“Alright,” you surrendered, “I’ll go. I’ll see you at dinner, Mr. Topp.”

He kneeled on the bed, raising up from his sitting position. He bent at the waist jokingly, a goofy grin on his face.

“Until then, Ms. Y/l.”

You gave him a two-finger salute in farewell before disappearing from set, making your way back to hair and makeup. There, Sarah awaited you, anxious to take out the pins and reveal her ‘masterpiece.’

Once your hair was revealed, which did look insanely good, you set to work on applying a modest amount of makeup, knowing that the amount of lights on the set would even out your complexion.

From years in show business, you’d learned that a healthy medium between your normal everyday makeup and stage makeup was the way to go when filming in a closed set. As far as you knew, you wouldn’t be filming outside or in any dark or enclosed spaces.

When you were carted off to costume, you were glad to trade out your nightgown and robe with a red dress that really did flatter your figure in the best ways. You gave Lindsay a spin when she asked you to before being carted off to set for the second time that day.

Luckily, you’d be in the same outfit for the next three scenes you had to film that day, which meant no more back and forth between departments.

You thanked whatever deity was up there because ten minutes in and the heels Lindsay had put you in were already cutting off circulation to your toes.

“Okay,” Ian said, and clapped again. It was a habit of his that didn’t look like it was going anywhere soon. “For this scene, we’re going to film the dinner and proposal all in one and splice it in editing and whatever. I’ll stop you if I want to give a little more direction, but you know what you’re doing and so does Shayne.”

You smiled at Ian’s attempt at easing up your nerves. No matter how fake, getting proposed to was always a nerve-wracking experience.

Shayne walked up to set next, dressed up and looking a little extra fancy.

You bumped his hip as they set up the scene, threading your arms through his. “You clean up nice.”

He smirked. “I could say the same for you, Y/n.”

You felt the heat rise into your cheeks, hating that Shayne could get any kind of reaction from you.

You heard Ian call action and immediately started walking. The two of you gossiped about the “hot new Italian restaurant” your boss recommended before arriving at the entrance.

“Hello,” Damien greeted them, an Italian accent gracing his lips. “Do you have a reservation with us tonight?”

Shayne stepped forward a little. “Yes, Copper. That’s C-O-P-P-E-R.”

“Copper,” Damien repeated, though his accent botched the pronunciation a little for comedic effect. “Ah, yes. C-O-P-P-E-R. Right this way.”

Damien ‘led’ you to your table, though in all reality, the cameras cut as the set changed slightly, the restaurant tables coming in and some of your coworkers coming in to fill the seats around you.

Damien asked for your order in proper waiter fashion before dashing off to ‘fetch your drinks.’

You leaned in, tucking some hair behind your ear as to not obscure your face from the cameras. “Babe, this place is really fancy. Are you sure you can afford this?”

Shayne scoffed and brushed you off. “Of course, I can afford this!”

He made a joke loudly, and you laughed nervously, looking around and apologizing to the other patrons of the bar as scripted.

“Babe,” you hissed. “Quiet down, people are staring!”

He scoffed again, doing his little bit before returning to the script.

“Let them stare!” he announced, climbing onto the table. Your eyes widened as you held onto the table, even though you fully well knew that it was bolted down to the set.

“Ramona, I am in love with you and have been since I first swiped right,” he declared, putting his hand to his heart. He jumped off the table and leaned over to another table, taking the engagement ring right off an extra’s finger.

You watched as she acted offended, storming off with her fiance.

You returned your attention to Shayne, who was down on one knee in front of you. “Ramona, will you marry me?”

You looked around, acting shocked and repulsed by what had just taken place. You gave it a few moments, waiting for the comedic timing to line up, before bursting out into fake tears and saying yes.

The crowd around you burst into cheers, you could hear your coworkers clapping and calling out congratulations as Shayne held you in his arms.

Ian called cut but Shayne didn’t let you go, holding you around the waist with one arm instead of two.

You saw Ian and Courtney exchanged glances with Damien, but thought nothing of it, enjoying the feeling of Shayne’s arms around you. You looked up at him, staring into his bright baby blues.

“What do you think the next scene is?” you asked him, leaning into his side. His arm tightened around you.

“I don’t know but I hope it's something to do with dessert,” you said excitedly.

Shayne cocked an eyebrow at you, causing you to realize the secondary meaning to your words. You slapped his pec, unsurprisingly meeting the hard muscle there, before slapping yourself in the face for not realizing it sooner.

“That’s not what I meant,” you insisted, separating yourself from him. You crossed your arms over your chest as he laughed at what you had said. You ended up laughing a little as well, walking away from the set and kicking off the heels.

While they were absolutely beautiful, they also made your feet hurt like hell. The assistant, Julia, offered you your casual shoes and you took them, making a mental note to get the woman a gift basket or something sometime in the future.

Ian came up to you as you were sliding on your Crocs, clicking the toes together happily as your feet were enveloped in the surprisingly comfy croslite.

“You ready for this next scene?” Ian asked, taking a sip out of his mug. It was nearing lunchtime now, meaning they had less than an hour to film this next bit.

“Does that mean you’re going to finally let me know what the scene is?” you asked, quirking an eyebrow. He chuckled and patted your back.

“You’ll figure it out,” he said, clapping your shoulder. “It’s all improv but you’re both extremely great at that!”

You winced at his tone of voice, not believing him at all yet you allowed him to lead you and Shayne into one of the prop closets, already decked out with studio lights and everything.

The presence of the lights put your mind at ease and considering you were wearing a red dress paired with your bright yellow crocs, you crossed your fingers in hopes that they weren’t about to record anything past waist level.

Ian pushed Shayne into the closet slightly, causing the man to tumble into you. He caught you around the waist while reflexively grabbing hold of a shelf fixed to one of the walls. You felt the heat rush to your cheeks once more, glad that his attention was more focused on making sure the two of you weren’t about to collapse onto the floor right then and there.

Once he got the two of you back on your own two feet, you wheeled around, ready to confront Ian but was met with a closed prop door.

You approached the door knob and twisted it, to find that it was locked. You shook it in hopes that this was one of the closets that would just slide open to no avail. You and Shayne were stuck in the closet with one of the hottest stage lights the company owned.

“We’ll be back in thirty minutes,” you heard Ian call out, the sounds of Courtney and Damien snickering coming from beyond the door.

“You’re dead, Hecox!” you shouted before resigning. “They’re not gonna let us out in thirty, minutes, are they?”

Shayne chuckled, trying to make the best of the situation. He had already made himself comfy on one of the wooden chests.

Then, the stage light shut off and that’s when the panic set in.

“Oh, my God,” you freaked, eyes going wide. The only light was now the half-dead emergency bulb in the ceiling of the prop closet, leaving the both of you in what was essentially the dark. You turned around and started to pound on the door, calling for your boss, Courtney, anybody. At one point, you found yourself calling for the assistant that had followed you around all day.

“We’re going to die in here,” you lamented, leaning up against a wall.

Shayne hopped off the chest and came over to you, grabbing your arm and pulling you into his chest.

“We’ll be fine,” he comforted. “It was probably just a blackout. We’ve been getting them around the studios pretty often recently. They’ll probably come back for us in a few minutes when they realize that the building’s powerless.

You nodded, calming yourself down in his arms. He was right. The crew wouldn’t leave you in here during a blackout… would they?

You started to think about how much of a safety and fire hazard leaving the two of you in here would be and started to panic again.

“Shayne,” you whimpered. “What if they can’t get back to us? If the building is on lock down then they wouldn’t be able to use their key cards to get us out and I don’t even think Ian remembers where he put the backup keys and--”

You were cut off by a pair of lips covering yours. You let out a muffled noise of surprise, before closing your eyes and leaning into the kiss. Your hands flew to his hair as he pulled you even closer, if humanly possible.

Now, when someone tells you that the fireworks aren’t real, they probably weren’t doing it right because here, with Shayne, it was like the Fourth of July. You felt the lust, the passion, the absolute adoration for the man that held you in his arms well up inside you until you had to pull away for air.

You pulled back, struggling to regain control over your breathing. You looked up into his brilliant baby blues and searched for a reason behind what he had just done.

“Uh,” he licked his lips, “you were panicking and I had to do something so that you wouldn’t pass out or--”

You cut him off that time, standing up on your toes to meet him with another kiss, just as passionate as the last.

“What was that for?” he asked, when you finally pulled back.

You bit your lip. “I’ve liked you for a long time,” you finally admitted. “And it sucks that it took our coworkers locking us in a room together that I finally grew up and did something about it.”

Shayne glanced at the still-closed doors. “Yeah, those assholes. Forcing me to get kissed twice by the woman that I am deeply infatuated with.”

He kissed you again, laughing as your lips met. You pulled back and kissed his cheek and then down his jaw, settling one last kiss over his lips for good measure.

“You know, we should totally fuck with them,” you proposed, a hint of playfulness behind your eyes. “And then go home and figure this out on our own terms.”

Shayne’s eyes met yours with the same intentions behind his eyes as yours. “Are you thinking that I’m thinking?”

You nodded before kissing him again, and again, and again…

It was forty-five minutes later until your coworkers came to your rescue.

Putting your plan into action, you crossed your arms and turned your head away from him. You were sure there were still black tear marks down your face from when you had started crying earlier, after realizing the power in the building had gone out.

Ian was the first to apologize upon seeing your disheveled state. Thankfully, he had taken the state of your hair and makeup as a sign you were actually distraught. He apologized, along with the others, for locking you in the prop closet in the first place.

You told them it was okay and that you just wanted to go home after the ordeal you had been through.

Surprisingly, you had managed to escape the building an hour later. You met Shayne by your car, giggling as he grabbed you around the waist. He peppered your face with kisses before setting you down, allowing you to unlock your car.

He entered from the other side as you thanked whatever deity was up there for making today one of the days he had decided to carpool with Damien. His excuse was that he was just going to Uber back to his place, seeing as it wasn’t that far from the studio.

Although that was a load of bull, the two of you were heading back to your apartment to work things out.

“Those idiots,” Shayne joked as you pulled out of the lot. “They were none the wiser.”

You laughed as you drove away from the building. “I’m sure they’ll figure it out by tomorrow. After all, I’m your ride in tomorrow.”

Shayne shrugged, reaching over the console to grab your hand. “I’m fine with that. As long as I get you all to myself for tonight.”

“I’m fine with that,” you said, a grin on your face. You would spend an eternity with him if it meant you got moments like these in the future. And you were fine with that.

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dalekofchaos · 4 years ago

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Rian Johnson did Finn dirty and we gotta stop pretending he didn’t

Every now and then I am reminded how I hate how dirty Finn was done in the Sequel Trilogy. TFA started it, but TLJ continued it. JJ started it with the bait and switch, Rian continued by making sure Finn would remain a side character, which JJ would finalize in TROS.

Like I like TLJ for the visuals and Rey and Ben’s dynamic, but let’s be clear. It absolutely did nothing for Finn, Poe or Rose. Pretty much all the characters of color were given the shaft.(and one of them didn’t even get any speaking lines, NO I WILL NEVER NOT BE MAD ABOUT THIS)

Let’s take a look at what Rian Johnson did with Finn

Finn is repeatedly harmed for comedic effect. Most of his important scenes were either cut or rewritten. He is constantly belittled and mocked throughout the movie.

The beginning of Finn in the movie. Finn awakens from his coma. Does he struggle to come to terms with his near-death experience? Is he fearful that Rey is dead and he failed her? Is he scared, in pain? Nope. He falls on his face and squirts juice everywhere. The medics on-duty were on a coffee break and allowed their patient to wander the fucking halls unattended. And with that, his duel with Kylo is worthless and made a joke to laugh at.

Finn’s deleted scenes. The deleted opening where Finn wakes up. Finn and Poe’s scene on the Raddus where Finn declares he’s not joining The Resistance, but Poe simply says “you are where you belong” and hands him his coat after stitching it up for him. Then the scene where BB-8 shows Finn Rey’s last moment with Finn. Then the deleted scene with the one Stormtrooper where Finn shows restraint. and Finally the scene that shows a better death scene for Phasma......why were any of these scenes deleted? ESPECIALLY THE PHASMA ONE! I will never understand why this was deleted. Finn calls her out about her betrayal of lowering the shields and when this information is revealed, the Stormtroopers near her look suspicious and it looks as if they are going to turn on her. Phasma like the ultimate survivalist she is kills them with no hesitation. Finn cuts her hand off and blasts her into the abyss, giving Phasma a more deserving and better send off. Seriously, this is way better than their actual confrontation. What I really like about this scene is its direct connection to The Force Awakens plot point and that it acknowledges Phasma’s survivalist attitude which was introduced into her novel.

Finn’s injuries do not get attention, but Kylo’s injuries do. In The Force Awakens, Finn fights Kylo Ren. He does well, but is ultimately defeated. He is slashed in the shoulder and the spine by Kylo Ren and falls into the snow, unconscious. Now if this were in the first 6 movies, Finn would be dead or would be paralyzed. But because it’s a Disney movie, Finn heals up. Rey continues the fight and slashes Ren across the face, leaving him with a gash. The characters all escape, but Finn has to be carried to a medical station, unconscious until TLJ. Kylo Ren seems fine, ultimately jumping in a TIE fighter to try and kill his mom before getting patched up further. Finn, again, has to wake up before doing anything. Here’s the difference between Finn and Kylo’s injuries. Finn awakens in a medical bed wearing a bacta suit. His first instinct is to call out for Rey. As he jolts up, he slams his head against the medical container. He slams against it again. Regaining awareness, he opens up the medical container to find himself alone in a cargo room. He falls out of the bed, spraying medical fluids all over the place. He trudges down the hallway until Poe and BB-8 find him. His injuries are never mentioned, shown, or even referenced again. Kylo, on the other hand, is asked by Snoke how his wound is, to which he responds “it’s nothing.” He then takes that ridiculous thing off, complete with a close-up of a sad kylo Ren face, with his sutures framed to draw attention to them. This happens again in the elevator. Then we get a scene of him getting patched up soberly by a medical droid. Then we get a shirtless scene as a final showcase of his other two scars. Throughout the film, Kylo’s scars are present and framed as a constant reminder that he went through pain. Finn’s injuries are used as a joke once and promptly forgotten, and let’s not pretend that these injuries are one-to-one aside from how they’re framed. Remember Finn received injuries trying to protect Rey, while Kylo received injuries trying to murder Finn and bring Rey before Snoke, a fate worse than death. Finn received a deep wound across his spine, which can often be fatal in the real world. Kylo received a gash across his face. Finn’s injuries were worse and nobly gained. Kylo’s injuries were comparatively tame and well deserved. Yet the movie uses Finn’s pain as a joke, and Kylo’s pain as a humanizing factor. That Rey, as well as the director, cinematographer, and a considerable portion of the audience sees a scar and is willing to find sympathy with the person, no matter what they have done, is pretty reprehensible. Not only is Kylo Ren’s scar not enough to be considerably a change to his appearance, as Rian Johnson specifically modified the location of his scar because, “it looked goofy,” the scar is not the mark of an accident or from an assault, but rather from a failed assault on his part. Also, I could get into how messed up it is that scars that don’t fit Rian Johnson’s preferred model are considered goofy. Is a scar that isn’t kept to one side of the face not worth showing? Is a person with a scar you don’t personally like somehow less able to be taken seriously? By treating Kylo’s minor wounds as a big, life-changing deal, and treating Finn’s life-threatening wounds as a trivial matter of no more consequence than a joke, The Last Jedi reinforces century-old stereotypes about Black people. Specifically, it implies that Black people are somehow less affected by pain, have higher pain tolerances, or cannot be physically damaged the way White people can. This is a demonstrated, dangerous trend, where white people actually perceive Black people as experiencing less pain than White people under the same situations. Older textbooks, including some used as recently as late 2017, suggest Black people over-report the pain that they are experiencing. Doctors have declined to give painkillers to Black patients expressing the same level of discomfort that would grant a White patients the same painkillers, and some surgeons even believe that less anesthesia is needed for operations on Black people. This, of course, goes beyond the medical field, where Black people are not believed when they speak about suffering, and are expected to take more physical abuse than their White counterparts. However as the injuries are framed in a medical setting in this movie, I wanted to primarily address the medical bias as in the real world. This has been referred to as an empathy gap. When two people are hurt, with everything except the skin colour being the same, and White people feel worse for the hurt White person, there is a gap in empathy. Now, when the conditions are not the same, and the White person deserves to be hurt, and is hurt much less, and is still empathized with more, and the White man’s acts of attempted murder are framed as romance, while the Black man’s friendship is framed as harassment. Let’s also talk about Finn’s treatment. He’s placed alone in a room filled with cargo, without any monitoring. It’s almost like the medical staff doesn’t even deem his injury serious enough to receive attention. He’s not on the medical ship, which we know they have. He’s not even in the Raddus’s Medical Bay, which, again, we know they have. Finn is isolated, left unattended, injures himself, and stumbles out into the hallway without any assistance. All for a joke. Finn’s injury should have been treated with respect and acknowledgement. A scene with the doctors examining his injuries, telling Finn he is medically clear to join The Resistance and Finn sorrowed by his inability to help his friends, would have been light-years better than a scene where Kylo looks sad getting hurt while trying to kill people.

