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absolutebl · 4 years ago

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This Week in BL

May 2021 Wk 3

Being a highly subjective assessment of one tiny corner of the interwebs.

It’s a cray cray Friday when Vietnam gets its eng subs up before GMMTV Thailand. What alter-reality are we in? Well, the Vietnamese offerings are better right now anyway. (Oooo, feel that burn.)

Ongoing Series - Thai

Top Secret Together Ep 2 - pulping it up in the best possible way. Sure sound and production values are pants, and in classic Thai fashion the editing in post is exacerbating (rather than fixing) pacing issues, but it’s still CUTE AF. I don’t even mind the added university storyline, because they’ve got good chemistry (and a confident gay fresher after a panicked gay hazer is an old favorite... what can I say, SOTUS was my first love). We aren’t spending too much time with any one couple, so it’s weighted a lot better than Brothers was, but also character development is slow.

Siew Sum Noi Ep 2 - Unfortunately, it’s just too hard to find, plus no subs. I’m dropping it in the hopes it comes back on my radar some day.

Y-Destiny Ep 8 - (Thurs) It’s rough having a ghost boyfriend, half your friends are scared, the other half think you’re crazy, and kissing shortens your lifespan. This was a cute couple even if I wasn’t wild about the surrounding story.

Close Friend Ep 5: (Dear My Star/JimmyTommy) - about high school penpals. It had to rely entirely on voice over work as the actors only meet face to face at the end. It’s a good thing they are appealing screen presences on their own, with good vocal control. It’s hard to imagine any other BL pair carrying this kinda plot. It’s by far my favorite of the series so far, and I’m not even a big JimmyTommy fan.

Fish Upon The Sky Ep 7 - no subs. Do we care? Not really. Because we have...

Nitiman Ep 3 - currently my favorite out of Thailand. It’s the university Thai BL i’ve been waiting for since... when was the last good one? My Engineer? Yowza. Anyway we got: head on my shoulder, baby is a floppy drunk (but still wants to be in control), proximity alert, boyfriend’s closet, seme gets seriously jelly, and a cute twist on feeding him. There’s something fun and complex about Jin’s character. He’s not a panicked bi. He knows exactly what’s going on, he just hasn’t decided if he wants Bb or not. He clearly enjoys being looked after, the compliments, and the attention, but he’s not sure if he’s going to like what happens if he gives in. I like that twist on the usual tsundere uke archetype a lot, cautious rather than willfully obtuse or freaked out. We can see Jin realizing in stages: I like this person, I like that they like me, I like the romantic attentiveness. But in the background is... do I actually want to f*k him? It’s a dynamic we don’t often see on BL.

Ongoing Series - Not Thai

HIStory 4: Close To You (Taiwan) Ep 10 fin - the most ridiculous show using BLs worst tropes in a sort of weird smoothie of bitter greens and too ripe banana. The ending was the sappiest cheesiest thing ever, like cheese syrup tapped from the cheese tree. So of course I loved it, but I’m pretty sure I giggled through all the bits meant to be profound. Because, in the end, to tolerate this show at all, you just can’t take ANY of it seriously. RECOMMENDED (with some SERIOUS reservations and trigger warnings.) Full review here.

Be Loved in House: I Do (Taiwan) Ep 1-2 - I don’t mind a damaged seme character but this one is a bit weird for me. Like creepy Cheese in the Trap level weird. On the bright side, the story has given our tsundere uke good motivation for his angst and great existing friendships, loyalty, and likability. Plus I’m invested in the cafe owner/innocent puppy side dishes. So if it’s only the seme character I’m not jiving with, and he’s the most established actor, it should all turn out fine. I believe in you, Taiwanese BL.

Papa & Daddy (Taiwan) Ep 6 fin - speaking of belief. This such a good show but they gave us a cliffhanger ending. Now we must hope against hope for season two. That’s never guaranteed with Taiwan tho. So, I’m docking a few points and saying, RECOMMENDED so long as you realize it’s a cliffhanger.

Love is Science? (Taiwan) Ep 1-9 (BL subplot) - this is a good het romance, but the fact that the BL subplot is a beautifully acted disaster bi + confident gay means you’re hearing about it whether you want to or not. Plus they just added in some GL! Come on! I gotta support Taiwan normalizing queer to this extent. They are fighting the good fight and if I also have to watch a career lady and her much younger softest straight boi get it on, too? Twist my arm with that service sub subtext. Go on Taiwan, TWIST IT. It’s on Viki. Join the revolution. * Incidentally if you actually like the D/s het dynamic of this show, I highly recommend Japanese Kimi wa Petto - career woman keeps a hot young dancer boy as a pet. Oh yes, an actual pet, that IS the pitch. Never doubt Japan when kink is on the line. It’s also on Viki. Go get your kink on, thank me later. (If it helps: That was not a request.)

