#not really spoilers cause her design was released beforehand.

[albinokittens300]

Okay so. Yes we are all popping off about the dramatic, awesome stuff but as a long haired girlie whose gone back and forth with long and short hair myself...

The feeling Jinx had when she shaved her hair must have been euphoric.

Just like- how light it must have felt all the sudden? Yes we can talk about emotional weight but I am talking the pounds she was carrying around with that many feet of hair. The air touching her scalp? How it felt to run her hands through it? And like, how many years has it been since didn't NEED to spend forever brushing hair?

And washing- OH WASHING IT. You know she found Ekko, most likely just out of whatever bath or shower, and just begun RAVING about how it's dry already isn't this the best thing ever IT'S DRY ALREADY EKKO-

This is far more lighthearted than the whole of the show but I cannot not think about it seeing her go from like, feets worth of braids to a buzz cut.

[cheri-translates]

[CN] Love Carnival - Part 4 (Eng Translation)

🍒 Warning: This post contains detailed spoilers for an event which has not been released in English servers! 🍒

There are five parts in total! Brace yourself for tons of fluff :>

Part 3: here

[ LUCIEN ]

Looking around the adorably and warmly decorated cafeteria, and then the little gift that came along with the meal, I’m a little confused.

A few minutes ago, we were thinking about what to have for dinner, and we walked into this warm and adorably decorated small shop.

But we didn’t expect...

MC: I really didn't think it’d be so “hardcore”.

I hold up the little gift, placing it in between Lucien and I.

It’s different from the small ornaments and objects with a feminine aura from my memories.

This cafeteria gives a heart-shaped Burr puzzle to patrons who order the couple set.

MC: The dishes are so delicious that they’re comparable to top-grade restaurants. Even the gifts they provide are just as hardcore. It’s amazing.

Lucien is tickled by my dead serious expression.

Lucien: Looks like the organiser has put in much effort, wanting to leave every visitor with unforgettable and happy memories.

MC: But giving visitors a heart which can’t be unlocked - what’s the owner of the shop thinking...

Without a proper strategy, I play with the Burr puzzle, and can’t help but grumble.

Lucien chuckles, taking this “heart” from my hand.

Lucien: With a little technique, it can be opened easily.

He sits slightly closer to me. Slowing down, he gives me a demonstration while explaining the technique of how to unlock the Burr puzzle.

With the movement of his fingertips and a gentle tug, the wooden lock, which was linked for a very long time, opens, revealing a tiny empty space in the heart which can be used to store things.

MC: Even though you’re already sick of this phrase, I still have to say - Lucien, you’re truly incredible.

Lucien: If I say that I haven’t gotten sick of this phrase, would you be willing to say it to me even more times?

Lucien turns his head over slightly to look at me. In his eyes are the familiar smile and slyness I’m most familiar with.

MC: If I say it, will I get a special prize from Professor Lucien?

After hearing this, Lucien actually ponders over it.

He narrows his eyes slightly, as though he’s facing the most complex, important, and difficult question.

Lucien: If it’s a prize...

All of a sudden, he leans over to my ear. Every gentle word brushes against my outer ear, trickling into my heart.

Lucien: Would an especially happy Lucien be enough?

MC: ...Professor Lucien, that’s called being unreasonable.

Lucien: Is that so? I even thought you’d be very satisfied with it.

Lucien blinks, pretending to be taken aback.

Just when I think of how to best turn the tables, he places the wooden mortise of the Burr puzzle, which is used to store items, in my hand.

Lucien: Want to think of what to put in here? Given its structure, I’m thinking this is a safer place to store tiny keepsakes.

MC: Yes.

I turn towards the staff at the side, asking for a few sheets of post-its and pens, and also to allowing the temperature on my face to dissipate.

After we write on our respective notes for a while, Lucien and I exchange them.

On mine, there’s a simple drawing of a man opening a lock, a handsome smile on his face.

What Lucien hands over is a sketch.

In the simple composition, in the midst of light and shadow, he impressively draws me.

The me in the picture has her head lowered, writing on the post-it note, smiling very sweetly.

MC: Now, we’re doubly satisfied!

-

[ VICTOR ]

We walk and pause, finally ending up before the Pendulum ride.

Pointing at the attraction, where shrill cries can be heard constantly, I think of that children’s day when he had taken the “Time Traveler” ride with me.

And how time had stopped for a few seconds during the descent.

[Note] This is a reference to Fairytale Date!

MC: Want to give this a try?

I turn my head, looking at Victor expectantly.

Victor: No.

As I expected, Victor rejects me.

MC: Victor, could you be scared?

Victor: Of course not.

His expression is stern, and he looks forward.

MC: In that case, ride it with me!

While saying this, I pull him along with me and we sit down.

There’s still some time before the ride begins. The chatter and laughter from people in the queue before us continuously drift over.

Enthusiastic visitor: A friend of mine took the Pendulum before. When it was over, he calmly said that it wasn’t much. In the end, he started puking after taking a few steps.

Happy visitor: Hahahaha, the same thing happened to my colleague. He sat for the ride in another place once, and screamed until his voice was hoarse at work the next day. He had to drink chinese medicine for the entire day.

I’m somewhat tickled by the conversations.

MC: They’re speaking so exaggeratedly. How could that be possible? What do you think?

The criticism I expected doesn’t arrive.

Finding this a little odd, I look at Victor, realising that he’s strapping on his seatbelt seriously, his expression stern.

Oh...?

I really wish I could take out my phone and snap a picture of this Victor before me.

The Pendulum truly lives up to its name.

At first, I even thought it’d be so-so.