Finn’s rivalry with Kylo Ren drops instantly. Like Finn’s injuries, Finn’s rivalry with Kylo Ren is dropped for no reason whatsoever and never mentioned again. Finn and Kylo Ren are narrative foils, yet after TFA it’s dropped??? From the start they have been prominent foils to each other: dark from light and light from dark, both in the First Order but in drastically different positions. And Kylo too obviously has strong feelings about his defection. I also believe that Finn is the awakening in the force that Kylo and Snoke felt. Perhaps that is why Kylo focused on Finn and is so angry about him. Finn is also the first person to use the legacy lightsaber and is the first to actually fight Kylo. TLJ could've focused on Finn and Kylo being narrative foils having a force connection and Kylo wondering why Finn would switch to the Resistance while Finn wonders why Kylo joined The First Order and Rey standing in the middle of it all wondering with the new realization that her family has a mixed past of good and evil and her questioning where exactly does she belong? The way at the height of tfa when Kylo Ren rejected Han Solo’s offer for redemption and killed him he looked over and noticed Finn. Like they both locked eyes and in that moment was a surge of emotions between them— shock (and some fear) on Finn’s end, and anger on Kylo’s as he shouts at Finn that he’s a traitor— and those circumstances set Finn and Kylo up to be the dynamic for the sequel trilogy. They were foils, and the trilogy had the potential to truly expand on that and see their development in a final standoff/rematch at the very end. But it was wasted, because why have good movies.

Finn repeats the character arc from the last movie. Finn’s character arc from The Force Awakens was dropped completely in The Last Jedi. He does want Rey to be safe, but TLJ paints it as if Finn just wants to run away, despite the fact that he learned to be courageous, face his fears and stay and fight at the end of TFA. The First Order kidnapped Finn as a child, from his family(possibly killed his family) he was able to leave The First Order and resist the indoctrination. He no longer wanted to fight, he wanted to leave everything, he wanted Rey to come with him. When Rey was captured, Finn had something to fight for and when Kylo Ren pushed her. Finn finally stood up to his past and The First Order. He overcame his fear. So Finn should have been wanting to fight The First Order and become a big deal in The Resistance, we could have even seen Finn inspiring a Stormtrooper rebellion against Phasma and The First Order. Finn just wanting to leave is just bad writing and backtracks his entire character arc from TFA.

Went from one of the major focuses of this trilogy to a side character. Finn is the very reason why The Resistance is alive. Finn breaks his life-long brainwashing, informs Rey and Han about the importance of BB-8 and helps out in getting BB-8 to the resistance and provides vital information that lead to the destruction of STB and gets nearly killed while helping to achieve this. If it were not for Finn saving Poe, BB-8 would’ve been scrapped for parts and Rey never would’ve left Jakku. The map would either be destroyed or be in the hands of The First Order. Starkiller Base would’ve destroyed D’Qar and Ach-To. He is the reason why Poe is still alive. He is the reason why BB-8 isn’t parts and Rey left Jakku. Because of leaving Jakku, this is the sole reason why Han and Chewie were able to find the Falcon. And he is the reason why The Resistance was able to find out about Starkiller Base’s weakness. he Helps out in sabotaging STB so that Poe, the very pilot he saved in the beginning can deliver the finishing blow to Starkiller Base and destroy it completely. In the Last Jedi, Finn awakes from a coma with no one attending him. No medics or guards. He's not even on a medship, he's in the fucking cargo hold. Finn recovering from his injuries is meant to be seen as a joke and his injuries are never mentioned again, while Kylo gets sympathy and shown his scars. There was also no marketing for Finn in the build up to TLJ. Despite Finn knowing that the First Order must be fought and knows there is something bigger than himself and Rey, we then see Finn attempting to flee in an escape pod to hide with Rey. Then he meets Rose. Rose in mourning meets Finn and expects him to be this big Resistance hero, only Finn never officially became one. Rose thought he was deserting. Finn wants to escape to save Rey and because The Supremacy is tracking them through hyperspace, but Rose sees this as desertion….Desertion? You taze people for desertion? How exactly am I supposed to root for either side again? This is probably the same only less lethal treatment one could expect from The First Order. And what if The Raddus took critical damage? Are you trying to tell me Rose would taze anyone going to the escape pods? I thought she was supposed to be a mechanic, not someone who prevents escape. Despite Finn explaining himself, she tazes him. She spends the majority of the movie berating, insulting and belittling him. It's even worse in the novel. Finn, who was the main focus of the last movie, and one of the main protagonists, is now made the sidekick to Rose in a pointless side plot. Finn and Rose then get caught because none of them could bother park their ship legally. Finn, the child slave doesn’t even get to say they should save the child slaves of Canto Bight, instead he blindly follows Rose into freeing the space horses. Then they openly trusts a man who talks like a snake and is shocked when DJ betrays them. Finn and Rose are made to fail their mission pointlessly, when they could've succeeded and get caught on the way to the escape pods. Finn gets to face his oppressor and fight Phasma and end her, but Phasma's better death scene was stupidly cut for reasons I don't understand. Finn then makes one last effort to save The Resistance, the people he loves. Rose stops him. She takes one last chance to insult him and kiss him without his consent as the bunker is destroyed while The First Order prepares to kill what Finn loves....and people see this as love???

The racist undertones of how RIan Johnson wrote Finn. Finn is treated like a racist slapstick caricature. The first real problem for Finn. He is reduced to a slapstick joke in his very first scene. Finn awakens from his coma, slams his face and it is revealed that he isn’t even on the medical ship or even in the medbay on the Raddus...he is in the cargo hold and is made to be a joke. This is the Co-protagonist of the trilogy, and he’s reintroduced as a slapstick joke. Then once again he wants to runaway. I am getting a real racist vibe that Rian Johnson sees Finn as the cowardly black man troupe. That’s just downright disgusting. Moving on. Finn is paired with Rose Tico, honestly I want to like her, but bad writing prevents that. Finn is put with someone who abuses him and we are supposed to root for this and see it as romance? Let me explain. Finn is then tazed by Rose, which is understandable, she thought he was running away and she was in mourning. He also was objectively posing absolutely no threat to her, wasn’t running away, and was even trying to explain himself. Additionally, just the threat of the taser seemed to have been enough to stop him from leaving. But Rose attacked him anyways. The difference between Rey and Rose attacking Finn is Rey subdued Finn just enough to stop and interrogate him, Rose went completely overboard by paralyzing him and knocking him unconscious. It was completely unnecessary and gratuitous. Rey and Finn have a real friendship and partnership from the last movie. Rose, on the other hand, spends the rest of the movie belittling Finn and talking down to him. The book also says that she thought about using violence against him more than once after the tasing (for annoying her) and even pushed him. This displays a really problematic pattern of violence and disrespect towards Finn so yeah, multiple uses of violence and expressed desire to inflict violence on him as being abusive. I would argue that she is undeniably verbally abusive with Finn. In the movie and in the book (more so in the book) she often belittles him by calling him names and using other put downs. It seems she wants to make him feel bad about himself and bring him down, which is abusive. Of course, it doesn’t really matter what her intent is, even if she doesn’t “mean to be mean” it still counts as verbal abuse. So, in summary, her repeated threats and use of violence against Finn and her continual use of insults and put downs causes me to come to the conclusion that she is abusive to Finn. For the record I am not saying Rose Tico is abusive towards Finn, I am saying how Rian wrote Rose towards Finn is hostile for no reason whatsoever and could be interpreted as abusive and it’s downright tone deaf how the abuse and tazing is directed at the black man of the trilogy. Then Finn is made to fail. The only time he is allowed to be portrayed as a protagonist is him facing his abuser and taking her down. My only problem is they cut out Phasma’s better death scene. Finn reveals Phasma shut down the shields for Starkiller Base, and that gets the Stormtroopers to turn on Phasma. This is what I would hope starts a Stormtrooper Rebellion. Finn’s defection was withheld information by Hux and Phasma in fear of a full on rebellion. Humanizing Stormtroopers and having one become a hero is kind of genius, but the way they did it in Episode 7 made it seem like Finn was the ONLY good Stormtrooper, which has to be an impossibility. If one Stormtrooper can suddenly switch sides, what's to say that others couldn't? And since Episode IX will most likely see the fall of the First Order, I personally think that Finn should convince all (or most of) the Stormtroopers to turn against Kylo and Hux, leading to a cool final scene where the First Order is ultimately destroyed by their own henchmen, children who were abducted and indoctrinated take back their narrative. That would be cooler and more unique, I think, than another Resistance vs. First Order space shootout, or Rey and her possible Jedi apprentice army taking them down. The most insulting part of the movie is the last part. Finn’s suicide run. Finn was the best Stormtrooper and knows about The First Order’s weapons, he should know full well that speeder would be destroyed trying to destroy the mini death star. Finn’s attempted sacrifice was pointless, Finn was treated like garbage throughout the movie, he deserved better.

Finn was almost a big deal for the Resistance in the beginning. It is shown through cut material that Finn was in Cobalt Squadron uniform. If this was the case, there is something real simple they could’ve done. Have Finn be with Paige, have Paige and Finn have a short friendship(this actually gives Ngo Thanh Van speaking lines), Paige being in awe that Finn, someone who escaped The First Order helped The Resistance destroy Starkiller Base is working with him and she is more than happy to show him the ropes. They are co-pilots. Finn was able to save Paige from dying in space and instead she dies in his arms while leaving a bloody handprint on his heart, working as a callback to when Slip died in Finn’s arms and left a bloody handprint on his helmet and her last words being “tell my sister I love her. Finn brings the bad news to Rose and gives Rose Paige’s pendant. Rose breaks down and hugs Finn. Both Finn and Rose have a good relationship at this point and there is no pointless hostility. You could even have Finn and Rose together finding the hacker and having their plan succeed and just having DJ betray them as they make it to the escape pod. And Finn and Phasma do have their fight, but keep in the deleted Phasma death scene. Instead of that? Nothing and instead of that we get a conflicting and hostile relationship between Finn and Rose and Paige has no speaking lines.

Rian Johnson rejected any and every possible character arc for Finn. Rian squandered a proactive, clearly-defined character from TFA, trying to make him fit moment after moment because he had no real big-picture idea what to do with this guy. And in light of Rian presenting himself as a progressive voice, he deserves to be challenged on why he failed a complex, heroic black character so abysmally while giving clear focus and dignity to the white male villain of the piece. (And this isn’t to say I want Kylo Ren’s character development to be worse, it’s saying I want Finn’s to be better.) But he shouldn’t just have treated Finn with care and dignity because it would’ve been more “progressive” - he should’ve done it because it would’ve made a better MOVIE.

Finn is brought to a white man, put on his knees, and is slapped in the face by said white man who once commanded him. Why? No Answers

Rian Johnson had Finn and Rose arrested and locked in a prison cell. Him and Rose are the only characters to be arrested (as in, not kidnapped by evil regime) in the Skywalker saga. PLUS they were immediately electrocuted after being pointed out to the space cops.

Rian admitted not wanting Finn and Poe together because he can't see them as two separate characters(he can't see two men of color as two different characters, let that sink in) and because in his words they "got along too well" and Rose is only there to give Finn 'conflict" We were robbed of Finn and Poe being boyfriends. I love Rose Tico as a character, but I will always want Finn and Poe to be together, aside from the amazing chemistry Finn and Poe have together and John and Oscar have together, if we get to see a gay relationship portrayed in Star Wars, it will show boys and girls who are gay that nothing is wrong with you, you are perfect the way they are and the way they love is beautiful. Oscar Isaac fought to have Finn/Poe together, he encouraged the shippers that the relationship they want is valid and supports it. And I feel so bitter after finding out Finn and Poe were meant to have scenes together in Canto Bight but were separated because Rian Johnson said “those two were getting along too well and that would be boring” aka Disney doesn’t want gay characters in their cash cow. Despite Oscar’s fight, FInnpoe did not happen and it’s a damn shame.

Rian Johnson joked about keeping Finn in a coma

Rian had a scene written where Finn was too bumbling/confused to know how to put on a tuxedo. He also had a scene where he sees alien ass unconsensually.

Finn’s suicide run. Finn knows about the weapon during his time as a Stormtrooper, so he should know full well that speeder would be destroyed trying to destroy the mini death star. Finn’s attempted sacrifice was pointless as he knew that it wouldn’t work.

Rian has Rose explain to Finn, A CHILD SOLDIER, that war and child slavery are wrong. Surely you see the issue there.

Finn almost had memories of his upbringing, but Rian chose to cut it. "In the original scene, Rose’s story of her childhood was a bit tamer and Finn shared his backstory with her, revealing a further connection between the two characters – that they both had family members taken by the First Order. Most of the sequence was reshot."

Rose stopping Finn. “that’s how we win, not by fighting what we hate, by saving what we love.” That makes no sense and ignores the entire narrative of Star Wars and heroism of the saga. Paige, her sister sacrificed herself to save The Resistance. Holdo sacrificed herself to save The Resistance. The Rogue One crew sacrificed themselves. Kanan Jarrus sacrificed himself to save what he loved. Finn’s entire arc in the movie was learning not to just think about running away with Rey and fight for a greater cause and when the time comes for Finn to prove that he’s grown as a character, he can’t? What was the point of Finn’s arc in the movie? And let’s talk about Poe. Shouldn’t Poe be sacrificing himself? Poe has spent the entire film watching others die and give their lives and he’s never backed down, so shouldn’t Poe be in Finn’s place? And if Rose stopped Finn who would save The Resistance? We saw after Rose stopped Finn, the bunker was blown up by the battering ram. Absolutely NO ONE knew that Luke was going to make his surprise entrance and save everyone. For all we knew, The First Order would’ve moved into the bunker and killed everyone and The Resistance.

I am well aware that JJ Abrams did Finn no better, I even talked about it here. But let’s be honest, Rian didn’t know what to do with Finn and truly did him dirty.