Most Peaceful Place 2 (Vietnam) Ep 2 (AKA 5) - love triangles aren’t my thing, but if you’re gonna do it short form, by all means bring in the lead’s other BL pairing so the chemistry is on point. Now I've no idea who I want him to end up with. Can’t they just be in a poly triad?

My Lascivious Boss (Vietnam) Ep 7 - I’m still enjoying it a lot. It’s still unabashedly queer and the tension is ramping up. We now have secret identity, blackmail, femme fatale, faen fatale, and incoming seme confrontation. Best of all, the series is still airing, which makes it longer than any other Vietnamese BL I’ve seen (aside from Tein Bromance - which is just too weird to count).

Gossip - Thai BL

SEVEN PROJECT TEASERS

No one is entirely sure what Studio Wabi Sabi’s Seven Project/7Project will entail.

It might be like Close Friend (1 episode per couple, no linking),

or Y-Destiny (2 episodes per couple, loosely linked),

or The En of Love (4 episodes per couple, linked but independent consecutive stories).

They’re giving the couple’s arcs separate titles. So each one would be what? Seven Project: Once Upon a Time or the like? We’re in Taiwanese title territory people and NO ONE WANTS TO GO THERE. Anygay...

Once Upon a Time is the BounPrem (og UWMA) anchor story, and seems to be the most dramatic and likely saddest. These two can handle most of what’s thrown at them at this juncture, so it should be good.

Vs Love is a BoomPeak (og Make it Right) university vehicle. Since I thought Boom was done with our nonsense, I couldn’t be more thrilled and surprised this pair is doing another show together. I don’t think either of them are the greatest actors but I find Peak very endearing and Boom charismatic on screen, so I’ll watch.

Would You be My Love is the hotly anticipated SantaEarth launch. They’re a (cultivated) IRL ship and Earth is an established BL actor. They have great chemistry and high energy so this could be lots of fun.

We are also getting a GL from this series from established BL actresses Samantha and Pineare. Nothing teased yet on that, but I’m looking forward to this installment the most. Also curious to see how the ladies handle the branding and promo side, not to mention the culture. (Thailand variety shows gonna force *girls* to play the Pepero game?)

Secret Crush on You upcoming Thai BL with no release date, co-produced by and featuring (but NOT staring) Saint and directed by Cheewin (sigh) with all fresh faces. (Previously known as Stalker the series.) It looks like pure pulp and I’m not wild about the plot but could be better than expected as it’s adapted from a novel. Cheewin is an okay director when he has an actual story to follow.

Don’t Say No the series. Coming from the producers of TharnType this is the JaFirst vehicle many have been waiting for. Friends to lovers + a good boy/bad boy pairing on a sports romance foundation. It’s basketball so they tapped Meen as well (he’s semi-pro). The bad news? You get one guess as to who is writing the darn thing? Yep it’s MAME. So, ya know, expect some slam dunk kidnapping, a light dribbling of rape, and me turning into a basketcase. AKA...

Will I have to live blog this series in order to survive it? That seems to be the only way I can. So probably. Which means the bad sports puns will continue. Look, if I’m suffering, SO ARE YOU!

Rumors of a new YinWar vehicle The Best Story (mini series) coming in July. Also rumors that their previously announced Love Mechanics (full length series) has either been delayed, is facing money issues, or is moving studios, or all three.

Breaking News

DELAYED (I’m talking these three off the watch list until we get new airing dates)

Love Area’s release was pushed out but it got a trailer.

Golden Blood was supposed to drop Weds but comments in MDL report that it is delayed due to C19.

Love’s Outlet (Taiwan) is supposed to have started a 50 episode run (only 3-5 min each, what utter nonsense). Sadly, this delay is due to a surge in cases in Taiwan which was doing so well, but also doesn’t have many inoculations.

Bad Buddy has started workshopping at GMMTV actual.

Kang Insoo’s BTS for Nobleman Ryu’s Wedding is SO FLIPPING CUTE. You have to watch it. Trust me, I don’t rec behind the scenes stuff often.

Next Week Looks Like This:

Some shows may be listed later than actual air date for International accessibility reasons.

Upcoming 2021 BL master post here.

Links to watch are provided when possible, ask in a comment if I missed something.

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innuendostudios · 4 years ago

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Thoughts on... some funny games

[no spoilers to speak of]

Thoughts on Lair of the Clockwork God

The wisdom of the gaming cognoscenti insists that comedy is hard to do in video games. Having grown up with Monkey Island and Zork, I've never found this convincing. But one true thing is this: it's hard to write about comedic games. The ineffability of humor is hard enough to describe in less-interactive media; I can't even explain to my partner why Gretchen saying "I met January Jones once!" on You're the Worst busted me up, and they were sitting right next to me when she said it. Throw in the "you had to be there" nature of the player's active participation and I lose myself in a cornfield. The thing I found hilarious might come a beat to early for you, or not at all, or not be funny in text like it is in gameplay.

Why did I like Lair of the Clockwork God? It made me laugh.