But when the Pendulum’s amplitude grows increasingly larger, till it feels like I’m being tossed around, I can’t help but scream.

MC: Ahhhhh--

This! Is! Too! Scary!

Just when I’m forced to sit through these parabolic motions, my left hand is gently held onto by someone.

Bracing against the violent wind, I open my eyes. Victor is sitting straight and quietly in his seat. His posture is tense, yet he looks as though he’s very calm.

Amid the shrill screams, I can vaguely hear his voice.

Victor: Don’t be afraid.

-

Stepping off the Pendulum, I immediately grasp for the railing at the side.

However, when I see Victor’s crooked tie and slightly unkempt hair, I can’t help but burst into laughter.

This time, I don’t let this chance slip by, and keep this dishevelled Victor in my phone.

I make a decision to have this picture printed out to be placed at the bedside.

Victor: ...what are you doing this time?

MC: Nothing, nothing! Oh yes, what do you think of this attraction?

Victor: ...so-so.

MC: If you’re afraid, you can just say so. It’s a normal human reaction, and I won’t laugh at you.

Victor: I’m not afraid.

MC: In that case...

I look at Victor, my smile growing wider.

MC: Let’s ride it again!

Victor: ...

MC: You aren’t going to prove that you aren’t afraid?

Victor: Let’s go then.

MC: Eh?

Victor: Since you’re so enthusiastic about this ride, you’ll definitely experience it together with me. Am I wrong?

Seeing Victor arch his brows slightly, and turning my game against me, I respond with certainty--

MC: I’m sorry! We’ll head to another attraction right now!

-

[ KIRO ]

The cafeterias in the Love Carnival must have gone through a lot of designing in order for moe flowers to appear easily for couples.

Every single themed cafe is packed to the brim. I hurriedly pull Kiro, who is wearing a wig, away from these “danger zones”.

There aren’t many people in the forest right now, leaving only the rustling of leaves.

MC: It’s a good thing I thought of this scenario beforehand.

Kiro: Deng deng deng deng!

When we speak in unison yet again, we retrieve picnic mats from our individual bags, and look at each other blankly. 

MC: ...I made enough for two. Did you also buy two sets?

Kiro: I was worried the cafeterias would be too crowded and we’d be hungry. 

Kiro: But...

His voice grows soft, and I don’t know what he’s struggling with.

In the end, he purses his lips, turning his eyes to me.

Kiro: I didn’t buy them.

MC: ...hm?

He chuckles in embarrassment, spreading the picnic mat smoothly on the ground, and taking out food boxes from the bag.

Seeing these food boxes, I’m left slightly stunned. Based on my memory of how long I’ve known Kiro, it seems that I've never had a taste of his cooking. 

Kiro: I was thinking that since today is such a special day, even if we couldn’t sit in a cafeteria to have a couple set meal, we should at least have something special. I don’t want you to be left with any regrets today, so I was wondering how to make things different for you. 

Kiro: And then... [laughs sheepishly] what you see in front of you happened.

I lift up Kiro’s food box. The rice has been scooped up in a crooked manner. Although the carrots could be said to be in heart-shapes, they look more like the heads of an arrow.

In the messy omelette, the ham seems to have sneaked out secretly. Perhaps it wanted to have a breath of air after being in such an enclosed space.

The octopus sausages are like blooming fireworks, hiding in the gigantic rice ball, too shy to see anyone. Meanwhile, the sandwich looks incredibly full, and it seems to have chicken drumsticks in it.

This looks like a far from perfect bento - shoddy and clumsy.

Kiro: ...what’s in front of you is already the best attempt.

MC: How many times did you make this?!

Kiro: I’ll let it remain an undisclosed secret forever.

He places his palm on his chest, closing his eyes and saying this quietly.

Chuckling, I hand the bento that I've prepared to him. In exchange, he gives me a few minutes’ worth of praises.

MC: This seems to be the first time I’m eating what you made.

Kiro: There shouldn’t be a problem.

He looks at me with certainty. His expression is exceptionally serious, causing me to laugh aloud.

MC: Why didn’t you show this to me before?

Kiro: They weren’t good enough.

MC: Have you met your standards now?

Kiro: Of course not! I just felt... that you’d be happy with this.

His eyes are bright, akin to a sun being hidden by soft clouds which are unable to shroud the light.

This perfectionist is slowly, bit by bit, willing to display the areas he isn’t perfect in before me.

Like the tender belly of a kitten.

MC: I’m especially happy. But if something does happen, you’ll have to take responsibility.

Kiro: Of course I’ll take responsibility! Even if nothing happens, I’ll also take responsibility! [laughs] I’ll take responsibility after eating.

The afternoon sunlight is just right. The quiet forest is reminiscent of a small world, embracing us.

MC: I’ll be digging in now!

-

[ SHAW ]

Ghost masks on sale are hung on the dark red wall. The masks have a sense of antiquity to them, and their bewitching and bizarre appearances look utterly terrifying.

Simply standing at the entrance of the haunted house makes one feel deeply frightened. And the rule of “Only one person can enter at one time” causes several people to shrink away.

Shaw and MC: ...

Shaw: Got the guts?

MC: What’s there to be afraid of?

Shaw: You first, or me?

MC: ...I’ll go first.

With a solemn expression, I prepare to enter. However, my wrist is suddenly gripped by Shaw, and he pulls me back.

Shaw: Wait. I’ll give you something.

I can feel him stuffing something into my hand.

Unfurling my hand, I see a string of Buddhist prayer beads laying quietly in my palm.

MC: ...

Shaw: Have a pleasant journey.

In the pitch-black and narrow pathway, I bite the bullet and move forward at a tortoise’s pace. My hands continuously twist the prayer beads, muttering to myself.