This was really the easiest character arc for them to write. Indoctrinated Child Soldier turned Elite Soldier who after realizing what he was doing was wrong, wants to make things right, hunted by the FO for treason and because he knows too much, he slowly finds his path with the resistance and trains in the force with Rey and together they rise as the new Jedi, oh and Poe is his boyfriend.

It is my own personal headcanon that The force chooses Finn because he chose empathy for his fallen brother and chose to walk away from killing innocents.

Finn had potential to be one of the best characters we ever got in Star Wars. It’s been over 3 years since he was sidelined in the sequel trilogy and it still upsets me to this day. John really deserved better, to be marketed like this and then sidelined is just awful.

Finn in The Force Awakens: trooper number as call back to Leia, Awakening in the Force, & call to the hero’s journey/defending the symbolic hope of the Skywalker family is peak Star Wars & whatever was Abram’s original intent for Finn’s prominence in the ST; undone by studio interference because KK and China did not want a black lead.

Finn was the literal 1st face we saw when they teased The Force Awakens, it's clear he was supposed to lead the way for the future of Star Wars, criminal what they did to the character and god forbid a person of color saves the galaxy because some of ya’ll can't handle it

Finn was setup as the male lead and co-protagonist of the sequel trilogy. That’s not an opinion, that’s not a headcanon, that’s a literally fact. He was set up to be equal with Rey & Kylo’s foil and we all know why that changed.

At the start of the trilogy, we all thought people of color would have a prominent role in the new trilogy and there was a potential for the first LGBT relationship in Star Wars. But no, it’s clear that both TLJ and TROS gave us the impression that only white people can be Jedi and save the galaxy, people of color can only have secondary roles. And the blink and you miss it kiss? Only white women, not two men of color who clearly love each other.

Finn deserved to be a main character alongside Rey and Ben. He deserved a good character development, a great arc, an interesting backstory. he had the potential to become one of the most epic star wars characters. TLJ and TROS was an insult for him and he deserved better. nobody will EVER change my mind.

Finn should have been a Stormtrooper turned Jedi. It doesn’t matter that you think it tells a better story for him to not be a Jedi. “Finn being a hero who is not a Jedi is important.” Poe and Rose are great examples of ordinary heroes coming from nowhere. Rey was supposed to be a jedi related to Skywalker or Kenobi legacy while Finn was the perfect "nobody from nowhere" that becomes a Jedi. And honestly, Black kids deserved to see themselves in the Black Jedi and black kids deserved to see themselves as one of the three protagonists of the trilogy.

#Star Wars #Finn #Finnpoe #Finnrey #Reylo

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what-if-i-imagine · 4 years ago

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Hey darling, do you think you could do a DamiJon one shot with the sentence starter "Are we on a date right now?" Where Damian is very oblivious to his and Jon's feelings and doesn't understand crushes/love much to Jon's frustration?

Sorry This took so long! It doesn’t exactly match up with the last pat of the prompt, but here you go!

It was a sunny day, as was the usual for the bright and busy city of Metropolis, and Damian swore he was the only one for miles who was not enjoying the lack of cloud cover and gloomy weather. Everyone they passed by on the streets wore blinding smiles and talked with too much enthusiasm for a Monday afternoon. People waved at strangers and stopped for street performers, and in general acted as the Utopian image of city life.

Damian almost found himself missing the dark and very real streets of Gotham. Almost.

Of course, that didn’t mean he wasn’t enjoying the day so far.

At that particular moment, he was walking down a sidewalk with a certain Kryptonian boy who was laughing far too hard for someone who hadn’t been told a joke.

“The acting was unrealistic, the CGI was terrible and the props and costumes were the work of anmitures,” Damian persisted, still hung up on the awful movie they had gotten out of half an hour before. It had been the newest installment in the Sunrise series, and it was so bad Damian would have been at a loss for words if he were forced to watch just five more minutes.

He had only gone to see it in the first place because Jon had loved the first movie and he, Raven and Todd had all loved the books. If the books were anything like the movie had been, Damian would have to have a serious talk with his friends and brother about their taste in media.

“Stop laughing, I’m serious,” Damian huffed, but despite his annoyance he was fighting a smile of his own.

“It’s good bad,” Jon said through his laughter, wiping tears from his eyes and clutching his side.

“That wasn’t ‘good bad’ it was a disgrace to all of cinema!” Damian scoffed. “I knew you were tasteless, but I had no clue it was this atrocious.”

“You just aren’t getting it because you’re taking it too seriously,” Jon insisted. “If you stop looking at it as an actual romance and look at it from a comedic angle, it’s the best thing ever.”

“The protagonist was bland, her love interests behaviors were unrealistic, and the message of the story is disgusting,” Damian continued to list off the movie’s flaws.

“Damian, stop for one second,” Jon said, finally freed of his laughter. “Remember, we aren’t the intended audience. The intended audience is teenage girls. It wasn’t meant for a message, it was meant for escapism and wish fulfillment for its intended audience. When you keep that in mind, it’s an absolute masterpiece.”

“Tt, whatever you say farm boy,” Damian rolled his eyes. He checked his watch while Jon laughed a little more. “We still have three hours before we have to meet Drake and the Clone.”

“Perfect,” Jon bounced. “That means we have time to stop by the arcade, sweets shop and my favorite cafe!”

“If you insist,” Damian sighed.

“Don’t be like that, I’ve had this day planned for weeks!” Jon whined, tugging on his arm. “I even did extra chores this week so we would have enough money.

“You could have just asked me to bring my wallet,” Damian said.

“Nu-uh, there is no way I’m letting you pay for our first outing together,” Jon shook his head.

“This isn’t our first-” Damian was quickly cut off as Jon pulled him into the arcade, his super speed and strength slipping ever so slightly so that he had to rub his arm and catch his breath afterwards. By the time he regained his balance, Jon had rushed over to the coin machine and was feeding in a twenty he had earned from mowing the lawn and washing the dishes.

When he came back, he took Damian’s hand and dumped about half of the coins into it with a grin. He had been practically glowing ever since they had met up that morning, an effect that Damian could easily write off as being due to the shining sun and not his presence, as Drake had insisted. Even inside the arcade, shaded and away from the sun, the fifteen year old was still shining brighter than any of the neon lights around them.

Damian just shook his head but relented as Jon dragged him around the arcade, showing off his gaming skills and earning tickets. Damian was decent at most of the games, but was too unused to the mode of gaming compared to the consuls he played on with his family to truly be any good. He would never admit that out loud of course. It would go right to Jon’s head he was sure.

Damian had run out of coins and only had a fistful of tickets by the time Jon was down to his last two had had a plastic bag filled.

For his last game, Jon took Damian by the hand and pulled him towards an arm wrestling game that reached to the ceiling with a bell at the top. Damian had seen such a game in a cheesy movie Brown had shown him and the rest of the family. After asking his father more about the game, he was informed that, as many carnival games were, it was completely rigged and impossible to win.

“Those don’t actually work you know,” Damian said, leaning against the machine with an unimpressed raise to his brow. “Even for your strength it won't budge.”

“Want to bet?” Jon asked, his grin growing wider, a far cry from the shy and timid Jon Kent and much closer to the Superboy he knew from their late night escapades.

Damian snorted but gave a single nod. A simple dip of his chin, never breaking eye contact.

“All of the loser’s tickets to the winner?” Jon asked.

“Whatever you say,” Damian agreed.

Jon rolled up his sleeves and, gaze still on Damian, took hold of the fake hand and started the simulated arm wrestling contest.

Damian actually gave a jump when he felt something rush past him inside the machine and hit the bell at the top with an almost deafening ding ding ding!

While he stared wide eyed up at the bell, Jon cheered and collected the tickets spilling out from the machine into his plastic bag. When Damian turned back to him, still slightly in shock, Jon was holding out his hand expectantly with a self satisfied smirk.

“The machine must be broken,” Damian said as he handed them over.

“Whatever you say,” Jon teased. After taking the tickets, he took Damian’s hand again and went up to the prize counter to feed the tickets into a machine to get a receipt. He handed off said recit to a tired looking teenager, only a year or so older than Damian, bouncing on his heels.

“Could I have that bear?” he asked, pointing up to the ceiling. Damian followed his finger’s direction and found a large bear that was at least five feet tall hanging from the ceiling. It had a superman symbol on it’s chest in the shape of a heart, which was more than enough to make Damian roll his eyes. It was very much something the young Kent would waste his tickets on as a gag with his family.

The teenager behind the counter smiled through their clear as day lack of sleep and scanned both the recibt and the little sign that announced the bear’s price. He had to pull over a ladder and get a long hooked pole to unloop the bear from where it was hung up, and struggled with handing it to Jon over the counter.

As soon as the bear was in his arms, though, Jon immediately pushed it to Damian’s chest. He struggled at first, with the bear being as big as himself, but managed to get a good hold on it and look around it to furrow his brows in question.

“I won it for you,” Jon said like it was obvious. “If you need me to carry it it can.”

“I am perfectly fine carrying the monstrosity on my own,” Damian said. “You couldn’t have chosen a more impractical gift?”

“It's not an impractical gift,” Jon said. “It’s cute.”

“Can it not be both?” Damian asked, but relented in following Jon out of the arcade the fastest he could with the monstrous stuffed animal in his arms.

“Sweets shop or cafe next?” Jon said allowed, though it was clear he was asking himself.

“We only have time left for one of the two,” Damian said after checking his watch again.

“Cafe it is then!” Jon said. He guided Damian back down the Metropolis sidewalk, pointing out different stores and vendors along the way as he told stories about them. Damian only heard half of the stories, his sight too focused on Jon’s lit up and expressive face for any of his other senses to properly function.

Halfway through a story about a noodle store he liked to visit with his older brother, Jon noticed Damian’s staring. He ducked his head, his cheeks flaring bright red, and Damian couldn’t help but give the smallest of smiles at the reaction.

The rest of the walk to the cafe, Jon’s voice was back to its usual shy softness as he chatted on about the city he so clearly loved. Damian didn’t stop his staring, but did end up lost in his own thoughts about the past years’ events.

He could still very clearly remember the day when he was thirteen and his father had carefully sat him down in his study for a talk. During that talk, he was told of one of the most disturbing things yet to happen in his life, which was saying something considering his childhood.

Through dimension hopping events that Damian never bothered to understand, Jon had gone from ten years old to seventeen overnight. He was different now that he was so much older, and Damian found a hole grow in his chest from the loss of his closest friend.

The event was possibly the thing that finally cemented his bond with Drake, and they had both lost their kryptonian friends under circumstances completely out of their control. The only problem Damian saw with the bonding they had done was that Drake had gotten Conner back. Not only had he gotten him back, but the two had started dating not too long after his return, which brought Damian an odd sense of jealousy he had never been able to understand.

After a year of consideration between himself and his parents, Jon had gone to Zatanna for help in reversing his physical age. The magician had agreed, but had only been half successful in her daunting task. The next time Damian saw Jon, he was only a year younger than him, still with his ever present height advantage, now coupled with his mental age.

Damian was still ashamed when he remembered his initial reaction of slamming the door in Jon’s face. He had refused to speak to the Kryptonian for months on end, so unsure of how to feel about the entire situation he had found himself in. He had gotten his friends back, but he wasn’t sure if he was still really his friend.

He still wished that his family could have stopped being so damn unconditionally supportive for one moment and knocked some sense into him so he could have accepted Jon’s returned presence in his life earlier than he actually had.

It had been a year since the two had fully reunited, apologies coming from both ends despite Damian’s admit denial that Jon had anything to apologize for. He was big enough to admit he had been the one fully in the wrong even though everyone repeatedly told him his reaction was perfectly reasonable for a fourteen year old presented with such a stressful situation. Even at sixteen, he couldn’t understand Jon’s easy forgiveness of his behavior.

“Dami?” Jon pulled him from his thoughts gently, cheeks faded to a much softer pink, but the blush still clearly present.

“I’m okay,” Damian nodded, ignoring the clear pull in his chest. Jon had been so gentle with him the past year no matter how much they had both moved on, and it was enough to drive him crazy “You were saying?”

“We’re here,” Jon smiled, nodding to the cafe now in front of them.

Damian gave a small smile in return and followed Jon to the outdoor table he claimed to be his favorite. While Jon placed their orders at the front, Damian set the super bear up in one of the seats at the table. He pulled out his phone while he waited, finding texts from Grayson, Todd and Brown all asking him a variation of ‘how’s the date going?’

Damian responded to all the texts from his prying siblings with ‘it’s not a date’ and put his phone away again to look around at the others sitting outside of the cafe.

There were a few younger high school and older middle school students hanging around the tables and benches outside the cafe, enjoying the nice weather and food Jon had claimed to be some of the best in metropolis (“Besides that one time Conner brought me with him to a custody required dinner with Lex a few years ago. That was the best,” he remembered the teen chatting on the walk there). Damian realized Jon had probably learned about the cafe from friends he knew from school.

As he looked around, though, he noticed more and more that the other teens around him were all there in pairs. Sipping on milkshakes and coffees together while they ate a split pastry. Some were holding hands over or under the table, or kissing on benches or leaned against the cafe’s garden walls. Subconsciously he found himself beginning to go into panic, because this was clearly not a place a normal friend from school would take Jon.

He didn’t understand why he was panicking at the notion of the boy having a boyfriend or girlfriend, or having gone on dates before. He was mentally aged to nineteen, even if he was currently dwelling in the body of a fifteen year old.

Maybe it was because sitting among these couples brought out something in him that had nothing to do with Jon. At least, he was pretty sure it had nothing to do with Jon.

He had never felt threatened or out of place when at events that had many couples, his age, younger and older, all gathered and acting as couples. He knew the divorce, widowing and murder rates in Gotham meant that very few couples actually lasted for life. Even around his family he never found himself upset because he was too happy for their pairings. His father and Selina had made a great match despite his earlier doubts, Grayson and West were married with kids of their own, Todd and Harper as dysfunctional as they were still held Damian’s vote as the best fit couple in the family, and Drake and Jon’s cloned older brother were engaged to be wed in the spring.

But these couples were affecting him in such a way that he started to squeeze his stuffed bear’s paw under the table.

What’s wrong with Gotham? He thought, rerunning every statistic and horror story of love he knew from the city. The thought quickly morphed into What’s wrong with me?

It had been a long time since he asked that question, two years to be exact, and it was quickly waved away back to his first question. It had taken years of extensive therapy ordered by Alfred and plenty of love and care from his family, colleagues and friends to help him accept there wasn’t anything wrong with him. He was raised in harsh circumstances that his mother had gotten him out of and to his father the soonest she could. He had built walls and defences, and he knew now at a more mature age that they were all just for show and were unneeded now.

He looked around at the couples again and forced his heart not to harden in the presence. It was beautiful what youth and a good city could do to grow love, and he would be damned if he let a coping mechanism from his childhood make him view it as any less.

“Sorry I took so long,” Jon’s laugh caught his attention and he gave a soft smile up at his friend.

“Not at all.”

Jon took his seat across from him and sat down the tall pink and white milkshake between them as well as a napkin with two cookies on it. Just with a glance Damian could tell Jon had gotten him a dark chocolate variety, and couldn’t help but let his smile grow.

His attention on the cookies of course made him belatedly notice that the milkshake was singular and had two straws sticking up from the top.

“I wasn’t sure what flavor you wanted,” Jon admitted while Damian’s gaze whipped around them, knowing there must be a mistake. Instead of an explanation, Damian’s eyes locked onto a few couples who had a drink or milkshake set up the same way. One drink, two straws, with them drinking from them happily as they stared into each other’s eyes.

“It’s strawberry and cream,” Jon said, drawing his attention again. The teen across from him was nervously adjusting his glasses and pushing back his dark curls, looking anywhere but Damian. Damian noticed the faint blush dusting his cheeks and smiled, before his entire face went red at realization that he had just smiled at his friend blushing.