The premise and particulars are a lot of "that could go either way." Ben and Dan - stars of Ben There, Dan That and Time Gentleman, Please! - have returned. Ben is still an adventure game star, but Dan has adopted platforming mechanics in an attempt to get with the times. So playing the game involves switching back and forth between a character who can leap across canyons but can't pick up items or talk to people, and one who can combine inventory but can't climb over a 3-pixel rock.

Does that sound potentially funny? Potentially grating? Yes to both!

The plot centers around our heroes trying to save the world from several simultaneous apocalypses and having to teach human emotions to a supercomputer in order to do so. (Don't ask.) These means, rather like Ben There, Dan That, traipsing through a number of fantasy worlds (read: computer simulations) until the correct emotion is provoked. This requires cross-genre cooperation: finding ways to get Ben to areas only Dan can access, getting Dan new power ups by combining objects in Ben's inventory (an act Dan insists on calling "crafting").

The best bits are at these intersections, when Dan's platforming is the puzzliest and Ben's puzzles take advantage of Dan's skills. Periodically the game gives you a Dan-centric platforming gauntlet the controls are NOT precise nor pleasant enough for, or a Ben-only moon logic puzzle that leaves you googling the walkthrough.

But I liked it! A lot. The genre-hopping seems to have invigorated the developers, Ben Ward and Dan Marshall. I discussed my favorite joke in Ben There, Dan That (in what is probably the least popular video I've ever made that wasn't asking for money), but was also dismayed that the game was never that clever again. But this one is, several times over! Progression here involves cheating your way to a better respawn zone, goofing around in game menus, exploiting "glitches," exiting out and loading up entirely other games. There is a lot of poking and prodding at what a game of this nature can or should be.

But, honestly? The only real selling point is... it was funny. The humor is as anarchic and metatextual as in previous titles, but it feels good-natured in a way BT,DT didn't. And there are, here and there, little bits of meat on its bones - the characters wondering if, as a couple thirtysomething white guys, the world hasn't left them behind, no longer comfortable with the juvenile humor of their youth but not really understanding the youth of today, but having not yet fully escaped the mentalities they used to hold. (There's an unspoken humor to Dan's idea of "modern" gameplay being 2D platforming mechanics, especially at a time when adventure games are significantly more popular than on his last outing; this is a good joke whether or not it's intentional.)

Also: this game contains the most poignant urinating-on-a-grave puzzle in gaming history, and you may quote me on that.

Having finished it months ago, I can't even remember what all the gags were that tickled me at the time. Comedy fades from memory faster than drama or frustration. Mostly I just remember having a good time.

Thoughts on The Darkside Detective

Here's a hook: sometime after the mayhem ends in Ghostbusters, The Exorcist, Evil Dead 2, or some other paranormal blockbuster that you watched over and over in the 90's until the VHS wore out, some overworked detective has to come into your town and piece together what the hell happened.

This is his story.

It's a good gag, and the devs wring every drop from it. Existing in a world where these things are commonplace and you have to fit them into some notion of "police procedure" is just funny. Like, it's one thing to have a running gag where you keep observing the moon in outdoor scenes, commenting, with increasing hostility, that its behavior is suspicious (it has been present at multiple crime scenes); it's a slightly different thing when, given the things you've encountered, the moon being the Big Bad is actually somewhat possible.

The game is divided into six main cases and three bonus DLC missions (which come included in the base game now, and the third of which is the proper ending/setup for the sequel). You are the cop tasked to deal with The Other Side - and, when The Other Side bleeds into our own world, its cops have to deal with you. You have a sidekick with a mental maturity of about 6, which I guess makes you the straight man. (You have to grade on a curve to find a straight man in this game.) And you solve tasks like rounding up escaped gremlins or finding an AWOL lake monster all juxtaposed with mundane problems like inter-office squabbles and having not bought your Christmas presents early enough. It's (pleasantly) lo-res and sparsely isolated, so the dialogue and premise do most of the work, but they are ably up to the task.

The gameplay... not so much. I'm an adventure game lifer, so I can put up with a lot of nonsense. It's mostly straightforward inventory puzzles and occasional minigames. Most of the puzzles are fine enough. As the cases progress, things get more involved, and the DLCs especially involve some awful moon logic. And the minigames are not above using that same jumping peg puzzle you've solved in a dozen other games already. So gameplay ranges from serviceable to irritating, but it mostly exists to string together funny lines and silly images. (Christmas mall elves being secretly in service to Krampus - that's the kind of thing we're talking about here.) You won't feel much guilt for opening up a walkthrough; the puzzles aren't why you're here.

The sequel has just been released, and both games are cheap, so check them out if you feel like smiling.

Thoughts on The Procession to Calvary

It's rare for a game to be hilarious to look at.

The Procession to Calvary takes its name from the Bruegel painting. It also takes all it's graphics from Renaissance oil paintings, and the designer delights in making famously rendered heroes and religious icons steal, stab, fart, and swear.