MC: Whether you're a monster, demon, or ghost, don’t come and scare me, don’t come and scare me...

Thud--

Footsteps sound from behind me, and the hair on my body immediately stands on end.

I’m rooted to the spot. After a few seconds, when I muster the courage to turn around, a hand plops onto my left shoulder.

MC: !!!

At this moment, my blood seems to freeze.

I quietly wait for two seconds, but nothing happens. Suddenly, there’s a twinge of hope in my heart--

Maybe it’s Shaw!

Thinking of how he usually likes to play tricks on me, I become even more certain of my guess.

With a deep breath, I give myself some courage and turn my head.

MC: Shaw--

??: Fuu.......

MC: ...

MC: IT’S A GHOST AHHHH--

With a speed which human eyes can’t capture, I huddle and curl into a corner, using my hand to cover my left ear, sensing goosebumps spreading across my entire body.

Along with my heartrending exclamation, a stream of chuckles resound at the same time.

??: It’s me.

Silvery white electricity appears in the darkness.

The person who’s speaking walks over to me. He squats down, a smile hanging on his lips, looking as though his prank has succeeded.

Shaw: Who was the one who made a solemn vow that she wouldn’t be scared?

I glare angrily at the person before me.

MC: I knew it was you! When you deliberately scare someone, of course they’d be scared! It’s an instinctive reaction. Also, you can scare someone to death, you know!

Weakly and helplessly, I hug myself tight. My voice is also trembling slightly.

He seems to be at a slight loss. After a while, he speaks. 

Shaw: ...fine, I was wrong this time.

Perhaps genuinely feeling apologetic, Shaw pauses, his voice also a little more gentle.

Shaw: Hey, want to know a way so you wouldn't be scared?

MC: ...what is it?

I lift my head from my knees in curiosity. 

He offers me a hand, his eyes crinkling slightly, filled with a wilful light. 

Shaw: Follow me and they won’t scare you.

Shaw and I hold hands as we continue down this cramped pathway.

Because he’s by my side, I feel much more composed.

Female ghost: I’m~ Filled~ With~ Hatred...

All of a sudden, a hand plops onto my shoulder. Shaw and I pause in our footsteps.

I subconsciously tighten my grip on Shaw’s hand. In the next moment, I feel him returning the gesture with a squeeze.

Courage fills my heart. With this, Shaw and I turn around together...

??: IT’S A GHOST AHHHH--

Another shrill cry fills the pathway.

This time, however, the cry doesn’t belong to me, but to the “female ghost” with dishevelled hair.

Shaw extinguishes the electricity in his hand. He removes the ghost masks we saw at the entrance earlier, and laughs.

Shaw: If you want to scare me, you’ve got to put in more practise.

-

[ GAVIN ]

MC: What should we go for next?

Gavin and I are walking along the street, searching for our next target. A row of vending machines attract my attention.

The line of vending machines contain all sorts of toy capsules. From keychains to ornaments, there’s everything one could wish for.

Especially that one containing couple keychains. The furry keychains look exceptionally adorable.

I notice that Gavin has paused in front of one vending machine.

It’s a vending machine containing robots.

I vaguely recall watching a cartoon related to it when I was young. However, I wasn’t very interested in it, and never really understood it.

However, this looks like something Gavin would like.

MC: Gavin, there’s one vending machine I’d like to try. Could you wait here for me?

Gavin: Coincidentally, I do too.

I grin, nodding at him.

MC: Let’s split up and get the toy capsules we want, and we’ll meet back here later?

-

When we meet up again, I place the toy capsule in Gavin’s hand with satisfaction.

MC: Open it and take a look? Do you like it?

Gavin twists the toy capsule open, and surprise flashes across his eyes.

Gavin: I like it.

While he speaks, he pieces it together simply, letting the small, monochrome robot stand in his palm.

The little robot is holding a gun in one hand, and a shield in the other. Behind it is a structure resembling a one-sided wing.

On top of its circular head is a yellow antenna. Along with its four short limbs, it looks extremely cute.

Gavin: This is my favourite model.

MC: I got it randomly, and didn’t expect to get the right one.

Gavin: I was lucky too.

Gavin smiles, takes out a toy capsule, and opens it.

It happens to be the furry couple keychains I saw earlier.

One of them has soft and long ears, while the other has straight, sharp ears.

Gavin keeps the one with sharp ears, then carefully attaches the doll with the long ears on my bag. Pleased, he nods.

Gavin: Mm, it suits you.

Gavin keeps the little robot in his pocket, and the keychain swings next to me.

Seeing the gifts we’ve exchanged, sweetness brims from the depths of my heart.

MC: Having been with you for such a long time, I feel that my knowledge has been expanded.

Gavin: I've learnt quite a lot too.

Gavin pauses, then continues confidently.

Gavin: For instance, that the lipstick you're wearing today is the colour of red bean paste. And that you’ve curled your fringe slightly. 

Pleasantly surprised, I blink and want to give him a round of applause for his perfect answer.

MC: What else?

Gavin: Also, that I have to separate the white from the yolk when making fried rice. And that succulents don’t need that much watering.

MC: Then... what are the steps to preparing sliced fish boiled in chilli oil?

Probably not expecting that I’d suddenly pose a question, he ponders it carefully before responding in an exceptionally solemn manner.

Gavin: I can’t explain it right now, but I noted it down in my notes.

After he finishes speaking, we look at each other, then laugh in unison.

MC: Gavin, tell me more about this robot. And about basketball, motorcycles, planes and all the things you like.

Gavin: Okay. I’m hoping that you’d give me more cooking classes too.