His brothers’ and Brown’s texts suddenly came back to mind, along with a few romcoms they had watched together and his own observations of his family and their significant others. The movie with a shared bucket of popcorn, the holding hands, the bear purchased and given after winning an arcade game, and now the obviously romantic cafe with a two straw milkshake and a blush.

“Are we on a date right now?” Damian blurted, eyebrow furrowed but eyes wide.

Jon’s head snapped up so quick Damian had barely seen it, compliments of super speed, his eyes equally as wide, “I thought we were, but your expression is telling a totally different story. You don’t have any kryptonite batarangs on you right now, right?”

“Why would I-” Damian shook his head, “We’re on a date no one had the decency to tell me?”

Well, technically Grayson, Todd and Brown had told him, but that wasn’t important. What was important was how shrill his voice was to his own ears, and the sympathetic glances a few couples were giving him.

“I asked Tim to ask you if you go on a date with me since my phone broke,” Jon was babbling now, hands flying around as he tried to explain. “I thought when he told Conner that you said yes you were saying yes to the date!”

A set up, Damian realized. Drake had fully intended for this mess to happen just to spite him. The man was lucky Damian now accepted he loved him, or he would never live to see his spring wedding.

“I need a second,” Damian said, resting his head in his hands. His face felt hot under his fingers, and he feared to imagine just how red it had become. A lifetime of training was all falling apart all because he had spent an entire date with a cute boy completely in the dark to the fact that it was a date.

Wait. Cute boy?

Did he think Jon was cute? Jon was cute, he had always known that, but did he really think he was cute in the way that Drake found the clone cute?

He had been jealous when Tim got the clone back but he lost Jon. That meant something, he had always known that, but he had never really looked into it. If he thought Jon was cute in that way, it explained the jealousy. The feeling of emptiness the half kryptonian boy’s absence had left him with. The reaction of honest to god fear when Jon came back in a way that was definitely socially unacceptable for him to be with.

Jon is cute. I like Jon. Jon likes me…

“Dami?” Jon said quietly, nervously. No, it was more than nerves now, he was afraid. He was afraid in the same way Damian had seen him in his older form. Rejection and heartbreak surly making the taste in his mouth bitter as apologies he didn't need to say weighed on his tongue.

“We’re on a date,” Damian finally said, peeking up from behind his finger. He said it as the statement it was and not the question from before.

“If you want to be,” Jon nodded, some of the fear falling away.

Damian took his hands away from his face but kept his eyes on the milkshake instead of Jon’s face. It was already starting to melt and turn sluggish in its tall cup.

“I want to be,” he said, a soft smile falling on his lips.

“Thank goodness, because I don’t know what I would tell Mom if I went home single,” Jon sighed in relief, then stopped. “That does mean you want to be my boyfriend, right?”

“I want to be your boyfriend,” Damian affirmed, smile growing wider. There was something fuzzy and warm and safe growing in his chest. It reminded him of Jon, as silly as it was considering Jon was the one who put it there.

“Thank goodness,” Jon repeated, letting his head fall on the table. “I think that was the most stressful thing I’ve ever done.”

“Jon, you’ve fought gods.”

“That was a hundred times easier than this was.”

“The milkshake is melting.”

Jon bounced up at that and quickly leaned forward to start gulping the sugary drink from his straw. Damian shook his head with a smaller smile and leaned forward as well.

His face lit up in heat once again when their noses brushed and Damian realized just how close there were, but he didn’t pull back. The milkshake was good, but it had nothing on the bashful and overwhelmingly happy look in Jon’s eyes. Damian was sure it was a look he could get drunk off of if he tried.

“We should probably get going,” Jon said with heavy remorse after they finished the milkshake.

“Probably,” Damian agreed, checking his watch. He wished he had the ability to make time stop, just for a second. He had just found out this was a date, and it was already ending. He would have to use the walk back to Drake and the clone to make up for that lost time.

As they walked down the sidewalk they finished their cookies and stared ahead at the near setting sun. When they were both finished, Damian took Jon’s hand and intertwined their fingers without looking towards him.

“Our next date you should take me to that sweets shop you’ve been talking about,” Damian said with a smile teasing his lips. He glanced from the corner of his eye just in time to catch Jon smiling a close lipped but wide smile. Domain was sure he would never get over how shy Jon could get in his civilian persona.

“I will,” Jon promised.

They reached the fountain they were meeting their brothers much too soon for Damian’s liking. Drake and clone spoted them right away, surly partially due to the oversized stuffed bear Damian was hulling along, and smiled upon spotting their intertwined fingers.

“I see the date went well,” Drake said with a devilish grin.

“No thanks to you,” Damian glared.

“He was just having a little fun,” the older Kent boy waved off Damian’s anger. “You figured it out before it ended at least.”

“Barely,” Damian rolled his eyes.

“But we still had fun,” Jon interjected. “Thank you for bringing Damian with you. It was a good first date.”

“First date as in there will be more,” the clone’s grin matched his fiance’s as he looked between them. “Jon you sly dog, did you get yourself a bat boyfriend?”

“Oh my God,” Jon mumbled, face going red in a new way for that day that was more familiar to Damian as his My Family is Embarrassing me Please Send Help face, as titled by his brother.

“He did,” Damian spoke up for him with a slightly puffed chest.

“I did,” Jon repeated with a smile down at Damian.

“Well, it’s time for me to get your little bat back to Gotham,” Tim interjected.

“Who are you calling little?” Damian raised an eyebrow. He was as tall as Drake and still growing. If it weren’t for Cain, Drake would have been the shortest of the bats.

“Can you please let me live in a fantasy where my little brother is still little for five minutes?” Drake pleaded with him.

Damian rolled his eyes again as Drake kissed his fiance goodbye.

Together they started to walk away from the Kent brothers and back to Drake’s car. Drake allowed the kick that came to his shins as they walked off and even smiled. When they got to the car, Damian had made up his mind.

“Hold this,” Damian said, passing the bear off to Drake as quickly as he could with a stuffed animal of it;s size. “If you drop Jon Jr. I won't hesitate to stick a blade in your shin.”

“Got it, no dropping,” Drake grinned at him over the bear. “Go get him.”

Damian nodded and ran back in the direction they had come from until he reached the fountain and spotted the Kent brothers walking in the other direction. He had to rush to keep up with even just their walking speed, reminding him of how much Jon had to control himself and slow down the entire day. Luckily his own speed, as human as it was, was enough to reach them before they got to the clone’s car.

Without a word, Damian grabbed Jon’s arm as he turned to face him, and pushed up onto his tiptoes to lock their lips together. Jon froze under his hand before melting into the kiss and sliding his hand into Damian’s hair and his other arm around his waist for support.

Damian pulled back with Jon chasing after his lips with his eyes closed. He smiled at the sight and pecked Jon’s lips one more time before parting fully and starting his run back in the direction of his brother’s car.

“You’ll call me, right?” he heard Jon yell behind him.

Damian turned on his heel to look back, “Get your phone fixed and I will.”

Then he kept running, a wide grin on his face.

Maybe sunny days in Metropolis weren't so bad after all.

#damian wayne #jon kent #jonathan kent #damijon #jondami #willow writes prompts #willow writes #tim drake #kon el #conner kent #timkon #batfam #batfamily #superfam #robin #superboy

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bittersweetmelxdy · 5 years ago

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Hey. Love your work. Could you do a headcanon, mlqc boys babysit their children with managing their work, while mc is away for a day.?

Hi, don’t know why this took me so long, I would write something go to bed and then wake up not like how it sounds an then delete it. So I’m so sorry this took so long and I thank you for your patience dear. Anyway, there is no way these boys are getting their work down whilst looking after their babies, esp. when they don’t do it on the regular XD Hope you enjoy it xxx

Victor:

It was while you were helping Victor cook breakfast, that you mentioned that you needed to be at the company today for a series of meetings. You spoke about it casually, also mentioning how the children had the day off from school, and “it’s really a coincidence you’re off today Victor, I’m sure the children would love to spend time with you. But if you’re too busy-”

Victor sighed, shut off the stove and then pulled you by your forearm, hushing you with a deep kiss, before flicking your forehead, “Alright, alright, I’ll look after the children today, whilst you’re at work.” Despite the slight pain in your forehead you smiled slyly at Victor, taking the plates containing the children’s breakfasts to the table, hip checking Victor on the way.

“Melody, Hugo, breakfast!” you called as you stepped into the dining room, putting the plates on the table as your five-year old and your two-year old ran into the room, nearly tripping Victor in the process as Hugo tripped over his little socked feet and ended up on his hands and knees in the middle of the hallway.

“Don’t run in the hallways.” Victor scolded, reaching down to scoop Hugo into his arms, checking him over for injuries, and kissing the side of his head before putting him in the chair in front of his breakfast, but just before he let go, Hugo started to fuss.

“No Dada, I sit wiv you.” Hugo pleaded, his hands clutching Victor’s wrist. “Dada, please.”

Victor smiled affectionately at his son, throwing a glance at you, and picked Hugo up at took him to his seat at the head of the table. After sitting down, with Hugo in his lap, Victor waited until you had moved Hugo’s breakfast of buttered soldiers and sliced apples, next to Victor’s breakfast, before he began to eat.

Whilst you all ate, you broke the news to the children that although you were going to work today, their father was going to be looking after them today. Melody excitedly clapped her hands, beginning to chatter about all the things Victor could do with her today. Hugo, being so little, didn’t quite understand exactly what you meant, but fed off Melody’s excitement, and clapped his hands together with her, looking up at his father for approval.

However, that calm happy atmosphere disappeared as soon as you prepared to leave, Hugo was so used to you being with him, that as soon as he realised you were leaving, he started to fuss. You tried to soothe the squirming toddler that was desperately making grabby hands in hopes that his mother would pick him up and take him to work with her.

“Shh, Hugo, son, it’s fine your mother will be back soon.” Victor picked up Hugo and hushed him gently, his deep tones soothing the toddler, who realising that he was at least being held, turned to blink owlishly at his father.

“Dada, can we bake today? You said the next time you were off you would help us.” Melody bounced along next to him, as he walked back to the kitchen.

Victor glanced at the door to his study, but realising there was no way he was going to be able to do any work unless the children were tired out, and right now they definitely were not, shook his head and walked back to the kitchen. Placing Hugo on the counter, he took the step stool and placed it so Melody could hop onto it and be at the right height for the counter.

“Alright what do you want to make?” Victor asked, rolling his sleeves up to show his forearms.

“Cupcakes!” Melody cheered, stumbling slightly on the stool and Victor quickly reached out to steady her.

“Hey, careful, you’re as bad as your mother sometimes.” Victor shook his head gently at his daughter’s antics.

After getting the bowls and spoons out, Victor gathered ingredients whilst his son banged on the counter with a spoon and Melody clapped as they sang nursery rhymes together.

Victor let Melody stir the bowl, instructing her carefully, whilst he weighed out the ingredients to the exact gram. However, they really were their mother’s children in terms of clumsiness, as just after Victor added the flour to the bowl, Hugo decided that he wanted to stir as well and grabbed the edge of the bowl tipping it.

With a comedic ‘POOF’ Victor blinked surprised, then waved away the flour cloud to reveal his son, covered head to toe in flour. Snorting slightly, muffling it with a clenched fist in front of his mouth, before reaching out to ruffle Hugo’s hair, the creating a second smaller flour cloud around his head.

Remeasuring out the flour Victor helped Melody fold the flour into the mixture, leaving briefly to change Hugo out of his flour-covered clothes, and after he scooped the mixture into various colourful cases and put them into the oven. He then picked up Hugo and moved him over to the sink where Melody was already washing her hands.

He then washed up the dishes, Melody drying them for him, receiving a kiss on the forehead for her efforts, and occasionally Victor would scoop some bubbles into his hands and then transfer them into Hugo’s hands for him to play with, (but he did have to stop Hugo from eating the bubbles for a minute).

The two children were happy to then sit and watch a movie whilst Victor checked the cupcakes, taking them out once they were ready, and taking two over to the couch where the children were. He gave Melody a whole one, and then split the other one in half so Hugo would not have a whole one.

After the children munched away, Melody happily gifting her empty case back to her father, and then the three of them finished the movie. Once the credits were rolling Victor looked beside him to see that both children had fallen asleep.

Shifting Melody under his arm, and placing Hugo so he sat on his lap and rested on his chest, Victor rubbed the bridge of his nose, surprised how tired out he was looking after the children, and decided to close his eyes for a minute.

The three of them slept peacefully until you were heard unlocking the front door of the house, the children not waking but Victor grumbled as you gently shook him awake, taking Hugo from him, and kissing Victor’s forehead as he emerged from sleep.

“Hey Victor, can you take Melody to her room? These two won’t wake until dinner.” you smiled fondly at the two sleeping children.

After the two were tucked in, you and Victor made your way to the kitchen to start preparing dinner, after a period of silence stretched between you two, you hip-checked Victor.

“I know you had work to do today, did you manage to get any work done?” you asked gently.

Victor sighed, finishing his vegetable prep, and moving so he was standing behind you, arms wrapped around your waist, head resting atop yours, “No... but that’s okay, I’ve never looked after both children by myself, so it was...interesting to say the least.”

“I’m sure you did a good job.” you assured continuing to cook, whilst remaining in Victor’s embrace.

“Of course, I did.” Victor announced and you snorted.

“My mistake, I forgot I was married to Mr Perfect CEO Victor.” you dramatically swooned at his title.

Victor pinched your cheek playfully, “Dummy.” he chuckled wryly, leaning down to kiss you, drawing away slowly, “Thank you.”

“For what?” your fluttering eyes, swimming in confusion

“Filling my life with excitement.”

Lucien:

Lucien had just finished his research paper, and had been granted a couple days off in reward, and since you had to be on set for this particular shoot, Lucien had casually offered over breakfast as the three of you ate that he wouldn’t mind looking after Aurora today for you.

It’s not that you didn’t trust Lucien, in fact you were actually really excited that Lucien wanted to look after your daughter, especially since this would be the first time you had looked after her alone. So, you happily agreed and proceeded to gather your belongings to leave, however, Aurora was not as excited for her mother to leave her.

“Butterfly, aren’t you excited your Dada’s going to be here?” you smiled, and she started to sniffle.

She nodded emphatically, “Yeah, but why does Mama have to go?”

“Mama’s off to work, but I heard Dada say he was so excited to colour with you.” you changed the subject effectively, watching Aurora stop sniffling and whip her head to her father expectantly.

“Really Dada?” she asked.

Lucien smiled and reached over, ruffling her hair affectionately, “Yeah, but Dada’s not very good so you’re going have to teach me.”

“Okay Dada!” Aurora beamed up at him, her smile near identical to yours, and you and Lucien shared a glance and a smile, at your daughter’s quick emotional turn around.

Standing up you put on your shoes, and grabbed your purse, Lucien following you with Aurora in his arms. Just before you left, he wrapped his arm around your waist drawing you into his chest, as he kissed you soundly, drawing away from you slowly. Your eyes fluttered, before smiling, love-struck at him, and after nuzzling your nose against Aurora’s, making her laugh, you detangled yourself from your family and left for work.

Lucien watched you leave until you were out of sight, before closing the front door, he then walked to the kitchen, pressing a kiss to the side of Aurora’s head after she was settled at the table. After placing the bowl of cut up fruit in front of Aurora, with her favourite spoon. and after sitting opposite her with his cup of coffee, Lucien enjoyed the soft domesticity of sharing breakfast with his daughter.

Aurora finished, presenting her empty bowl at her father with pride, “Done Dada!” she beamed and Lucien smiled and nodded in acknowledgement.