A strong Terry-Gilliam-with-After-Effects vibe is what we're describing.

You play as a lady knight from a war that's just ended, which sucks for you because, in this age of peace, you're no longer authorized to kill. And killing's, like, you're whole thing. But the one person your new, pacifist king wouldn't stop you from killing is the warlord you just deposed, who fled to the South. So you embark on a nonsensical journey to seek out the one human on Earth you are authorized to kill, because killing is just The. Best. Ever.

Of the three games we're discussing, this is the most overtly cheeky, and, at times, the most scatological. I could've done with a bit less scatology, if I'm being honest, but the cheekiness is very winning. As with Lair of the Clockwork God, a lot of jokes could go either way - a field of people being tortured and a woman on a blanket selling commemorative torture merch could be painfully try-hard. But something about the victims being seemingly everyone ever crucified or broken on the wheel in a famous painting, and having them writhe on their crosses in a way that is both gruesome and goofy, and having a cacophonous soundtrack of their screams and moans that you will now imagine every time you look at one of those elegantly elegiac paintings from now on... it works. That the music score is being played by an extremely jaunty piper who dances behind you just out of sword's reach as you traverse the field pushes it over the top.

Oh, and the puzzles, while never hair-pullingly obtuse, will leave you stumped at times. Push past that to get the proper ending, but, if you're sick of trying, you can, at any point, just start stabbing your way through problems. Which, again: it takes a very deft touch to make "protagonist resorts to violence" actually funny rather than lazy and obvious. And maybe, in another game, the perfect timing of every animation, the clever quips, the careful contrast of cathedrals and high-society music halls with gleeful sword-swinging wouldn't be enough. But something about it being frickin' Renaissance paintings carries it the last mile.

This is probably the basest game of the three, but it's also the one that made me giggle the most. Having a BFA that required several art history classes may have something to do with it. But check this thing out.

#capsule review #darkside detective #lair of the clockwork god #procession to calvary

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rachelbethhines · 4 years ago

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Tangled Salt Marathon - No Time Like the Past

While I wouldn’t call this the worst episode of the series, there are several others I dislike more, I would call this the most ill conceived story in the show.

All the other bad episodes have potential but are let down by poor presentation, boring predictability, or sloppy planning. This one however, is fundamentally flawed in it’s very basic premise and so ranks in the bottom of most fans lists. Even people who are far more forgiving of season three and than I am, and are hardcore New Dream stans, still dislike this episode. That’s how bad it is.

Summary: Rapunzel discovers Old Lady Crowley tossing out Cassandra's things. She is upset and demands that they be left alone. She then has Lance and Eugene help her save all of Cassandra's mementos and personal belongings, but she becomes saddened when Eugene reminds her that Cassandra turned her back on "her". Rapunzel takes a box of her things along with, unknowingly, a mysterious hourglass. As she examines it, she accidentally drops and smashes it and she and Pascal find themselves sent back into the past. They run into a teenage Eugene and Lance who keep calling Rapunzel "Sideburns". Rapunzel realizes that she and Pascal have inhabited the bodies of the Stabbington Brothers and decide to recruit the young thieves in getting the hourglass from the castle back.

Fun Fact! That Dummy is Rapunzel’s Doing

Minor nitpick here, but Cass had nothing to do with putting Eugene’s face on her sparring dummy. Rapunzel voluntarily did that back in Under Raps. Cas never requested it nor even expressed any joy over receiving said ‘gift’.

Basically the show is attributing one of Rapunzel’s mistakes/flaws to Cassandra in order to introduce a very nonsensical plot point later. So I need ya’ll to keep that in mind as we go along.

Lets Talk About the Episode’s Ordering

We don't have production codes for season three like we did for the previous two seasons. So we can’t know for sure what order everything was originally planned in, but I would argue that this episode should have came before Return of the King.

For starters this is a “bottle” episode; it takes place mostly in the past and the only present day characters who show up are Eugene, Raps, Lance, and Crowely. As such you could potentially slot this episode in anywhere before Cassandra’s Revenge. You can’t really do that with most of the other episodes so it could have been easily moved around when airing.

Therefore, I would argue that it should have been the first episode after Rapunzel’s Return for three key reasons.

It would have given Edmund time to travel to Corona and give Raps time to start up big building projects like fixing Old Corona. In fact she’s already approving building plans for the capitol city at the start of the episode. Which could even explain why she took so long getting to the castle repairs if she was taking care of the stuff that the Saporians messed up else where.

Rapunzel’s stance over wanting to keep Cassandra’s things makes more sense early on, both in universe and in a meta context. Raps would still have hope if Cass has only been gone for a month or two instead what would now be four or five months down the line. It also makes sense that Crowely wouldn’t wait around for that long. And from a meta standpoint, the audience would still be oblivious to what the heck Cass was up to and could theoretically side with Raps better; or at least empathize with her view point more, even while disagreeing with her.