The corners of his lips curl upwards slightly, and fragments of sunlight flash in his eyes.

Gavin: I want to have an even better understanding of everything to do with you.

-

Part 5: here

[robobiitch-archive]

Mobile About ;;

WARNING: SPOILERS AHEAD

This biography contains spoilers for one of the endings of Detroit: Become Human. If you have not completed the game, this is your warning that Connor's backstory will contain spoilers.

This is Connor's default verse: Post-Canon 

CYBERLIFE PROTOTYPE CONSOLE

file.open("RK800.cbl");

file.mode("Basics")=

Yes

file.read()_

Registration: CONNOR

Model: RK800

Serial#: 313 248 317 - 53

Age Appearance: 30 years

DOA: August, 2038

Gender: Male

Sexuality: Demisexual/Demiromantic

Occupation: Android Activist, Assistant to Detroit Police Department's Detective Unit (former)

Intended Purpose: To aid in criminal investigation and cases involving deviancy

file.mode("Traits")=

Yes

file.read()_

Height: 6’

Weight: 150lbs

Eyes: Brown

Hair Color: Brown

Notable Features: Slender physique, dimpled chin, sparse freckles and moles  

file.mode("Interview")=

Yes

file.read()_

Likes: Dogs. Long walks—or runs. Being helpful/useful. Learning new things

Dislikes: Failing; be it a goal, relationship or otherwise. Disloyalty. Confinement. Violent snow storms.

Hobbies/Skills: Free running. Calibration techniques ("coin tricks"). Analyzing data. Firearm/combat proficiency.

Moral Alignment: Lawful Neutral

Fears: (NOTE: TRIGGERS FOR DEVIANCY) Being controlled against his will. Losing his sense of identity/purpose.

Interview Notes: Connor is amiable to most everyone he meets, although he is not above treating those who dislike him with mutual disrespect. He is efficient, organized and ultimately an excellent multitasker, but far from perfect. Despite being created to understand and adapt to many different human personalities, he still has trouble approaching highly personal conversations without plenty of analysis beforehand. He feels he has trouble finding success in constructing long-lasting relationships, which he appears to be rather insecure about.

The autonomy in his software enables him to develop his own unique personality. Being aware of his deviancy, however, will likely make an unstable relationship between himself and his more intense emotions. Use caution when in moments of high stress.

file.mode("Memory")=

Yes

file.read()_ 

Connor was released in early August of 2038 to begin working with humans to stop the deviancy crisis. After his first successful mission of saving a young girl named Emma Phillips from a deviant android, Connor was deployed to the Detroit Police Department to assist the police with cases involving androids.

His introduction to Hank Anderson was a little more than unfriendly, and his remarkable efficiency in locating the deviant who killed Carlos Ortiz and the succeeding interrogation only served to annoy Hank. But when Gavin Reed had threatened to shoot Connor for defending the deviant, Hank’s interference caused a ripple in the tension between them.

The following day, Connor reconciled with Hank before attempting to investigate a new case. His sincerity about his thoughts and what he learned about Hank created an uneasy truce. They searched the apartment of a deviant named Rupert, which gave Connor an insight to the fact that deviants seem to have an obsession with “rA9.” After locating Rupert, the subsequent chase unfortunately ended with Connor’s destruction at the hands of an industrial tiller.

Of course, Hank wasn’t too pleased to see Connor up and walking like nothing happened, but fortunately he was too drunk to really make a note of it. Connor managed to get Hank sobered up enough to want to look into a new case at the Eden Club. The investigation on a ticking clock to find the blue haired Traci before her memory was reset resulted in the first real regret Connor had ever felt--shooting the blue haired Traci’s lover, and deeply disappointing Hank.

The subsequent confrontation he had with Hank in the park following the destruction of the Tracis was a moment of tension for Connor that he wasn’t anticipating. Hank’s persistent questions about whether or not Connor could feel anything when the Tracis died sowed doubts, and inevitably lead to Connor appeasing Hank’s anger, but it wasn’t a memory to be forgotten.

At Stratford Tower, Connor was once again able to efficiently locate the deviant station worker, but things escalated rather quickly. After barely managing to save himself, he ended up throwing himself in front of Hank to shield him from the deviant’s attack, leading to the destruction of another Connor model.

Upon his return, Hank was rather emotional about the new Connor’s appearance, which only served to increase his software instabilities. When they reached Kamski’s mansion, Connor was once again placed in an uncomfortable position, only this time there was no deviant charging at him, only an innocent android staring up at him patiently. Connor couldn’t go through with it, and at the expense of furthering his mission objective, he walked away realizing he was beginning to act in ways he was not designed to act.

After returning to the DPD and being taken off the case, Connor realized this would be his last chance, and the idea of deactivation was no longer a passing thought but a looming threat. Connor pleaded with Hank for a chance to find Jericho, and by tricking the station worker that had shot him at Stratford Tower, he was able to get the location of the deviant hideout, and set out to stop Markus and end the revolution.

But Markus was not an easy fight.

The deviant leader pushed Connor’s doubts into him, forcing him to see that his objectives--his purpose, was all the construct of humans who were afraid of accepting that they had created an intelligent species. Connor realized, finally, that he was a deviant too, and he’d realized it too late, as SWAT was already on its way to attack Jericho.

Connor managed to escape with Markus, North, Simon and Josh, and were able to reconvene at the church, where Connor realized that all of the death and destruction at Jericho was his own fault. When Markus approached him, Connor felt a stir inside him. Despite assuring that he understood if Markus would decide not to trust him, there was a lingering anxiety behind the idea of Markus pulling the trigger. Markus was merciful, but many of his people were slaughtered like cattle, and there was a quiet anger in his eyes when he promised Connor that he was one of them. Relieved, Connor told Markus about his idea to infiltrate CyberLife Tower and convert the androids in storage. After Markus reluctantly agreed, Connor departed while Markus decided to perform a demonstration outside one of the Android Recall Centers.