As Lucien walked to the sink to wash his cup, Aurora slipped off her chair and padded over her father, tugging slightly at his trouser leg to get his attention. Lucien looked down and saw his daughter had brought her bowl and spoon to him.

“Thank you, little Butterfly.” Lucien patted her head and she then padded off to the living room, Lucien walked her walk away, musing how she was really was growing up quickly.

When he returned the living room, Lucien saw that Aurora had pulled some of her toys out, setting out her makeshift tea party. Seeing her father, Aurora ran over, grabbed his hand and dragged him over to the rug, pointing at where she wanted him to sit.

“Sit there Dada.” Aurora said.

“You’re missing a word there Aurora.” Lucien squatted down in front of her, prompting her gently.

Aurora paused, furrowing her brows as she thought, “Oh! Pwease Dada!”

“Thank you.” Lucien sat down, as Aurora set out her stuffed animals, and then proceeded to pour imaginary tea into various cups, carefully handing them to her guests.

Lucien sipped at the tea as he listened to Aurora tell him about the “rules” of the tea party, and explained the very intricate dynamics of her stuffed animals.

Who knew, that Patch the stuffed panda was best friends with the Howly the stuffed dragon but at the last tea party they fell out and that’s why there not sitting next to each other right now, (neither did Lucien, but he did miss the last tea party, as he was working on his research paper).

After the tea party, Aurora proceeded to tidy up her tea set, singing a made-up song as she did so, and returned her stuffed animals to her room. Lucien stood up, stretching his legs and then sat on the couch. Aurora returned with book, and after struggling to climb up on the couch, Lucien helped her up and set her down in his lap.

“So, what are we reading today Aurora?” Lucien asked.

“This one!” Aurora tapped her hands on the cover twice.

Opening it up, Lucien proceeded to read ‘Jack and the Beanstalk’ to his daughter’s rapt attention, Lucien’s deep, soft tones varied with the plot of the book, changing his pitch for the different characters and overall captivating Aurora as she went on a fairy-tale adventure.

After taking a break for lunch (consisting of sandwiches and juice), Lucien helped Aurora gather her art supplies, and set up on the floor to colour with her. As Aurora coloured her elephant a vibrant sky blue, Lucien watched fondly, before she handed him a picture of a whale and handed him a dark blue coloured pencil.

“Here you go Dada.” Aurora handed him the pencil and then continued colouring.

Lucien slowly coloured in the picture, more content to watch his daughter colour within the lines with absolute concentration. Her little tongue poking out and her brow scrunched up as she lay on her front her feet kicking out in tune with a song she seemed to be singing in her head. After another twenty minutes, Lucien noticed he no longer heard any scribbling from his little companion.

Looking to his side he noticed that Aurora had fallen asleep whilst she was colouring, her colouring pencil still clutched tightly in her hand. Quietly, he stood to his feet and then gently picked her up, prying the coloured pencil carefully from her hand. Walking over to her room, Lucien pulled back the covers and then tucked her in. watching her sleep for few minutes, Lucien huffed a laugh and then leaned down to kiss her forehead.

After walking out of the room and turning the lights out, Lucien smiled, hoping he could spend more days with his daughter like this, whilst he set down to read some more research papers as he waited for his wife to come home.

Arriving back, you collapsed next to him of the couch, you sighed deeply, “Aurora asleep?”

Lucien put his research papers aside and drew you into his arms, pressing a kiss to the crown of your head, “Hard day?”

“Long day,” you corrected, “although, I think I just missed my family.” turning you head to lock eyes with Lucien, you smiled tiredly and nuzzled further into his embrace.

“Don’t worry,” Lucien squeezed you tightly, rubbing his hand over your arm soothingly as you drifted in and out of sleep, “we missed you too.”

Once you were asleep, Lucien lifted you bridal style, and like with Aurora he tucked you into bed, however this time he also joined you, embracing you lightly as you both fell asleep.

Kiro:

When Kiro suggested that he could look after the kids so you could have a day off, you stared at him wide-eyed shock, you have twins, is Kiro sure he wants to do this, really???

Kiro grinned, winking at you, “No problem, Miss Chips, you just go have fun today and leave the little Sunbeams to your own personal Superhero.” he then finished his persuasion with drawing your into his chest and kissing you soundly on the lips, continuing to grin as you giggled at his antics.

Placing your hands on his chest and pushing to create some distance, you sighed, still smiling and booped his nose, “Okay, Mr Superstar, I’ll call Anna and tell her she doesn’t need to come, but call me if you need any help okay?” Kiro nodded and both of you turned your head at the sound of two pairs of little feet padding towards you.

“Mama!” two voices called out and you and Kiro separated as Maia and Haruki ran towards you.

Kiro knelt down and opened his arms, allowing Maia to run and jump into his arms, and he hugged her tightly. Noticing Haruki padding over to you slowly, you knelt down as well, carefully taking his little hands in yours.

“Mama going?” Haruki asked quietly, blinking his big eyes at you, and you melted.

“Yeah, but your Dada’s going to look after you today, and he said you’re going to have plenty of fun okay? So be good for Mama and I’ll be back for dinner.”

“Promise?”

“Promise Haru.” you brushed his golden bangs back from his forehead and pressed a kiss to your forehead.

You then turned to Maia and squeezed her nose playfully, “You too Maia. Be good for your Dada, okay?” she giggled, and you kissed her forehead as well, before standing up, Kiro following suit.

“Okay, I’m gone.” you put on your coat, shoes and grabbed your purse before opening the door.

“Bye Mama!” the twins called from the door, waving, and Kiro finally shut the front door, and herded the two of them to the kitchen to eat breakfast.

After a fun breakfast of pancakes, you had made the night before, knowing you had to be at work (though you had made it to make life easier for the babysitter), with each member of the family rousing their pancakes in more syrup than you would have maybe allowed. Kiro seeing that it was a sunny, warm day, suggested a trip to the park.

The twins hopped up and down and rushed to change out of their pyjamas and into some other clothes, whilst Kiro made a simple lunch of sandwiches to take with them to the park. Kiro soon got his first trial of the day, chasing each twin down in order to put sunscreen on them, both Maia and Haruki disliked the idea of putting the sunscreen on and they kicked up a fuss every time you told them they had to wear it. By the time the family were ready to set out, Kiro wiped the sweat from his brow, a little tired from the ordeal.

Kiro walked down the streets of Loveland, towards the local park, holding a twin with each hand as they walked along beside him, stopping occasionally to take pictures with fans. By the time they reached the park, Kiro stopped and kneeled down to lay down some rules.

“Okay you two, stay within my line of sight okay, don’t wander off.” Kiro looked both the children in the eye, so they understood.

Maia and Haruki nodded, clasping each other’s hand and ran off towards the play structures, Maia racing ahead to slide down the slide whilst Haruki climbed on the structure, but Kiro soon followed when Maia waved him over, whilst Haruki sat at the top of the slide.

“Dada, Haru’s stuck.” Maia pointed at her brother, who was frowning at the top of the slide.

Kiro walked round to the side of the slide, resting his hands on the edge of the slide, so that he was close to his son.

“You scared Haru?” Kiro’s heart squeezed as his son looked up at him still pouting and nodded, “It’s okay, look I’ll stand at the bottom, and Maia will slide down with you okay?”

Maia nudged Haruki, and he made space for her whilst Kiro went to stand at the base of the slide, the two held hands and soon slid down together. As soon as the two reached the bottom of the slide (giggling from the thrill), Kiro knelt and scooped the two into his arms laughing as well.

“Wow, I’m so proud of the two of you.” Kiro said smiling at the two.

“Did you see how fast we went?” Haru, no longer scared of the slide, spoke excitedly, his eyes shining.

“I did.” Kiro said, ruffling his son’s golden hair, “Let’s take a break for lunch, okay?”

The three of them munched on their lunch and after they were finished, Kiro walked the children back home, them both chattering away about how much fun they had at the park.

Once back at the house, the two of them raced into the house, and Kiro took the two into the kitchen to have a drink of water, hoping that the two would now be ready to settle down so he could work on some songs. However, they were his children, and thereby had an endless amount of energy.

The two ran around the house, Kiro having to follow to make sure that they were safe and playing nice, and after picking up after the twins for 2 hours the twins finally... finally settled down in the living room, once Kiro had given them a snack. Once Kiro sat at the piano, prepared to at least do some work, the two of them climbed onto the bench next to him.

“You two want to play as well?” Kiro asked, the two children nodding quickly.

He then taught the children a simple song, and the three of them played on the piano, their laughter and their music echoing through the house, the symphony of sound greeting you as you walked through the front door, tiptoeing to surprise them.

Later that night, after the children went to bed you asked Kiro how the day went.

“You do this every day?” Kiro asked, yawning, “It was only one day, and I’m exhausted.”

“Every day Superstar.” you teased, kissing him as a reward for his hard work throughout the day.

Kiro tightened his arms around you, burying his face in your chest, “Miss Chips, I don’t deserve you, I don’t know how you do it.”

You giggled, “You did good today Kiro, the kids really enjoyed being with you, sorry you didn’t manage to get any work done though.”

“S’ok Honey.” Kiro said slowly, and noticing he was falling asleep, you carded your fingers through his hair, scratching his scalp slightly as he drifted off to sleep.

Gavin:

Prequel to this is: Ice Cream Negotiations, where Gavin looked after Caleb by himself but this time he has to deal with both babies.

“You’ll be okay right, Gavin?” you asked, as you tied your hair up into high ponytail, and then tied your yellow headband around your head.

“Love, you forget I’ve looked after Caleb before.” Gavin reminded you, placing his hands on your shoulders, and pecking your forehead lightly.

“Yeah, but with Ellie being so little, this is a whole new ballgame, Gavin.” you bit your lip, slightly worried.

Ellie was only 8 months old, and although Caleb adored his sister, you worried that because Ellie needed so much attention, Gavin may struggle to deal with the two children. Ever since Gavin had looked after Caleb by himself, Caleb was a lot more affectionate with his father. Always talking to him after work, and telling him about his school day, and it really warmed your heart to see the two of them interact.

When Ellie was born, you were worried there was going to be an awkward adjustment period for Caleb to realise he was no longer the only child. However, much to both of your surprise, Caleb was entranced by Ellie, loving to play with her, and poke her round chubby cheeks, and happy to just sit and talk to her whilst she smiled and cooed at him.

But because of how attached Caleb was to you, Gavin didn’t have too much experience caring after a baby (unlike Caleb, Ellie didn’t fuss *much* when her father held her). But if Gavin seemed confident, you were happy to put your trust in him.

Caleb didn’t have school today, and you had an early start, so after getting dressed, you and Gavin tiptoed into his room, to say goodbye to him.

Caleb woke up as the light from the hallway broke into the room, “Mum?”

“Hey son-son, I’m off to work, so be good for your Dad and look after your sister, okay?” Caleb nodded, “Love you.” you kissed his forehead, and then left.

Once at the door your spun around and as Gavin rested his hands on your hips, “Gavin, now remember, no sweets until after lunch, I do not want to come home to hear that you gave Caleb ice cream so early... again.”

Gavin ducked his head in embarrassment, and let go of your waist with one hand to scratch the back of his head, “Noted, Love.” his nuzzled his nose against yours, and after sharing a kiss you were off to work.

Turning around, after locking the door, Gavin looked up at the time and noted that he had a good few hours before the children woke up, to review some of his case files. After going back to the master bedroom to grab the baby monitor, Gavin settled himself down on the living couch so read through the cases he was in charge of both for the STF and the Loveland police force.

This continued for at least 2 hours, before Gavin’s concentration was broken by the sound of a soft wailing coming from the baby monitor. After squinting at the grainy picture on the monitor, and locating his daughter, Gavin shook his head smiling softly and prepared to go get her.

Reaching the nursery, Gavin opened the door gently and turned on the lights.

“Hey, Ellie. You ready to get up now?” he asked peering over the crib, to see his daughter, squirming in her blankets.

Recognising her father, Ellie turned to look at him, tear tracks still visible on her cheeks, and then graced him with a big gummy smile, reaching up for him. Gavin softly smiled, reaching down and picking her up, remembering from when Caleb was born to support her properly. Once she was resting on his chest, Gavin walked over to the kitchen, bouncing her lightly.

After breakfast, which pertained Gavin helping Caleb make his toast and then the two men of the house entertained Ellie, whilst she took periodic bites of baby food, and fed herself small dices of kiwi that Gavin can cut for her. Caleb asked his father to help him build a Lego set with him, Gavin agreed, and after placing Ellie on the mat in the living room next to Caleb went to tidy the kitchen.

Caleb played with his sister, whilst Gavin watched from the kitchen sink, Caleb was teaching Ellie to clap along to various nursery rhymes he had heard his mother sing to her. Ellie babbling along to the tune in her own language.

When Gavin returned his sat down behind Ellie, pulling her into his lap, and handed to her, her mother’s blue stuffed bunny (which she then prompted started chewing on its ear). And then for the next couple of hours, Gavin and Caleb carefully built the Lego set, whilst Ellie babbled along in praise of the two.

Gavin’s father had never spent time with Gavin like this, so this whole experience really pricked at Gavin’s heart, vowing as he watched his son determinedly build the Lego set, that he would never let his son go through what he went through throughout his childhood, regardless of whether he ended up having an Evol or not.

By the time they were finished it was time for lunch and the three took a short break whilst Gavin made a light lunch of ramen, and content slurping filled the dining room, as the two men scarfed down their lunch, (Gavin taking a break ever so often to feed Ellie, and occasionally plucked a noodle from his bowl, blew on it, and then handed it to Ellie as she was very curious on what her family were eating).

Since it was a nice day, being both warm and sunny, Gavin took the children outside, and Caleb was content to run around the garden blowing bubbles whilst Gavin sat on a picnic mat with Ellie and helped her catch bubbles while she shrieked with laughter.

But it seemed the sun made Ellie a little sleepy, and she soon yawned, Gavin noticing immediately.

“Hey son, Ellie needs a nap, stay here, I’ll put her to bed and then we can play catch.” Gavin said and relished in how his son’s eyes sparkled at the interest his father was taking in spending time with him.

After putting Ellie down in her bed, gently kissing her forehead and caressing her cheek with his knuckles lightly, Gavin returned outside, carrying the baby monitor, where Caleb was bouncing excitedly on his feet, holding a ball in his hands, waiting patiently for his father.

The two of them continued to play catch, Gavin giving his son pointers, and musing about in a couple of years how he could teach Caleb to play basketball. They were so lost in their game, that they didn't notice you had come home, only noticing when you cleared you throat, waving at them happily as both their heads whipped towards you.

“Mum!” Caleb yelled, dropping the ball and raced towards you, where you wrapped his arms around him and spun him around.

“Hey Caleb, you have fun today?” you asked holding his hands, crouching slightly to be at his eye level.

“Yeah Dad was teaching me to play catch!” Caleb pointed at his father, who was scratching the back of his neck embarrassed as you arched an eyebrow at him.

“I can see.” you turned back to your son, “Why don’t you go wash your hands, I brought some takeout for dinner and some cake.” at the word “cake” Caleb rushed past you into the house and you turned to look at your husband, who simply walked up to you and rested his hands on your hips.

“Welcome home Love.” Gavin smiled, your heart skipping a beat at his joyful expression.

“Did you have fun today?” you teased, as Gavin nuzzled his nose against yours.

“Yes, although I did miss you.” Gavin laughed and then led you further into the house, pressing a kiss to your temple.

“What a surprise I missed you too!” you exclaimed, and the two of you continued to laugh before you parted, you to collect your daughter, and him to find out where his son had wandered off to.