Events in this episode better explains Eugene’s decisions in Return of the King and gives the audience more context for certain stuff.

So Why Is There a Random Magical Time Traveling Hourglass in the Storage Vault?

Slowly but surely the series has abandoned all pretense that there’s any logical world building in the show. Magical things just appear randomly now without any explanation whatsoever. Worse than that, things like the hourglass and map to the cursed tomb are treated as if they were always there, unlike the magical beings that they happened to run into in past seasons.

The problem with this is a lack of consistency. You can’t have sceptics like Eugene and Varian if magic is so common and wide spread that anyone can run into it at anytime. Not to mention it diminishes the specialness and importance of the sundrop and moonstone if powerful magical items can be so easily found and stirred, undermining important plot points and the tension surrounding them.

But most frustrating of all, is that this could have been easily fixed by just stating on screen at some point that magic attracts other magic. Meaning it’s only Rapunzel herself who routinely runs into these things and not just everybody and anybody.

None of This Stuff Holds Any Meaning

Show don’t tell!

At several points through out season three, both Raps and Cass morn over Cassandra’s left behind things. They tell us constantly that these objects hold significant meaning to them, but I, the viewer, have no damn clue as to why.

We were never shown on screen what was so special about these things other than the fact that it was junk Cass collected. There’s no story attacked to these assortment of objects nor any previous indication that Cassandra valued them beyond their usefulness. As such, any scenes involving her stuff fall emotionally flat.

Eugene is the One in the Right Here.

Eugene’s right.

Any well adjust and mature adult will tell you he’s right.

If someone doesn’t want a relationship with you, than that’s it. There is nothing you can do but to move on. It sucks, but its life. To ignore that is to ignore someone else’s boundaries and personal autonomy; while also devaluing yourself and you’re own needs.

In a competent show this would be a set up for Rapunzel to learn something about letting go and taking care of oneself emotionally.

But this isn’t a competent show.

But Lobster is for Poor Folk

Food history time!

Lobster, and shellfish in general, have been considered low class food for centuries. Especially around costal areas like Corona. It’s easy to attain, cheap, and not regulated like hunting was in much of Europe. In America, specifically, lobster was fed to prisoners and there’s historical accounts of riots being started over it.

Heck, less than forty years ago, no one lived on the coast but poor people. That’s why there’s historical communities of black people living on the southeastern islands in the US and why my father grew up in the swamps of Alabama during the 50s and 60s.

The gentrification of coastal property and seafood, like lobster, is a very recent phenomenon in human history, starting in the late 70s early 80s with the booming tourism industry and increasing globalization.

So while I understand that the joke here is meant to be reflective of our current understanding of lobster being a status symbol, in universe, it’s the equivalent of Eugene getting excited for chicken nuggets instead of his usual bowl of cereal because the story takes place before the 20th century.

This means that these kids are so poor that fucking mcdonald’s fast food would be considered a rare treat compared to the slop they usually eat. Yet again what is meant to be a lighthearted joke turns suddenly dark when you stop to think about it for all of two seconds all because the writers are so flippant about their world and characters.

This Wasn’t Planned Out, So the Timeline Doesn’t Add Up Anymore and Resources are Wasted

Remember the flashback in The Return of Strongbow?

Now I need you to remember that season three is two years later from season one and the movie. Eight years ago then, would be ten years ago now.

The Eugene and Lance in the bottom picture is suppose to be roughly the same age as the Eugene and Lance in the top picture; give or take a few months.

I know teenage boys can grow fast, but not that fast.

Eugene at 16 looks the same as he does at 26. All because the writers were too lazy to preplan things out ahead of time.

We should have seen the teen models with recasted voices back during that first flashback if they were going to tell this story later. Or the previous plot point should have been less than eight years ago.

In fact the first flashback no longer makes any sense being so many years ago given Eugene’s engagement and recent breakup with Stalyan, and the later reveal that he was working for the Baron during the original movie.

Sloppy planning like this not only makes for a confusing timeline but it also wastes limited resources. I like the new models, I like the actors cast for these younger roles, and I do like the concept of seeing more of Eugene’s past. But going through all of that trouble and money for what amounts to one throw away episode is mismanagement of the budget and work schedule.

Baby Varian Is the Episode’s Only Saving Grace

I know people are divided on the deign here. Some love it and some hate it, but that’s a personal taste thing. The actual scene itself is golden either way, because it’s such a funny eater egg. Fans on both sides made memes out of this for days. It’s legendary.

Personally I’m more in the ‘love it’ camp, though I can see the issues people have with the design. My main defense of it is more the fact that we got kid designs for the other OCs in the show and it’s only fair Varian got one as well. The fact that he’s in smaller versions of the S1 clothes doesn’t bother me anymore than when Lance ran around for two seasons in the same outfit, including when he was a kid.

So if I like it, then why am I talking about it a salt review?

Cause the most memorable part of an episode shouldn’t be a throw away gag!