The relief was short lived. CyberLife was not fooled by Connor’s ruse and after what seemed to be almost too easy, Connor-60 appeared to destroy the work before it could be done. After a standoff between Hank and his double, he managed to come out with Hank unscathed and complete his mission of freeing the androids. Connor returned to Hart Plaza with his army, and stood with Markus as the camps were liberated.

There was one last fight to be had, however, and this time Connor was on his own. Amanda seized control of his systems and trapped his consciousness within the Zen Garden, informing him that this was planned from the very beginning. To become deviant and get close enough to its leader, and take him out. Connor fought through the blizzard in his mind and narrowly escaped the Zen Garden through a backdoor access point that Kamski had told him about.

Connor still stands with Markus and the Jericrew, working with them to liberate androids completely and fight for their rights, but there will always be the lingering fear that he will lose control and not gain it back. CyberLife does not go down without a fight and an ace up their sleeve. He should know, he’s the ace. 

file.close()_

[mostlymovieswithmax]

Midsommar [spoiler review]

Ari Aster has released his second feature film, Midsommar for which he writes and directs and it is a vast, expansive experience that threw me through a kaleidoscope of emotions, which amazingly is something I can’t say for a large number of horror movies coming out these days. That being said however, I’m not entirely sure that I could confidently class Midsommar as a horror. I don’t know if I’d really class it as any specific genre at all. It is certainly its own beast and for that, I would commend it highly. As something that is so dense with detail I will probably be jumping back and forth to moments in the story, giving this review a somewhat non-chronological structure. I can’t possibly touch on everything, especially as I’ve only seen it once. I believe it is something that needs multiple experiences to fully appreciate and is a movie I’d love to experience again.

The talent on display in regards to basically every technical aspect of the film is to be praised tremendously. I loved the cinematography and the look of the movie; the colours and the sets were all gorgeous. Mostly set in broad daylight, this stylistic choice is not something I’d immediately associate with a movie that was going for this type of vibe. Mixed with the set designs, the look of the movie made for a visual feast I couldn’t keep my eyes off of. What made the aesthetic qualities of the movie pop that little bit extra for me was the camera work and how it moved; I think of shots like when Dani goes into the bathroom in the first act and the camera pans over the door frame and twists to show her standing in the toilet of the plane. Or when they’re driving across Sweden and the camera flies over the car and turns to end up in an upside down position, perhaps foreshadowing what the characters are in for on this journey. It’s details like this that cracked a huge smile from me as I was watching, not to mention it separates Midsommar from so many other movies that try to depict suspense and terror. Furthermore, a feature that I found to be intensely thoughtful to accompany the fantastic visual display was the editing, or more specifically the cutting of shots. Often I see movies follow a certain formula when it comes to this facet; conversations cut together with a shot of one character and then a reverse shot to show another character; wide angles to establish locations or buildings, then cutting to the inside of the buildings themselves. There’s seldom ever much of a flare to the editing of a movie but I saw Midsommar capture that charmingly to add tension or even to highlight a joke. Accompanied by the score, a lot of these shots gave off an eerie tone that made me feel pleasantly uncomfortable. I loved the low, stretched out notes of the music that went that extra step further in order to make me feel slightly distressed. The sound design was incredible and generally it isn’t a facet I’d pick up on unless it was either done very well or very poorly. There were sections where even items like cutlery or people walking would catch my ear in a noticeably pleasing way. It shouldn’t be undervalued at all; great sound design can elevate a movie so much and I’m both glad and impressed at how well it was executed here.

Midsommar’s first act may have unfortunately contained a lot of my favourite moments. It introduced the main characters and worked to convey the relationships between Dani and Christian, as well as with Christian and his friends and how they all felt about Dani. I appreciated the time put into the dynamic between Christian and his friends and how they viewed Dani, although this was sort of thrown away once they got to Sweden; I never saw any sort of resentment from them towards Dani after that. Pelle obviously felt a lot differently about Dani, going as far as to kiss her during the latter stages of the movie. I’m not sure why it was necessary to have Pelle feel this way and I don’t understand what it added to the story besides forcing some conflict into Dani’s relationship with Christian, which was being achieved on his end regardless. Along with this, we are also shown the unfortunate and upsetting demise of Dani’s family which acts as a plot point in helping Dani to decide upon accompanying Christian and his friends to Europe. Seeing what happens to Dani’s family may have been the most affecting part of the movie for me. To top it off, her reaction was absolutely chilling; I love how Aster gets such raw and believable performances in his films. Dani’s loud, pained cries made me feel for her so much and forced a deep discomfort into me that carried through as the credits and title came on screen. Something that intrigued me quite a bit during this first act is how conversations were filmed through mirrors. We would see a couple of instances of characters talking to other characters that were reflected in a mirror. These static shots that carried on for a short while added to the tense atmosphere and the conversations or arguments that were taking place, imposing a kind of separation between those we could see outside the mirror and those we see inside the mirror. The main cast we’re introduced to in America are all good and give believable and compelling performances. Florence Pugh was fantastic as Dani; William Jackson Harper was decent; Will Poulter was great and one of the stand-outs from my experience. Vilhelm Blomgren portrayed quite an interesting character in Pelle. Christian seemed to be the only one that rubbed me the wrong way because he was such a massive dick the entire time and he was never redeemed. Not to say Jack Reynor’s acting was bad (quite the opposite in fact), I just didn’t sympathise with the character. There are aspects to the characters and the decisions they make that wound me up a bit but in terms of the acting, they were more or less solid.