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twentiethcenturymoviesandtv · 4 years ago

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Dead Poets Society: Facets of Film

After the script is written, the story worked out, and the characters cast, the only thing left to do in order to make it to theaters is to actually make the film.

Which, as you’ve probably guessed, isn’t as simple as it sounds.

There’s a lot of effort that goes into the process of making a film, taking a story from the written page and turning it into a visual experience: props, costumes, sets, editing, special effects, music, camerawork, and, most importantly, the performances from actors that solidifies characters and makes them seem real to an audience. Film is a collaborative art form, a project consisting of several different elements that are intended to blend together in order to tell a story in a visual, meaningful way.

It’s hard work, and it certainly explains why it’s called ‘movie magic’. It is these elements that have the potential to take a film from good to great, from a cult classic to a historical blockbuster. These elements are the shark from Jaws, the cinematography of Blade Runner, the sets of The Wizard of Oz.

See, although the most important elements of any given story, whether visual or not, are the characters and story, the fact is, the production of a film isn’t detached from the story it’s telling.

Movies are filled with all of these elements for a reason: to tell the story, to accentuate and reveal the plot and characters to the audience in the most efficient way possible. Although it’s very true that some films do it better than others, the best films use these ‘facets of film’ wisely, conveying information to the viewers in ways that make sense, and keeping up the illusion of reality within the film’s context, making a film more understandable and enjoyable.

The balance can be tricky to achieve. Underachieving films can end up with shoddy effects, or less-than-stellar performances, or sloppy camerawork, and other films, with the wrong focus, can end up turning their films into more extravaganza than story. In the end, ‘balance’ is the key word, using these elements to accentuate the film and improve it, without overshadowing the things that are the most important.

All of that brings us to today’s question: Does Dead Poets Society use these tips well, or not?

Let’s take a look, starting with something that can seem kind of simple: cinematography. (Possible spoilers below!)

A camera is a powerful tool, and nowhere is that more obvious than in movies. The purpose of such an instrument is to do far more than simply film what’s going on.

The way that an individual director or cinematographer uses a camera, what it’s pointed at and how, can end up giving the audience quite a lot of information without them having to think about it. Certain shots emphasize danger, or fear, or joy, and convey quite a lot of emotion. In post-production, editing of shots are what tells the story, and are used to direct the audience’s attention to specific things, ensuring they are focused on the action while setting up the atmosphere, leaving a vivid visual impression on the viewer.

And in the case of Dead Poets Society, it’s all about atmosphere.

Cinematographer John Seale is well-known for films like Rain Man and Witness, and would go onto doing films such as Mad Max: Fury Road and The English Patient, and his work on Dead Poets Society is evidence of a man who knows his way around a camera. Seale’s work as a cinematographer is subdued, designed to enhance the story, rather than overshadow it. Many shots are of the outdoors of Welton, showing the seasons of change and giving some beautifully artistic shots for the audience to enjoy as well as demonstrating the passage of time. But although Seale shoots the outside very well, he shoots the story even better.

Some scenes stick out in people’s memory: the iconic close-up on Todd’s shoe as it hits the desk as he stands up on it at the end, or the shot looking down at Mr. Keating, literally showing another perspective, or the interesting shot that follows Neil and Todd chasing each other around their dorm room in a tight spin, and, a personal favorite, the scene of Mr. Keating in the empty classroom after Neil’s suicide, and they all do this for a reason: they are shot with extreme care for the human experience. The halls of Welton are shot with cold wide shots, emphasizing their stately nature, and how much bigger it is than the people that live there. The focused opening shots on the banners instantly instill the impression of the values of the school. The tight shots of the Dead Poets within the cave informing about the boys’ close relationship. The empty camerawork framing Neil’s suicide deliberately builds up dread in the audience as we see his actions.

All of these are excellent examples of Seale’s eye for storytelling with a camera, but none are quite so well-done as the scene where the boys tell Todd about Neil’s suicide.

The scene opens with a close-up on Charlie’s face, not Todd, even though Todd is the one being told. Afterwards, the scene immediately cuts to the boys outside in the snow, where Todd runs ahead before collapsing. The camera closes in on the boys comforting him, before Todd gets up and runs off into a wide shot of whiteness, the oncoming snow.

It’s a cold shot, one that emphasizes the grimness of the emotion, and the stillness allows us to absorb Todd’s internal turmoil. And it gets the point across.

Throughout the film, the camerawork is used to frame great visuals, even though it seems like there aren’t too many ‘distinctive’ images from the film.

The boys all dress in a school uniform: there’s not much in costuming or the way people look to differentiate them, but that’s partially the point. The conformity of Welton bleeds into everyone, and there’s no ‘differentiations’, no individuality, that’s external. It’s up to the boys internally to change.

The visuals can only get you so far, though. Also helpful for a film’s attempt at communication is music.

Dead Poets Society actually doesn’t have a whole lot of music. It’s overall a quiet film, mostly reliant on performances and camerawork to get the emotion across to the audience, but that doesn’t mean there’s no score at all.

Composer Maurice Jarre (Best known for composing for Lawrence of Arabia, Ghost, Witness, and Mad Max: Beyond Thunderdome)’s score is best utilized when it isn’t the main focus of the scene: the eerie sound of the boys sneaking into the cave for the first time, seeming almost magical or mystical as they disappear into the forest. During montage scenes of activities at Welton, a touch of the rock-and-roll sound of the 1950s can be heard. However, the score truly shines the best when its at its saddest: Neil’s suicide.

During Neil’s decision to kill himself, the music is quiet, not heavy, but definitely not light-hearted, either. It’s a devastating sound, somber, and keeps the audience knowing that something bad is about to happen.

All of these are great examples, but there’s no better example of emotional scoring than the ending.

As we’ve discussed before, the end of Dead Poets Society is very uncertain. There’s no real ‘happy’ ending, but it’s not exactly sad either, and part of that is in thanks to the way it’s scored.

When Todd leads members of his class to stand on his desk, the bagpipes start in, a victorious sound that harkens back to the beginning of the film. It’s an intensely emotional piece that doesn’t distract from the momentous amount of emotion on the screen, and it proves that, all along, whether you’re listening to the music or not, it’s always there, falling and rising to help the audience know how to feel, when they aren’t sure for themselves.

Individually, the music and the cinematography are amazing in and of themselves, but together, they blend exceptionally well in two ways: visually capturing the sets, and emotionally capturing the performances.

We’ll start with the sets.

Welton is an appropriately foreboding place, full of huge hallways. It looks old, old and rigid, because it is. It’s a stifling place, full of tradition, literally and figuratively. From the banners to the photos of famous alumni, Welton is a school concerned with how things have always been. Every building in this film feels old and grand (with the exception of Chris’s high school), from Welton to the theater, and as a result, the lively antics of Mr. Keating and his class feel all the more transgressively energetic.

Contrastingly, the outdoor scenes are open, spacious and beautiful. Even the cramped shots of the cave are more free than the more roomy halls of Welton, because of the change of atmosphere. These scenes, notably the ones where Mr. Keating teaches his class outside, are full of life and movement, a noticeable difference from the darker indoors.

But the energy present in these sets is nothing without the energy from the actors. Let’s talk about the most important part: the performances.

No matter how fantastic your sets, music, and cinematography is, they are meaningless trimming if the actors can’t pull off their characters. When it comes right down to it, it’s on the shoulders of the actors to sell their characters’ personalities and emotions. In the realm of film, a character is typically unremovable from the performance by a singular actor. Dead Poets Society pulls this off with remarkable tact.

Most obvious is Robin Williams as John Keating.

Despite the fact that Williams was best known for his comedic talents, he is suitably sober and genuine as an English professor: bubbling over with passion and a desire to help these boys learn about the power of words. He is exciting, drawing the audience in as much as the boys, putting out considerable charm as well as incredible enthusiasm and personal care for his students. He cares considerably about these boys, and tries to take care of them, giving out advice and attempting to lead them onto the right path. Occasionally, the typical Williams comedy shines through, but not in a way that feels unnatural for the character, and at the end, when he breaks down over Neil’s death, it is believable and genuinely causes pain to an audience who sympathizes with a teacher who feels responsible for losing a student. At the end, it is his expression of hope that the film begins to close on, an emotional beat that Williams’ performance brings home to end the film in a satisfactory manner.

Ethan Hawke as Todd Anderson is subtly subdued, demonstrating not a lack of emotion, but a quiet depth to it that comes across very well. We believe his transformation into a stronger person who is willing to take a stand, and his connection and grief over losing his best friend, and his nervousness overcome, revealing a poet inside.

Robert Sean Leonard as Neil Perry is also believable, performing a jarring switch between the confident leader and the obedient, dutiful son, portraying Neil’s restlessness and discontent with his situation very well. He is charming and charismatic, but in the end, a tragic figure, with his decision to end his own life played with genuinely chilling calm and resolve. We as an audience believe his passion for acting, and we understand why the other boys follow him, and we feel his absence from the rest of the film once he dies.

The other boys are acted very well also: Josh Charles as Knox Overstreet is appropriately dramatic and dedicated. Gale Hansen as Charlie Dalton is mischievous, outspoken and confident. Allelon Ruggiero as Steven Meeks and James Waterston as Gerald Pitts work well as a team, filling out the rest of the boys, and Dylan Kussman as Richard Cameron is appropriately reluctant, making his treachery to the rest of the boys very natural and believable.

Even the other adults are done very well. Kurtwood Smith as Mr. Perry is unyielding, misunderstanding, but not completely heartless, genuinely broken by his son’s death, but unwilling to accept responsibility for it. Norman Lloyd as Mr. Nolan is the film’s true antagonist, as hard and strict as the school rules that he enforces, but again, he thinks he is acting in the students’ best interests.

Each performance in Dead Poets Society contains enough nuance that no character is truly black or white. Every character in this film fills out their part, whether big or small, each putting forth genuine, passionate performances. It’s a heartfelt film, demonstrated in every aspect from cinematography to the presentation of each character, perfectly portrayed by every ‘storytelling device’ used in the film, not too much nor too little, but perfectly balanced. Every element comes together to tell an emotional and compelling narrative, assisted by the work done by the production team. As a result, the film feels like it is trying to be real, if not necessarily a realistic film. Dead Poets Society is grounded in emotion and people that we can believe in, that we want to believe in, and remains moving and consistent, ending with satisfaction, if not outright happiness, and leaving the audience to think about the story they’ve just been told.

Thank you guys so much for reading! Join us next time where we’re going to be discussing the behind-the-scenes story of Dead Poets Society in ‘Facets of Filmmaking’. I hope to see you there!

#80s #1989 #Dead Poets Society #Dead Poets Society 1989 #Film #Movies #Comedy #Drama #PG #Robin Williams #Ethan #Robert Sean Leonard #Josh Charles #Gale Hansen #Dylan Kussman #Kurtwood Smith #Peter Weir

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la5t-res0rt · 4 years ago

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Wanted to ask about beetlelyds, sorry, I thought it was technically cannon? Like in the old comics after the show ended she grew up and married him. Sorry I’m an old school fan and have no idea why this whole thing is such a big deal. Wasn’t the actor like 20 too? I’m sorry if I sound very dumb. I’m not used to this new tumblr.

youre fine you are one hundred percent allowed to especially when you do it civilly as you have done here

first of all the biggest issue faced in the whole what is and is not canon debate is the fact that there are three (four if you count the limited comics run) publicized iterations of my media

i will go over each very briefly just kidding this is going to a long answer so i will spare the dashboard with a readmore

there is the movie which im sure you dont need me to explain the plot since youre an old school fan but basically the climax is that yes beetlejuice does go for the marriage angle in exchange for stopping the exorcism of adam and barbara and his motive for this is so that he can cause as much chaos as he wants on the mortal coil but his plan is thwarted when barbara rides a sandworm into the house which promptly eats beetlejuice sending him to bureaucratic death limbo

the end of the movie features the deetz and the maitlands happily living together with lydia havign a new appreciation for her situation and beetlejuice gets his head made real small which is very funny haha

so no in the movie they are not canon editors note the actress who played lydia winona ryder was a teenager while filming the movie she turned 17 the year it released

the next is the cartoon which i will admit has the most grounds for being considered canon but in the end the show is about a middle schooler and her best friend who is a ghost which in itself is a pretty iffy gray area sort of thing but for a childrens cartoon to work a friendship is better than the obvious enemy status they held in the movie

anyway in the cartoon they are potrayed to be very close friends with lydia being the person beetlejuice cares about the most and honestly if you were to watch it with no prior knowledge of the media and if you ignored their massive and obvious age difference than yeah you probably would read it as a romantic relationship

however lydia is a middle schooler and that is simply immoral

there have been writers for the cartoon who have been credited to say that a relationship is what they were trying to invoke but for obvious reasons they couldnt exactly move forward with that angle with them establishing that lydia is a child in middle school and a fully grown adult man dating a child who is in middle school is immoral and also illegal in the united states and in canada

this isnt a good argument for whether or not something is canon and i will tell you why with one simple name and that is luke weber

if you dont know who luke weber is he was a storyboard artist on the cartoon steven universe he is known for making a lot of self ship artwork of him and the character pearl

he worked on the show isnt his material canon no of course it isnt it wasnt put in the actual publication and also if memory serves he was eventually asked to leave the project after he drew art of the shows creator giving him permission to date pearl and calling them her otp and a lot of fans hated this because the most generally accepted interpretation of pearls character is that she is sapphic so a lot of people took issue however that again is just a widely perceived headcanon it is never stated what her actual sexuality is no one in that show is because it isnt a show about that its about wait im getting off topic sorry

what im saying is what can truly be considered canon is what you see on the screen and with the cartoon they are definitely the most friendly with each other and that is why so many people in the beetlebabe shipping community take so much stock in the cartoon because it is the easiest to read the relationship between the mas romantic although that is not what the show actually provides in black and white terms

interpretation does not equal canon and in this case no matter what anyone says the fact remains that in the cartoon itself they are friends good friends yes but friends all the same

it is definitely not a show about a grown man grooming an adult and if it were you definitely shouldn’t be stanning it the extreme because grooming a minor is wrong and it is apparently a problem in the fandom

anyway if the cartoon and the movie are both products of their time and there was more leniency on content bear in mind this was the same era as notorious animation powerhouse and known predator john k who was a showrunner on ren and stimpy and he maintained a relationship with a teenager which was an open secret that nobody really took issue with because in that time being a woman in the animation industry was tricky business and your career could be ended easily if you rejected advances luckily time has moved forward and the animation industry although still full of problems of a similar nature at least people are getting called out and punished for it

you can look more into that yourself its really upsetting though

as for comics i havent been able to find good scans of them and im not willing to purchase them but in my search i never found anything about the two of them ever being married in the cartoon again because she is a child i did find a cover where he appears to be getting married and hes asking lydia to get him out of it but im not sure where the comic actually goes all i know is she is standing off to the side shrugging and looking like she doesnt really care

anyway that brings us to the musical which is set in the modern day

in the original libretto lydia is described as thirteen but since they got an actress who was older in the updated librettos she is listed as 15 and the story is pretty similar to the movie the young girl befriends ghosts and they try to scare her family out etc etc

the major difference between the film and the musical are that lydia and beetlejuice are more like friends like in the cartoon

she summons him to help scare after the maitlands attempt doesnt really work so he shows up and they have fun terrorizing people together however she drops him for the opportunity to perhaps get her mom back but when no one will help she goes back to beetlejuice who tricks her into almost exorcising barbara

she agrees to marry him in order to stop the exorcism and he only wants to get married so he can be alive again and cause problems on the mortal coil like in the movie in the musical he states several times its a green card thing whihc obviously doesnt make it okay but still