People bring up baby Varian way more than they do about anything else in the episode, and no it’s not just because the character popular. It’s because most would like to forget what comes after this scene.

Where is Quirin, by the Way?

Why is your six year old son running around the big city unsupervised?

This wouldn’t get talk about as much it wasn’t for the fact that Quirin being neglectful in season one was a motivating factor in his conflict with Varian. A conflict that was suppose to be resolved back in Rapunzel’s Return but we the audience have yet to visually see any difference in behavior since then.

Quirin’s absence here in the past highlights his absence in the present day and reminds the audience aware that we’ve not been given a satisfying conclusion to one of the most important arcs in the series.

Lets Talk About Wasted Potential

Like I said, I like the idea of exploring Eugene’s past. But we should have gotten that back in season two when it was more relevant. Part of why this episode fails is because Eugene has reached the end of his original character development. He’s now on an identity crisis arc which has nothing to do with this episode.

But you know who still hasn’t finished developing? Rapunzel.

Rapunzel has lots to still learn and viewing her past through outside eyes could have turned this story into something really special. Especially with the ‘inhabiting another body’ plot point.

You have no end of options here,

Have Raps inhabit Cassandra’s body for a day and gain insight into what motivates her. It could have been either before or after they met, both offers up possibilities.

Have Raps inhabit Eugene’s body and experience what he had to deal with growing up and come to see his point of view. (This could have also worked with the Sabbingtons set up had the writers not been stupid.)

And my personal favorite, send her back to right after Queen for a Day and have her stuck in either Varian’s or Ruddiger’s bodies. Force her to see what she did to him and have her acknowledge she was wrong.

And those are just the most obvious choices, there’s other more out of left field things you can do that would still work with good writing. Like exploring Lady Caine’s past, inhabiting Arianna’s body and learning how to be a real queen, get dumped into actual young Gothel and lay out clues to the future Zhan Tiri plot, or possess one of the Brotherhood and experience the final days of the Dark Kingdom; the list just goes on and on and on.

But I Thought You Didn’t Put Kids in Jail Frederic?

Remember that Raps and Pascal are possessing the Stabbingtons who are still teenagers here. They can’t be much older than Varian.

This means that Varian isn’t some special case. Teens have received harsh and deadly punishments in the past for non-violent crimes like theft.

Also teens are called kids still by the majority of the cast. They’re aren’t considered adults with the same rights as someone in say their twenties, yet they can be punished the same as an adult would. Which is horrendous in any time period.

So in conclusion, Frederic is a fucking liar!

Tangled the Series can’t decide if it’s in the far past or a reflection of the modern day. As such it winds up supporting the worst of both worlds. Barbaric practices like hanging for minor crimes and prison slave labor are treated as the norm and never called out for the horrific things that they are; treated as a joke even, but we’re suppose to accept that this world also somehow views adolescence through the lens of late 20th century sensibilities even as it forces minors to go through such atrocities.

Like what are you trying to say show? What is your message on the transition of adolescence to adulthood regarding rights and responsibilities? And don’t tell me ‘it’s not that deep’ because this is suppose to be a coming of age show! That’s the entire premise of the series!

So How Old Are Stan and Pete Again?

I was always under the impression that Pete was a newbie guard, closer to Cass and Eugene’s age than say Cap or Frederic. That’s why he screws up so much because he’s inexperienced, why he seemed to be the closest thing to a equal colleague Cass had in the guard when she was also just starting out, and why I assumed those braided girls from the movie were his sisters.

I mean there was nothing on screen previously that would necessarily contradict this reveal, it just doesn’t feel right, that’s all. I guess he could be like 20 here and be 30 in the show. That would make him only a few years older than Eugene, but still doesn’t explain why he’s so useless a decade later.

I’m fine with Stan being here though. I always thought of him being the older of the two. In fact I headcannon Willow as his mysterious wife that he talked about back in Monty’s episode during season one. (She’s Stan and Pete’s beard, and they’re totally in a open poly relationship. That’s why they’re allowed to stay in the royal guard despite being so incompetent cause they’re technically Ferderic’s in-laws and Rapunzel’s uncles. Just no one ever talks about it cause it’s a minor sandal for a princess to marry lower class and Willow’s hardly ever there.)

And Why Does Xavier Have All Those Plot McGuffins?

I know we’ll never get an answer, but at this point Xavier’s exposition fairy powers border upon ridiculousness. It’s just lazy and a waste of character.

So How Does Time Travel Work In This?

There are three types of time travel stories in fiction.

First is the ‘Changeable Past, Changeable Future’. You see this in Back to the Future. What you do in the past will change the future, i.e. your present. You may or may not remember that you did it, but be warned you could change things too much and break stuff. Like erasing yourself from existence, or ruining your love life ect. The only way to fix it is to go back in time again and change stuff again. But beware of paradoxes or you may destroy the universe altogether.