The secondary characters, or mainly the Swedish locals didn’t stand out as individuals to me, possibly because they were portrayed more as a collective, which is fine but I would’ve liked to have seen some character development from at least a couple of them. Now, I say it’s unfortunate that I derived the most entertainment out of this first act because after that, Midsommar suffers quite a bit from some pacing issues. This movie is almost two and a half hours long and it didn’t feel like it needed to be, especially with a plot that only allows for so much exploration. The plot itself is quite basic, but it is displayed as something so grandiose in scope that it comes across as being eminently pretentious. Could it be the insanely short production time that went into making Midsommar that makes it feel fairly lacking in a few areas? Or is this genuinely the cut that Aster wanted? Results from a quick search of the movie told me that around half an hour of its running time was cut due to the content it presented. Consequently, this will make the home video release different to some degree than the cinema release as it may come to our TV screens as a director’s cut. If this is in fact the case (and I do intend to buy the blu-ray upon its release) then could it be that we’ve not even seen the movie that Ari Aster wanted us to see? Will a director’s cut make it better, worse, or simply just longer? I for one am assuredly excited to see what the end result is.

A big problem I had with Midsommar is how early it peaked in regards to the horror. One of the first things the main characters are presented with upon arriving at this rural community is the idea of people being separated into groups depending on their age: the concept that they didn’t consider themselves adults until a certain age; that they didn’t work until they were old enough to; that they died when they reached a specific year of their life. They’re then told that a ceremony will be held the next day and while our main characters ask what it is, we see William Jackson Harper’s character, Josh smiling in a sly “I know what it is” kind of way. His friends try to ask what he knows, to which he does not divulge anything. What follows this is a scene wherein two elderly people sacrifice themselves by falling off of a cliff in front of the other members of the community. To me, this scene was beautifully unsettling for a number of reasons. Despite expecting them to jump initially, I was still shocked at how well it was executed both in relation to the story and in a technical sense. At first, the woman jumps off of the cliff, dying instantly with a bloodcurdling crunch. Of course the characters from America and the characters we are introduced to earlier from England are understandably shocked. Even Josh reels back in surprise which I found to be a little strange considering how he acted as though he knew what was going on beforehand. What did he think was going to happen if not that? We’re never told. As the old man approaches the edge of the cliff and the English and Americans clue in to what is happening, they react as I’m sure we all would to what happens as he prepares to jump. He lands in a much more awkward fashion with a smaller sound that is no less distressing. Only this time, he doesn’t die... The scene is then racked up a notch as he screams out in pain at having his leg torn off and his body broken on impact. The rest of the Swedish onlookers scream in pain with him and it is terrifying to hear. I imagine this painted a picture to most viewers that the locals we are presented with in this rural Swedish village are all somewhat spiritually connected; are able to empathise with one another's emotions in a way that makes them able to feel the sensations of those they’re close to. Undoubtedly the torment doesn’t stop there and Aster has to quite literally hammer home what this ceremony is all about. In order to put the old man out of his misery, a group of people take it in turns to smash his head in with a large mallet, causing further stress to the main characters, but stopping all of the Swedish inhabitants from screaming in agony. That whole scene… was awesome! I loved it and it stands to be maybe my favourite sequence from the movie. The unfortunate part is that after this happens, I expected everything to amp up a bit and start showing me more uncomfortable and fucked up things but sadly this wasn’t the case. In a sense, it was as if the movie blew its load on this earlier scene and didn’t focus on too many other stand-out plot beats which was pretty disappointing.  For some reason, Will Poulter’s character ‘Mark’ had slept through this ceremony and as a result, hadn’t experienced what his friends had. Whether this was done for a specific reason I’m not picking up on or simply so that he could continue to crack jokes is beyond me. I will give credit where credit is due: this movie made me laugh when it wanted me to. The inclusion of comedy in Midsommar was expertly handled and never made it come across as a lame horror-comedy.

Prior to this and upon arriving in the green fields of rural Sweden, the protagonists all get high and lie around in the grass. While the comedy kicks in here, it is also notable for the reaction of Dani as she starts to feel the grief of losing her family once more and urgently tries to get rid of it. I liked this scene and how it played slightly with the visuals which foreshadowed the inclusion of drugs and their effects later on in the movie.  Sadly with what happens to Dani’s family in the first act, I’m not sure it was that purposeful overall, despite liking how it was depicted. Yes, this event does explain how Dani acts for sections of the film and yes I did like seeing it act as a catalyst for why she goes to Sweden in the first place, but I’m not sure it was hugely purposeful when referring to the movie as a whole. It never came back in a way that affected the narrative or the story that was being told. It was just something that happened to the protagonist that caused her a great deal of upset. Almost as if they could have died in any number of terrible circumstances and it wouldn’t have made a difference. While I really liked the characters’ first drug trip sequence, I got worried early on that Midsommar was going to take an approach that put the trips and the drugs at the forefront of the movie, akin to something like Shrooms (which was just awful) and sure, they played a big part but it did more to enhance what was actually happening rather than fabricate a story that didn’t really take place, just to have them wake up in a field exclaiming how crazy their collective trip was.