anyway lydia tricks him and runs off into the underworld before the wedding can happen blah blah blah she goes back blah blah and she agrees to go through with the wedding to save her friends and family with a plan to make him go away for good

theres a very tongue and cheek song called creepy old guy which points out how wrong the whole thing is but everyone is going along with it in a very comedic matter and it includes the line

i cant believe some cultures think this kind of things alright

basically saying yeah this is very very wrong anyway they do get married and beeltjeuice is alive for like 6 seconds before lydia stabs him to death with bad art and he dies thus nullifying the marriage because death do you part etc

so in the musical no at the end of the show they are not canon because he is dead their marriage is nullified and they go their separate ways

anyway sorry about that i just need to make it very clear that these three properties are all very distinct from each other and basically all three are indeed canon since they are publicized material and arguing the validity of which one is pointless editors note all actresses who played with the exception of dana steingold were minors for the majority of their runs as lydia with sophia ann caruso the originator of the role turning 18 during the run and dana being in her late twenties presley ryan however was a minor the whole time and still is one

tldr no they aren’t canon but to the credit of some people in this fandom their interpretation isnt too far of a stretch thanks to the era and some of the writers wishing to imply a relationship between an adult and a child

i also need to address how this is all a big deal and i suggest you take a peak through my discourse tag and check out @leedia‘s blog to see some of the more harmful things done by beetlebabe shippers

the beetlejuice fandom is home to many minors after the musical came out since musical fandom is vast and the ages of its members varies and normalizing pedophilia is harmful to them not to mention the people who have been effected by sexual harassment at the hands of adults

both sides have victims of csa but one side continues to perpetuate the cycle by showing time and time again that this behavior is normal and easily romanticized in the name of coping and literally anyone who has ever been to a good and credible therapist could tell you that posting cp even if it is simulated cp isnt a really good way to cope and you can get mad at me for saying that its totally fine but and im going to remove my character veil here for just a second as a csa survivor myself i think its harmful to not only myself but many others ok the veil is back down

tldr again there is a lot of bullying and harassment going on with both sides having their own issues but there is one side whos issues run a bit deeper in my humble opinion

thank you for your question it allowed me to talk a lot you are welcome to discuss further with me in dms if you wish i honestly recommend giving the musical a listen because it is very fun and despite what some people say its very clever and if you get a chance to see a boot of it its visually stunning

one last note that i couldnt really fit in here but a large portion of the beetlebabes shipping community ignore the musical because it openly condemns the idea of beeltejuice and lydia having a relationship and a lot of the antis take issue with much of the writing and characterizations of the cartoon just a note that i think is important since were talking about canon

#discourse #long ask #i am so tired #Anonymous

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astromechs · 4 years ago

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meant to write something for @murdockquills ‘s birthday a bit back, but since i ran into a horrible case of writer’s block and it’s now so far past that date, we’ll just call this a dedication. 💙

vaguely currentish canon, you can think of this as a vague sequel to this little story; also out here ignoring half the shit bendis did because the joint memorial is important to me, ok

Sometimes, his therapist has told him over multiple sessions, with an unending patience that Rich thinks has to be up there with the greatest mysteries of the universe, you have to close some doors so others can open. Have to face the past to step into the future, because otherwise, there’s always going to be some kind of gravity pulling you back.

Months of therapy have made him more open-minded to things like this, no matter how pointless they may sound, or how much of a waste of time they may seem, at first; honestly, his therapist has yet to let him down so far. He gives some serious thought to it in his idle moments, between council meetings and doing his part to maintain tenuous intergalactic peace. What doors should he close? The Cancerverse itself has already been taken care of now, for good, so that’s not it. Robbie is still out there, and — no, he’s not ready for that one, as horrible of a person as that makes him, because that still hurts too much.

While enduring one particularly boring meeting at the Proscenium, as Zoralis Gupa, once again, spends half an hour stumbling over his own words to find his point (and really tries what little patience he has with politics to begin with), Rich finally gets a flash of an idea.

It’s one he’s going to need a little help with — and he’s slowly getting more open-minded about accepting that, too.

One quiet afternoon (local time), he touches down onto the surface of Hala, with the Bowie breaking atmosphere about ten minutes behind him. They could’ve gone on the ship together, but maybe there’d been a point to prove, a point that, by all indication, he has proven; the Human Rocket can totally beat this ship any day of the week.

A satisfied smile tugs on his mouth to greet Peter as the other man finally disembarks and makes his way over toward him. Peter, in turn, pulls a frown, clearly exaggerated for comedic effect, before sticking out his tongue.

They’re two mature and dignified war heroes; they swear.

Which, incidentally, brings them to the reason why they’re here.

The helmet feels too stuffy for this, somehow, so Rich takes a second to peel it off his head and collapse it into his hand, reaching the other toward Peter as they begin to walk among the monuments to people they’d once fought beside — some returned, like them, others lost forever. His partner in every conceivable way, Peter is of course there to meet him, threading their fingers together; it helps, it really does, especially when the floating statue of Phyla makes his throat go particularly tight, and he begins to question even coming here in the first place.

You have to close some doors, he reminds himself, coming back to the moment and drawing strength from their connected hands, so others can open.

He’d never really put much thought into what it’d be like to see his own face in stone, to see himself towering over everything else, but it just — feels weird, mostly, he realizes as their feet finally come to a stop at the base of their destination. No, this is completely separate from him, from them; images from a storybook telling the legend of some great hero who’d never actually lived at all, but still represents something big to live up to, all the same. Rich swallows, and there’s a profound heaviness in his chest all of a sudden, but —

“They don’t even look like us.”

Thankfully, Peter has saved him — just like always. Taken the words right out of a mouth that hadn’t quite figured out how to form them.

Rich tilts his head. “You’re right,” he says, doing his best to keep his voice light. “Yours actually makes you look handsome.”

That, and the smirk that forms on his mouth, get him a light punch to the bicep. He starts laughing, and a beat later, amends with, “Kidding! Seriously — if either of us went around looking like that much of a prick, I’d have done everyone else a favor and just kept us both in the Cancerverse.”

Peter laughs, too, and with that, some of the weird tension in the air begins to lift. A more comfortable silence settles between them.

For a while they stay like that, each wandering in their own thoughts — but connected by their hands, ensuring that neither will go far.

At one point, Rich feels a light, but deliberate tug on his fingers; following the unspoken signal, he turns to find Peter grinning at him, more than a glint of mischief in his eyes when he asks: “You wanna draw dicks on ‘em?”

The laugh that bursts out of Rich this time isn’t the same breathy, awkward thing from before; this is one that starts in his core and moves all the way through him, shaking his shoulders and bringing actual tears to his eyes. That… that’s exactly what he’d needed in this moment, and when the laughter finally subsides and he manages to catch his breath again, when the last of the residual tears are wiped away, the gratitude is written all over his face — not just for this, but also for so many other things that he can’t even begin to express.

“I love you. Marry me.”

The words fall out of his mouth like they’re nothing, and in the immediate, he’s stunned. Not horrified, definitely not horrified, but — stunned, because the thought has honestly never crossed his mind before. (At least, not fully consciously.) He has a couple of options here. One, he can play it off like a joke before they both move on; that’s probably the better way to go, since it avoids some potential weirdness. But as his thoughts drift more toward the second one, really embrace the idea….

He thinks it feels right.

Before he thinks any more about it, Rich breaks their connection and crouches down until he has one knee in the grass, setting the helmet down beside him. He takes one of Peter’s hands again, this time with both of his own, and repeats, with all the soft, bright-eyed conviction in the universe: “Marry me?”

Peter’s eyes widen and he doesn’t say anything at first, and there’s just enough space for the doubts to start creeping in. Stupid, stupid; of course he isn’t ready for this, neither of them are ready for this, probably never will be, and it’s fine, it’s not like they need it, that’s just movie stuff, they’re —

Before he can really register what’s happening, Rich finds himself pulled off of the grass and into the tightest of embraces. Feels lips press against his before responding in kind.

Sometimes, Rich thinks, before all thought blissfully fades, you gotta close some doors so others can open.

#richard rider #peter quill #riderquill #* fic #one day i will put this stuff on ao3 but today is not this day #this day i will prevent myself from having to think of titles for just a little longer

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adamwatchesmovies · 3 years ago

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Deep Blue Sea (1999)

There’s exactly one good thing about Deep Blue Sea, and I can’t even tell you what it is without spoiling the best scene. Lest you be tempted to check the film out for yourself, let me assure you that this monster movie has been done better previously, and since. With sated special effects, a ludicrous plot, non-science everywhere, it's amazing the film doesn’t even end up being “so bad it’s good”. It’s just dull.

At a remote research facility in the middle of the ocean, scientists are experimenting on sharks in the hopes of finding a cure for Alzheimer’s disease. The three genetically enhanced predators turn on their creators and a group of researchers (including Saffron Burrows as the lead scientist, Thomas Jane as a shark whisperer, LL Cool J as a cook, and Samuel L. Jackson as their boss) are in the fight of their lives.

Anyone who’s seen Deep Blue Sea knows what the best scene is. It’s a big surprise and a bold move to have such an unexpected scene like that. It’s almost worth seeing the movie for it but don't forget about everything surrounding that shock before you go around praising the movie.

Some stories ask you to suspend your disbelief. Others don’t even try to be logical or plausible at all. If you know anything about sharks, this movie will make you furious. I’m not talking about the false narrative of them being eating machines that love munching on people. Traits that make sharks cool creatures, that would've enhanced the film are completely ignored… probably because no one behind the scenes did any research at all. We see sharks roaring. Impossible since they have no lungs but it's a movie. It's a dramatic moment. You let it go. Then we see people rubbing against them like they're a cat when their skin is covered in placoid scales that makes touching them feel like rubbing your hand against sandpaper. We're talking trivial stuff in the grand scheme of things. You would happily ignore this if the movie was good but we're just getting started.

I know the sharks in this film are super smart, but the idea is taken to a level of unbelievability that demands you scoops out spoonfuls of your brain to enjoy it. It’s one thing, for a shark to be capable of planning and strategizing. It’s another for it to recognize what human objects are when it has never seen them before and would have no idea of what they might do. The fish aren’t telepathic! There’s no way they should be able to do the things they do unless they read the script.

I’m probably being harsher than I should, but there’s nothing this movie does to validate its existence. They didn’t have a story that needed to be told, someone just realized we hadn’t seen a big-budget shark movie in a long time and decided to come up with a reason for sharks to eat lab technicians. You could assemble this film by splicing together a bunch of other “man plays God with nature, nature goes wild” movies and you wouldn’t have to look much further than Jurassic Park. Even this could be overlooked if the humor wasn't so lame. A parrot that spews obscenities is the comedic highlight of Deep Blue Sea. Maybe everyone who gets eaten isn't dumb; they're just looking for a way out.

I didn’t go into this movie wanting to hate it. In fact, I'm surprised I didn’t have a blast with Deep Blue Sea. I usually get a kick out of people getting eaten by obscenely large animals that inexplicably get hungrier the more they eat. I just couldn’t get behind the lazy story. It does have some moments of inspiration and more than a few thrilling action sequences, but you’re just going to wish you were watching something better if you catch “Deep Blue Sea”. (Full-screen version on VHS, September 29, 2015)

#DeepBlueSea #movies #films #movieReviews #Filmreviews #sharks #RennyHarlin #DuncanKennedy #DonnaPowers #WaynePowers #SaffronBurrows #ThomasJane #LLCoolJ #JacquelineMcKenzie #MichaelRapaport #StellanSkarsgard #SamuelL.Jackson #1999movies #1999films

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aion-rsa · 4 years ago

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Memento and the Significance of Sammy Jankis

https://ift.tt/eA8V8J

“Have I told you about Sammy Jankis?”

On March 16, 2001, Christopher Nolan announced himself to the world with the US release of Memento. Not that everyone heard him straight away.

Despite garnering rave reviews on the festival circuit, Nolan’s mind-bending jigsaw puzzle of a movie failed to land a major distribution deal in the States. In the end Newmarket Films, the independent production company bankrolling the project, took the plunge and distributed it themselves.

Memento went on to earn more than $45 million at the US box office from a $4.5 million budget – a huge sum for an independent film.

Within five years, Nolan would move on to bigger and Bat-er things, but Memento remains among his most ambitious and effective films to date. A non-linear neo-noir that doubles up as a psychological thriller, it’s a film that continues to offer up subtle surprises on repeat viewing.

Guy Pearce takes centre stage with a mesmeric performance as Leonard, a man with short-term memory loss trying to track down his wife’s murderer. His pursuit is hampered by an inability to create new memories.

It’s a similarly disorientating experience for viewers who must piece together Leonard’s story while it plays out in reverse order. Allied to this is the story of Sammy Jankis, played by Stephen Tobolowsky, which intersperses that of Leonard’s and plays out across a series of black-and-white scenes shown in chronological order.

Narrated by Leonard, from an apparent recollection of a case he took during days as an insurance investigator, like our protagonist, Sammy also claims to be anterograde amnesiac – and that’s not all they have in common.

The film continues to alternate between the two narratives, with Leonard obsessively telling the tale of Sammy to anyone who will listen, before the two stories eventually converge in a climax where their shared plight becomes painfully apparent.

Despite its modest budget, Memento boasted an impressive cast. Pearce had shot to mainstream fame with LA Confidential a few years earlier while Joe Pantoliano, who played Leonard’s helper/fixer Teddy, was an established figure in the business along with his co-star from The Matrix, Carrie Anne Moss.

There was even a role for future Sons of Anarchy star and Nolan favourite Mark Boone Junior as the underhand manager of the motel where Leonard lives. Tobolowsky more than held his own though.

A seasoned character actor, by the time Memento came around he had enjoyed a memorable turn in Groundhog Day as the hilariously grating insurance agent Ned Ryerson. But it hadn’t been without its drawbacks in the years that followed.

Tobolowsky explained to Den of Geek: “The good news and bad news of being Ned in Groundhog Day is, guess what? You’re going to be Ned in Groundhog Day for the rest of your career. A lot of times when people are in comedic roles and want to do something more dramatic, it’s not available to them. Especially with something like Groundhog Day. An actor like me could get an opportunity to be in a drama but it might not work out because the audience would still see Ned Ryerson. Not this role. Sammy Jankis was so remarkably different.”

Landing the role of Jankis proved remarkably different too, starting with Nolan’s script, based on a short story written by his brother Jonathan called Memento Mori.

“My agent called me up and said John Papsidera, a casting director, wanted me to take a look at this script. John had a reputation for doing really unusual and generally good movies so I was very happy to. A standard first draft script is usually around 120 pages before a producer or director gets their hands on it. Because of the way it is formatted, one page should equal around one minute of screen time. I got the screenplay for Memento and it was like the Old and New Testament combined. I had never seen a script so big. I don’t remember the exact page numbers but it was in the 300s.”

Having seen his fair share of scripts over the years, Tobolowksy was apprehensive about reading what looked like the equivalent of “Gone with the Wind times ten.”

“I was thinking to myself ‘Oh God, this is going to be terrible. ’I even said to my wife, ‘ I know it’s going to be awful. It’s three times longer than normal but I’m going to read it just to be a good sport.’ I start reading and I’m halfway through and my wife comes in and I’m saying ‘damn it, damn it’ and she says ‘Terrible?’ and I say ‘No, so far really great but there’s no way these writers can continue at this level. It’s going to crap out by the end.”

“I get to the end and I throw the script across the room and my wife hears me, comes in, and says ‘Terrible?’ and I say ‘No, quite possibly the best script I’ve ever read.’” Nolan’s script was unlike any Tobolowsky had read, bringing the filmmaker’s vision for the movie to life in stunning detail.