The second is the ‘Alternate Timeline’, where changing things creates new realties and it’s a matter of finding the right reality again. The tv show Sliders is a great example of this. Each new timeline is a different dimension. What you do in one won’t effect your original point of origin, only that particular world. The challenge if often getting home again because the probable diverging timelines are infinite and the changes of getting back are a zillion to one.

Third is the ‘Closed Time Loop’. No matter what you do nothing will change. The future is inevitable and whatever you do in the past was always meant to happen anyways. Gargoyles handles this really well. You can also have ‘fix points’ where certain important things are set in stone but small things can be changed like in several Doctor Who episodes. Braking a fix point breaks the universe once again, while paradoxes are often the solution rather than the threat.

So which type of time travel is Tangled dealing with here?

Scenes like the conversation regarding Pete’s and Stan’s mustache or the ones involving Eugene working on his smolder suggest a closed time loop. Yet the ending to this episode reveals a changed future. Further still the grandfather paradox revolving around the hourglass would make you think an alternate timeline yet, we’ve no indication that anything else changed other then Eugene’s opinions on Cass, and Raps shows no concern about getting back to her original point in time indicating that it actually isn’t another dimension.... so what is it then?

You don’t have to have a tightly plotted time travel story to have an entertaining piece of media. Endgame is riddled with plot holes and contradicts itself constantly, but what it lacks in coherent plot it makes for with fun characters, emotional story beats, and good pacing that manages to balance the action with the drama while hiding the cracks just enough that you don’t lose immersion.

Tangled however fails at even this because it gets the character beats so fundamentally wrong. Like you may dislike where the characters ended up in Endgame, but can’t say that those developments didn’t match the characters’ previous storylines and logical trajectory. Tony finally becomes the selfless hero by committing the ultimate sacrifice, Steve learns self care as a mirror to Tony’s arc as they were always parallels to each other, Bruce learns to accept himself, Thor processes his grief and lets go of the role he was assigned at birth but never truly fit into, and Nat becomes the leader she was destined to be rather than the sidekick.

What happens to the characters in this episode however makes no sense.

This is Another Missed Opportunity to Explore Eugene’s Past

The other problem behind the episode is that we don’t actually learn anything new. If you’re going to promise a story focusing on Eugene’s past then I expect to actually glean some new insights.

We still don’t know why he’s working with Baron or how he fell in/fell out with him, what his relationship with Stalyan is like, how he became so cynical; not just the general basics, like the orphanage, but that point in his life where decided that survival meant giving up his morals and ethics; where did he first learn his better ethics that he originally suppressed (cause it sure as heck wasn’t Rapunzel), and when did he and Lance become separated?

This are questions that series decides to raise by making allusions to them and building conflicts off of them but never wants to explain the details of where they originated from. It’s super frustrating and wholly unnecessary. If you didn’t think the story of Eugene’s past worth telling then why did up repeatedly bring it up Chris?

Why Are You Surprised by This Rapunzel?

Rapunzel you know Eugene’s past. You know what he used to be like. You were literally there in the movie and saw him being an ass before this. You didn’t start to like him until he dropped his guard down in the flooded cave back when you both where about to die.

You fell in love with him when he showed you his real self and he fell in love with you when you proved that you were accepting of that. You earned each others’ trust. This here; angrily yelling at him and judging him, when you’re already hiding who you really are from him both literally and figuratively, is a breaking of that trust.

Who the fuck are you any more, Rapunzel?

Cause you’re not the same character from the movie. You’re not even the same character from season one. But whoever hell you are now, it’s not an improvement I can tell ya that.

So How Did The Hourglass Go From the Treasury to the Basement Storage, and How Would Raps Know It Was There At This Point and Time?

I’m guessing the implication here is that Crowley put Cass’s stuff in the vault, but like why the fuck would she do that? We’re not talking about a family attic here, but the royal safe. The most heavily guarded room in the castle with the kingdom’s most priceless treasures and antiques. Nothing Cass owned was that valuable.

Rapunzel Is Full of Shit

Oh let me count the numerous ways in which this whole lecture is stupid.

Rapunzel left Varian behind. Rapunzel left Varian behind multiple times, including that time he was thrown in jail. She was not a good friend, and no, this is not a case of her learning from her past because not once has she ever admitted that she was wrong to do that. So this scene just makes Raps look like a hypocrite.

Eugene does not need to relrean a lesson on being a better a person. He did that during the movie and has progressed beyond that point. This ‘lesson’ is a waste of time and a misuse of the characters.

This reframes Rapunzel as being in the right during her argument with older Eugene at the beginning of the episode, even though she’s not. In fact this is such a counterintuitive plot point that it boggles the mind. Who structures a narrative this way? Why so blatantly point out how the main character is wrong if not to have her learn something? Why frame the story to make the person who’s personal conflict isn’t even the episode’s focus, into the one who needs to learn something? Especially if that something is already a lesson that they’ve learned on screen beforehand.