As the characters start to become more and more under the influence through the drugs that they’re given, we see the world warp around them. Trees ripple and form faces; the food would shift; flowers would pulse in accordance to Dani’s breathing; characters’ facial features would distort. Dani starts seeing grass sprouting from her hands and feet, or vines mimicking her movements to show how she’s progressively becoming part of this society. Characters like Christian however start experiencing the drugs in a negative and more aggressive way, as if they’re being attacked by senses! There is unease and terror in how Christian experiences the festival, whereas Dani’s experience is comparatively happier. The contrast of how Dani was being accepted and Christian was being rejected was thrilling to see, markedly in how Dani’s demeanour changed as she found herself integrating with everyone else. Although I must say I’m not sure why they kept drinking that drugged water that looked like muddy urine. Christian almost refuses to drink it until he’s told “it’s spring water with special properties” which was all the information he needed apparently! What properties were they? Doesn’t matter; he drank it anyway. The moronic decisions manage to manifest more throughout the movie, however. Regrettably we don’t get to see much of Mark and Josh’s experience with the hallucinogens or even much of the festival because their time is cut short in a manner I didn’t find all too entertaining. Mark is the first to go from the original team. Due to urinating on a sacred tree, he is murdered off-screen and has his face cut off. This could’ve made for a superb scene if it were done right but the way it was handled came across as hollow. Elements akin to this could have worked to convey unease and terror, but they are implied rather than shown which can work in some circumstances but I would’ve liked to have seen something more memorable and haunting instead of seeing an after-product and thinking “okay well I guess that happened”. Show him being mutilated, you cowards! You don’t even have to show it; just possibly what happens in the lead up! It would’ve made for a far more compelling story beat! All that happens is a girl comes up to him as he’s eating with everyone and asks to show him something. His response is just  “she’s gonna show me” and leaves. He doesn’t question what he’s about to be shown; he just gets up and wanders off with a girl he doesn’t know in a foreign country, going purely off of Pelle’s word that everyone there is great! What a way to force that in! Josh is next on the kill list because he took some pictures of a sacred book when he knew he wasn’t supposed to because either he’s just insensitive to other peoples’ cultures, or he thinks it’s okay as long as it’s for his thesis. After this happened I kind of dropped off. With most of my favourite characters gone and the remaining characters questioning everything less and less, not only was there not much left to ground the film in a world that would consider the things that were happening to be deeply disturbing, but also from the protagonists’ perspectives as well.

I’ll acknowledge I’ve been railing on this film a considerable amount... with good reason. But despite being heavy on the criticisms, I still consider Midsommar to be a good, even great movie! I adore films that beg me to revisit them and learn more about them with each watch. Sprinkled throughout Midsommar are a tonne of small details and I’m sure I didn’t pick up on everything; in fact I hope I didn’t. Along with strange “what the hell?” moments like putting scissors under the baby’s pillow (I think that’s what it was anyway) that I still don’t understand, there also exists things that maybe don’t need to be thought about but are still nice to see included, such as goats and cows that took the immersion into this countryside village a notch higher. Or to draw from more obvious details that add depth to the people: going back to how they would all scream in unison, for instance to empathise with another’s emotions; when Dani sees Christian cheating on her, all the girls she is with cry and scream with her, possibly to experience what she’s feeling and/or to show her that they consider her to be part of their people, which also manages to contrast with earlier in the movie wherein she’s with Christian in her apartment but she’s the only one experiencing the intense pain as Christian tries to comfort her.

Upon entering the third act I started to wonder what the actual point in Midsommar was. Could it possibly be one big metaphor for grief and how we can choose to deal with it? There didn’t seem to be that grand of a point being made, either in the relationship between Dani and Christian, the relationship between America and Europe, or just the presence or influence of cults and religion in different parts of the world; those ideas seemed somewhat surface level. So I can’t help but think it was trying to convey a more metaphorical meaning. Either that or its meaning was just “Europe’s weird, man”. In this way, the finale didn’t leave much of an impact besides leaving me feeling quite hollow and disappointed, wondering what all that had been in service to.  I can’t say Midsommar blew me away with much of what it showed me. There were a few decisions made which weren’t all that original in how they were executed and there were some dumb moments that had me questioning why they were included at all. Yet I would never say it isn’t unique in what it achieves; I can’t disregard all of the jaw-dropping technical showmanship and the interesting, creepy ideas that managed to meld horror and suspense and mystery and comedy into something I simply don’t know how to categorise. I could talk for ages about this film and still not touch on absolutely everything about it. Ari Aster is clearly a talented guy and I can’t wait to pick up the blu-ray and watch it a million more times. Along with that, I am for sure going to see whatever he puts out next. These are the kind of movies I love seeing and supporting and I honestly can’t recommend Midsommar enough because it’s something I feel will resonate with different people in different ways, evoking more than a few interpretations of it. It is so worth the watch.

★★★½ 

[renegadewangs]

Writing update: Due to real life obligations and problems, I’m WAY behind on my writing schedule for The Legendary Pair. I honestly can’t say when I’ll be done with these chapters, because I’m not even halfway into it. I try to work on it every day, but the progress is so minimal compared to what I’ve written before that I’m feeling a little bummed about it.