“Chris and Jonathan wrote it in a way where they describe exactly what the camera is doing. Everything was perfectly described and you got a picture of the movie in your head, backwards and forwards in time. It was mind-blowing. I called up my agent immediately and said I had to meet Chris Nolan. I had to talk to him about Sammy Jankis.”

Despite few lines, the role of Sammy was a significant one. A part that much of the film’s plot ultimately rested on. Determined to make the role his own and shake off the ghost of Ned, Tobolowsky met with Nolan knowing he had a unique selling point when it came to the role.

“I said ‘Chris, I didn’t come here to read for you. There’s nothing really for me to read, but this is what I want to tell you: this is quite possibly one of the best screenplays ever written. You are going to have actors all over this city that will want to be in this. However, I am going to be the only person that wants to be Sammy Jankis who has actually had amnesia.’

Chris said: ‘You’ve had amnesia?’ and I was like ‘Yes, and this is how it happened…’”

Tobolowsky explained that during surgery for a kidney stone, doctors had used an experimental drug in place of the standard anesthesia.

“I’m a big guy, like six foot three and 210 pounds, so they gave me a new drug that they had been using on bigger people. It means they are able to give instructions to the patient like to get up on the operating table, rather than have orderlies lifting them. The patient performs the task and then forgets it had happened. It worked the same with the pain.”

It led to what he describes as “drug induced amnesia” as the medication worked its way through his system. “I would be in my living room and then boom! It was like I was just born. The worst was when I was standing over the toilet and suddenly didn’t know if I was about to pee or if I had already peed. Fortunately, I heard my wife yell ‘you finished ten minutes ago!’”

The description of his ordeal was enough to convince Nolan he was the man for the job – but that was only the start of the challenge for Tobolowsky.

“It was the most difficult part I have ever played in my life. When you are an actor, the thing that moves you through a scene is your motivation. But when your character can’t remember anything, you don’t have that.”

In order to better portray Sammy’s damaged mind, he began by breaking down the character’s actions into behaviors marked as either old or new.

“There are the old, every day, behaviors we don’t think about like making breakfast. The rote nature of that behavior means you might do it quickly, almost mechanically. Then there is the newer stuff that takes longer because you are trying to understand what you are doing for the first time.

“I had met people who have lost their memory, through Alzheimer’s or an accident, and noticed how these old behaviors were still familiar to them.”

This attention to detail was not lost on audiences.

In one small but memorable moment, Sammy greets Leonard at the door of his home with a look Leonard initially believes to be recognition and proof he is faking his condition.

It’s only later, when Leonard begins to understand his own plight, that Nolan has us revisit that same look, only this time with the realisation Sammy’s expression is instead one of desperate hope with that complex duality perfectly conveyed by Tobolowsky.

“That look was about putting out a message saying ‘I am sorry I may know you, so I don’t want to embarrass myself or you by acting like I don’t know you,’” Tobolowsky explains.

Later, after Leonard has rejected Sammy’s insurance claim, his wife, played by Frasier star Harriet Sansom Harris, decides to test the theory for herself by having him administer shot after shot of insulin, in the hope he will realise his mistake before she suffers a fatal overdose.

It’s then that we see Tobolowsky channeling the mechanical, emotionless actions of old, going through the motions of giving his wife the shot, as he has always done, oblivious to the tragic implications for both characters.

But Sammy is oblivious, with Tobolowsky’s emotionless, robotic approach to the repeated injections – something he has done for years – adding a layer of tragedy simultaneously to both characters.

“We all worked it out together in the moment. You let the truth emerge from the scene in the moment the camera is running.”

However, the true significance of Sammy in the wider story of Leonard only fully emerges later in the film after the latter’s revelatory encounter with Teddy.

It’s Teddy who reveals that he has been using Leonard to kill criminal associates. He claims to have tracked down the real “John G” behind the murder of Leonard’s wife years ago and, most tellingly, that Sammy’s story is actually Leonard’s, created to absolve himself of guilt.

Which begs the question: Are Sammy and Leonard simply one and the same person? And, if so, did Leonard kill his wife by accident?

While some degree of ambiguity remains, Tobolowsky says such notions played into Nolan’s decision to include a blink-and-you’ll-miss-it moment where Sammy, holed up in an old folk’s home, is for a brief flash, replaced by Leonard.

“Chris played with the idea on set. He said he had an idea for a moment where he would replace me with Guy. He wanted to try that out. That was determined while filming, the idea of the switch, which cements the idea of the two characters being one and the same.

“Chris was mining the depths of his script in the moment, which takes nerve as an artist. “

Reflecting on the experience, Tobolowsky only has positive memories of his experience on Memento, and the commitment shown by Pearce – particularly when it came to the tattoos that serve as reminders to Leonard of his past and forgotten present.

“Guy Pearce was just magnificent,” he says. “Every day, he would be in the chair getting those tattoos put on or removed. There would be long make-up breaks to get them adjusted perfectly and Chris would have it so that we would be shooting while Guy was in the makeup trailer.”

“Chris was a fabulous director to work with. Full of good humour and insight. The entire shoot was filled with energy and fun and that came from the top. I knew right away I was working with somebody very special. Chris takes chances.”

Tobolowsky holds his experience on Memento in the highest regard.

“When you do a lot of shows and movies, the idea is not how many you can squeeze in, it’s about which ones mattered to you. The work you did that affected you as a person and an artist. Something like Memento is profoundly affecting with the questions it asks.

“What haunts me about Sammy Jankis was that idea that if you cannot remember what you do, both your sins and your blessings, what kind of hell are you in? That final scene where Sammy is the old folk’s home, there is this question: Is he at peace? If you don’t know what is happening to you, what is your life? And what happens to Leonard?

He also credits the film with changing his career for the better.

“After I did Memento, I was considered for all sorts of roles that I wouldn’t have been before. It broke the Groundhog Day mold and showed what I was capable of.

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“There have been so many movies I have been in. Some terrible, some mediocre and a few classics. It always comes down to the script and director. Memento is one of the good ones. It’s a masterpiece. There’s nothing quite like it.”

The post Memento and the Significance of Sammy Jankis appeared first on Den of Geek.

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thecrownnet · 4 years ago

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Josh O’Connor may best be known for this breakthrough role in 2017’s God’s Own Country but the Southampton-born actor has been cultivating a catalog of great film and television performances for years. From The Riot Club and The Program in film and Doctor Who, Peaky Blinders, Ripper Street and The Durrells on TV, O’Connor has built a resume that made him the perfect choice to play the most challenging role of his career, Prince Charles in season three of Netflix’s The Crown. O’Connor play the Prince of Wales at a turning point in the would be king’s life, from the early years of his relationship with Camilla Bowles (the Diana years will show up in season four) to the daunting task of figuring out how to lead the commonwealth when the time comes.

I caught up with two-time BIFA winning actor to talk about God’s Own Country, his role in The Crown, what he likes and doesn’t like about biopics and playing real people and Todd Haynes’ I’m Not There.

I wanted to start by talking with you about God’s Own Country, which quickly became a cornerstone of queer cinema, and I think took off in a way most people weren’t expecting. Can you tell me a little bit the impact working on that film had for you?

It was a kind of monumental moment for me and I think a big moment for queer cinema and insofar as it was kind of a gay love story that we hadn’t seen before, you know, in terms of one that ended with hope and one that told a kind of positive story. It was something maybe we’d seen before, but, it’s rare and people were obviously hungry for that. And so it touched many people and I feel like it’s rare that your project gets to have that effect on people. So it was a kind of, it was a huge moment for me. In terms of kind of career wise also just as a creative, as an actor, I think it was a moment of realization about technique and how I want to work. It built a process, which I still use the basis of now. And so yeah, it was really impactful for me.

I love that. Earlier this year you had Emma., how was it stepping into Mr. Elton’s shoes?

(laughs) It was very different than anything I’ve done before. I’ve never done comedy before. Autumn de Wilde, who is an exceptionally talented director, came in and it was very clear she wanted a kind of Peter Cook-esque Mr Elton and we’ve talked about him having a sort of darker side, which we touch on in the film. I think it was real, I loved it, it was kind of getting to stretch my muscles, my comedic muscles I suppose. And yeah, it was a real treat and it’s a lovely, beautiful ensemble film.

Diving into The Crown, had you watched the first two seasons of the show to help inform you of the style or approach to the series?

Yes, I had. I’d seen the first two and I’m very good friends with Vanessa Kirby who played Margaret so, I initially watched it as a kind of support for my friends, but then absolutely, obviously got hooked and I think the first two series’ are exceptional. Claire Foy is kind of spellbinding, Matt Smith I think is extraordinary as Philip, and often sort of, it’s underplayed how brilliant he was. I absolutely loved it and then be a part of this group of actors who I totally adore and look up to, you know, the likes of Tobias Menzies, to go from Matthew is extraordinary, and Olivia Colman and Helena Bonham Carter, you know, these are all people that I aspire to so it’s been a real treat.

What were the main sources and figuring out who Prince Charles is on a personal level?

Well, I think there were a few things to kind of brought out the personal, but initially when I started with Charles, I spent so much time watching footage of him, or hearing recordings of him from the period. After a while I got to the point where I was like, actually, I don’t know that this has helped. It certainly isn’t helping me get any closer to the character and certainly isn’t getting close to who Charles really is behind closed doors. And so I sort of threw all that out the window. The thing that got me there more than anything was something that Peter Morgan had written, which is I think episode eight of series three. Charles described his life as being like he as being like a character in Dangling Man. He says, the character is a working class blue collar guy from Chicago and he’s waiting to be drafted to go to war and he actually wants to be drafted because it’ll give his life meaning, even though it means that they’ll go to a certain death.

And the idea that Charles, Prince Charles is this young boy who’s actually waiting for his own mother to die in order for his life to take meaning, I just thought that was a kind of, it locked into a sort of tragic narrative of this young boy that is so rare and an extraordinary. So that was the kind of, that was the crux of it.

When you’re playing somebody that is so well known, how do you strike the balance between impression and interpretation and what do you think you brought to Prince Charles?

Yeah, that’s such a good question. It’s a question I don’t know the answer to, yet. The best way to, for me, in my personal view of it as an audience member, is that I never enjoy seeing in any kind of biopic or whenever I see an actor playing a real person, I find it very difficult to watch and actor to do something really exactly like the person.

I don’t know why. I think it becomes too much like an impression. And what I always loved is that there was a great film called I’m Not There, which is about Bob Dylan. And so it was like eight or nine actors playing Dylan at different stages in his life and not just different stages but playing different aspects of his personality. So Cate Blanchett, plays the kind of more recognizable Dylan, which is the sort of public eye Dylan, you had Heath Ledger playing the kind of rock and roll Dylan, you had a young actor [Marcus Carl Franklin] playing the Woody Guthrie influenced Bob Dylan. So you had all these different actors, all totally different and most of them looked nothing like and resembled him in no way. And I remember that was the most powerful representation of Dylan I’ve seen or of anyone I’ve seen and I thought when I’m playing Prince Charles there’s no point in me spending all this time trying to get his voice and trying to look like him and walk like him.

Those things will happen naturally. And I think, you know, it’s good to have little aspects and little notes that people feel safe and comfortable in the knowledge secure that you are playing Prince Charles. But as soon as you can get rid of those, the earlier you can get rid of those, the the more interesting and the more adaptive that character is, the more influential that character can be. And as I say, it’s more interesting seeing Josh play Prince Charles than it is seeing just seeing Prince Charles.

I love that example of I’m Not There. It’s a brilliant movie and it is such a great way to bring an audience into a character without feeling like you’re just watching video footage.

Exactly. Because there’s documentary. We also undersell the brilliant art form that is documentary, which I absolutely adore it. There’s nothing better than watching old footage of Charles. I love it. But it’s not the same. I want to see an actor play and Claire Foy is a great example. I should stop rambling but Claire Foy is a great example of an actress who plays the queen so stupendously everyone in the world sat up right when they watched Claire and Matt Smith in series one and two. And it wasn’t because there was, ‘Oh my God,’ she looked and speaks exactly like the queen at that age. Most of us don’t know what the queen looked like at that age and it sounded like at that age because there wasn’t very much TV. So actually all we’re looking at is an incredible performance of the character. And I think I remember watching Claire and Matt and thinking ‘let’s focus on that.’ Let’s not try and play Prince Charles, let’s try and play the character.

Again, that’s a perfect example that makes perfect sense. There’s a turning point in the series when Charles, as the Prince of Wales, has to learn to speak Welsh. Did you know any Welsh or was this something new for you as well?

I mean, I certainly knew no Welsh. I’d never spoken a word of Welsh in my life a lot. I’d heard the language. One of the most kind of influential or most magical moments from when I was in grammar school was I heard an old recording of Dylan Thomas reading Under Milk Wood and was a beautiful radio play that he wrote and it was and poetical and beautiful and Dylan speaks it in this kind of like raucous Welsh voice. It’s like, mind blowing, and it was a kind of really special moment. So that combined with the fact that I love Wales the country, I felt very great affinity for the Welsh language. But as I said, I had no idea. So it’s very much, it was very much kind of like Charles’ feelings about having to learn it. There were muffs the same as mine and we went through a long process of learning everything. And yeah, I mean it’s great. I still know the speech now, but I don’t know what it means.

Which brings us right to that monumental episode where you have to give the speech for his investiture. Tell me about that sequence, which I think is just extraordinary in this series.

It’s a beautifully written episode. It has so much significance because it’s about Charles stepping up and becoming an adult. To me it was the thing that convinced me to take the role in the first place. I suddenly realized this as a young man who is, in my in recent history, is kind of known as a bit of a wally [British slang for ineffectual or foolish]. He goes around and talks about the environment, which of course we all know he was right. In the 80s and 90s he was considered a bit of a buffoon. And then there’s the Diana years and the thing that got me and took and basically convinced me to take the role was I suddenly realized he’s a lost boy and the investiture episode is him taking that lost boy and going, ‘No, I’m going to own this and I’m going to become a man.’

Jumping off that a bit, what do you think was the most misunderstood thing about Charles from this period of his life?

I think sort of the misunderstood thing of most of the Royal families, is that they had some perfect childhood. I mean, in terms of financially, they probably had a pretty great childhood, but I think terms of relationships to parents, relationships to siblings, they’re just like anyone else. I mean, they’re difficult. They have their ups and their downs. He was a lost boy but a lost boy with the knowledge that he was going to have to at some point lead, be the king, the reign of England, of the Commonwealth of this huge empire and we now know, it’s taken an entire lifetime and he still isn’t the King.

I think that’s the biggest thing that hopefully people have taken. There’s been a great response within people calling out and saying they feel great sorrow for Charles now. So hopefully that’s what they’ll take.

In looking forward to the future of your career, do you have a dream role in mind that you’d like to play?

I don’t know actually. It’s one of these questions that so hard because I’m always surprised when I say something quick and then a script will come through with a totally original role and there’s nothing better than a new script and a role that you’ve never thought of. It grabs me. But I suppose there are plenty of performances I’ve always kind of aspired to like Daniel Day-Lewis has played and those kind of fully formed characters or Tom Hanks. Those are the kinds of roles that you dream of. In terms of theater it’s easy because everyone wants to play Richard II or Hamlet. I’ve always wanted to play Richard II, so one day hopefully I’ll be able to do that. But beyond that, certainly the dream is to keep getting to play new characters and work with great directors.

All seasons of The Crown, including S3 where Josh O’Connor appears, are streaming exclusively on Netflix.

#josh o’connor #prince charles #the crown #god's own country #emma #the crown netflix

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