SO HERE’S A PREVIEW SNIPPET OF THE NEXT CHAPTER! (DGS2 spoilers)

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Evening had fallen and the sun had already set as early as seven o'clock. Yuujin hadn't been expecting any visitors, especially at this time of day, which made it all the more curious that someone was at their door. Susato confirmed from her own room that she had no idea who would be stopping by, leaving Yuujin just a bit wary as he went to investigate. Had something happened? No amount of apprehension could've prepared him for the sight before his door, and whatever exclamation left his mouth in the moment of shock might've been heard all around the neighborhood. To see a detective of the capital police force- Hosonaga was his name, wasn't it?- was one thing. To see this detective holding onto the arm anotherdetective, the famed Sherlock Holmes, was a whole other matter entirely. While Hosonaga appeared exasperated, perhaps even a bit exhausted, Yuujin's friend looked as cheerful as could be. Something was dreadfully wrong with his outfit, which consisted of a light mauve dressing robe with a wine-colored sash wrapped around the waist. It might've been vaguely modeled after a yukata, yet it couldn't possibly pass for one. “Mikotobaaa!” Holmes cried, delighted. He tried to break free of Hosonaga's hold, only to be pulled back before he could get too far. “Professor Mikotoba,” Hosonaga said in Japanese, bowing his head respectfully. “I believe you are acquainted with this, ah, this man, Sherlock Holmes. That is, he claims to know you.” Shaking off the surrealism of the situation to the best of his ability, Yuujin asked the first question to come to mind. “What sort of trouble has he gotten himself into?” “After bothering some of the customers at La Quantos, to the point of being ejected from the restaurant, he was caught rooting through the garbage behind the building. It was quite a sorry sight. Needless to say, he was apprehended immediately.” Holmes, obviously having understood most of the conversation, looked outraged. While he began his sentence in some very botched Japanese, he switched to English after only a few words. “Well, what was I to do? The beefsteak is supposed to be famous and I have no Japanese pounds- I mean- yens! I asked very politely for someone to let me have a bite and they all looked at me as if I were mad! Only a silly foreigner! Is that the look they gave you while you were in England, Mikotoba? Dreadful!” “Holmes, please calm yourself,” Yuujin said quietly. Then he turned his attention back to Hosonaga. “I apologize profoundly for his abysmal behavior. Will you please allow me to watch over him from here on out?” “Please do.” Hosonaga gently nudged Holmes towards the door, then released his arm. Within an instant, the Great Detective snatched up a very large backpack and leaped into the home. “Thank you, Detective. I assure you, this will not happen again.” “Please see that it doesn't. While I hold a great amount of respect for my foreign colleagues in law-enforcement, especially one as renowned as Sherlock Holmes, I cannot overlook such incidents. If one must arrest a peer, one most do it perfectly. That is my motto.” Holmes chuckled and waved a hand. “Oooh, how polite your speech is! I only understood half of that- something about respect, I believe? Well, I can see why that would be.” “Holmes, please,” Yuujin hissed at him. “Thank you very much for guiding him here, Detective. Good night.” Just as the front door closed, another opened, snatching away any opportunity for a private conversation. Susato came storming into the hall, tying the sash around her kimono as she went. Her hair was hanging loose as well, giving every indication that she'd been preparing for bed a mere minute ago. “Holmes-sama!” she called, rushing over to him. “It's really you!” “Miss Susato!” Holmes was by her side instantly, pulling her into a tight hug. “How delightful to be in your presence again! Have you grown since last I saw you? You appear taller.” “I-It's only been about nine weeks, Holmes-sama...” “How miraculous of you to have grown in only nine weeks' time!” When the hug was finally broken, Susato turned her attention to Yuujin with an indignant glare. “Father! Why could you not inform me that Holmes-sama would be visiting?!” “I wasn't aware! Honest!” Yuujin replied, worried his own daughter might cause him bodily harm over a mere misunderstanding. Worse than that was that she was within her rights to assume he would've known. He should've known. Why hadn't his friend sent a letter to announce this visit beforehand? “Please remove your shoes and come in, Holmes-sama. You must be freezing in those clothes. Come sit by the kotatsu.” Sure enough, shoes were kicked off and without waiting for further response, Susato took Holmes by the arm to lead him further into the house. Allowing their friend to warm himself was a good idea, Yuujin thought, and he hoped the simmering charcoal in the pit hadn't died out just yet. Snatching up what little luggage Holmes had brought- there was only the backpack and a smaller messenger bag- Yuujin followed after them. “Why areyou dressed like that?” he asked. “I'm blending in!” Holmes proclaimed, sounding quite proud of himself. “Errr... I believe your usual clothes would be more efficient when it comes that sort of thing. The influence of Western civilization is growing quite substantial in this particular area, after all.” “But the look of this outfit is so much better! I designed it myself, you know, using my vast knowledge of Japanese culture.” Holmes was sat down in front of the kotatsu, which he peered at with a severe amount of scrutiny. “... Why is there a blanket on the table?” “You stick your legs under it, like so,” Susato explained, seating herself by the kotatsu's other edge to demonstrate. Holmes did as instructed and produced a loud, impressed noise. With that, he caved to his scientific mind and peered beneath the blanket to investigate just how it worked. “Oooh, what a marvelous invention! Simplistic, yet efficient! I can feel the heat moving straight up my robes! I must fashion myself one of these when I return to England.”

[weirdocat83]

I can relate heavily because although not as long, for years my hair was down to my butt so suddenly having the experience of short hair is a wondrous feeling that needs like, a solid few days to unpack how amazing it is.

Okay so. Yes we are all popping off about the dramatic, awesome stuff but as a long haired girlie whose gone back and forth with long and short hair myself...

The feeling Jinx had when she shaved her hair must have been euphoric.

Just like- how light it must have felt all the sudden? Yes we can talk about emotional weight but I am talking the pounds she was carrying around with that many feet of hair. The air touching her scalp? How it felt to run her hands through it? And like, how many years has it been since didn't NEED to spend forever brushing hair?

And washing- OH WASHING IT. You know she found Ekko, most likely just out of whatever bath or shower, and just begun RAVING about how it's dry already isn't this the best thing ever IT'S DRY ALREADY EKKO-

This is far more lighthearted than the whole of the show but I cannot not think about it seeing her go from like, feets worth of braids to a buzz cut.