And why, oh good heavens why, would you teach children such a toxic message? Like on the surface it sounds like something you’d hear in a children's show, but the context of it is justifying harmful behavior where you selfishly ignore other people’s wishes and boundaries just to satisfy you’re own personal desires.

And finally, Eugene and Lance do not work as a parallel to Raps and Cass. Cassandra is an adult who left of own free will. Lance is a teenager who was arrested due to Rapunzel’s own actions. Eugene isn’t the one who is responsible here, its Rapunzel. Who also left them both behind in her carelessness. Secondly, Eugene’s decisions are spurned by years of trauma and a healthy fear of dying, while Rapunzel’s is wrapped up in her own need to always be right and to keep her immature and fanciful outlook of the world intact. As harsh as it seems, what Eugene did was based off a predetermine agreement and presumably Lance would have acted the same way or been pressured to act the same way by Eugene. In short, Eugene’s cynical world view as a teen is not the source of his disagreement with Rapunzel but an adult perspective back by common sense and a respect of others choices. It makes no sense for present day Eugene to ‘learn’ anything from this misadventure that he didn’t already know and for Rapunzel to not learn anything that would actually tie the parallel together.

Locking Another Teen Inside a Jail Cell With Another Adult as a Joke, Does Not Erase the Inappropriateness of Varian’s Story

The episode tries to add another joke about Shorty sneaking into the prison without the guard knowing, but that still doesn’t excuse the fact someone had to have tossed Lance in there with him on purpose. Otherwise Lance wouldn’t have assumed Shorty was a fellow prisoner if he or the guard that locked him up saw Shorty sneak in before then.

Furthermore Lance’s nonchalant response suggests this is not an out of the ordinary occurrence. Nor do any of the other guard comment upon the irregularly of teens being jailed with an adult. Now add in the fact that the show fails to clarify that previous ‘cellmate’ line from Rapunzel’s Return and now gives us more confirmation that Varian was underfed and malnourished for a year with that gruel joke and you have a horrifying picture.

Shorty might be non-threating, but that doesn’t mean Andrew, a known attempted murderer and manipulator, is too. Nor any other adult who previously was housed with a teen before then. This is still very much not okay and no amount of ‘jokes’ will suddenly make it right.

Raps, Who is an Adult, Just Physically Threatened Two Teenaged Boys and It’s Played as a Joke....

How many times do I have to say it? Humor does not fix bad writing. I’m not laughing when a heroine at age 20, threatens a couple of kids for merely annoying her. Especially when said heroine has a history of abusing children; because let me repeat once again, neglect is abuse!

This is a Lie

No you wont.

Rapunzel never tells Eugene what happens on screen. I suspect that if she ever did, they would no longer be together, because what she wound up doing here was a violation of trust and boundaries in the worst possible way.

And This is Now a Time Paradox

A Grandfather Paradox to be specific. How can Rapunzel be here in the past to break the hourglass if the hourglass that sent her here is broken?

In a competent series this would be the point of a future conflict and not the actual resolution. It’s not a closed time loop because of the paradox and the changes we’ll see in the future.

So either she’s in an alternate timeline/dimension and just doesn’t gives a shit; leaving the real Eugene, Lance, Cass, ect. to go on without her; or she’s just broke the universe and everything is slowly unraveling around her; galaxies are dying as she whines about being dumped, people in the future are being eased from existence, and God is cursing her name for ruining his creation, all the while she carries on oblivious to the destruction in her wake, as usual.

That’s it. Those are you’re only two options now. Is everyone from here on a fake copy or is Rapunzel the damned destroyer of worlds? You decide.

So This Confirms That the Stabbingtons are Indeed “Family”

Another reason why I place this before Return of the King; it explains why Eugene considers the Stabbingtons ‘family’. Though if it was Rapunzel he actually bonded with and not the real Sideburns, then how much of his feelings are real and how much of them were fabricated by her? How much agency did this episode steal from him?

So What Exactly Did We All Change?

Well the dummy no longer has Eugene’s face, but Cass’s painting of the three of them still has him ripped out of the photo, soo... Keeping in mind that Raps painted the dummy anyways and considering that Moonandra tries to kill him later on; I’m going to guess that Cass’s feelings weren’t actually altered. If anything their relationship might actually be worse now, cause Cassandra keeps acting like she’s never had friends and Eugene has taken up Rapunzel’s blind devotion.

All that development in season one is just, poof, gone. Also it’s quite possible that the first movie as well has now it has been erased from existence as Eugene got his needed character development eight years too early. How the hell that’s suppose to work, I don’t know.

Outside of the that we get no confirmation how anybody else was effected, even though a more brainwashed Eugene running around would undoubtedly have caused a butterfly effect. Don’t expect that to be explored anytime soon.

Though, it would explain why he’s suddenly such a doormat in season three, if this was the second episode as theorized.

No! This is the Wrong Lesson!!!

Let me explain narrative promises.

Everyone, on some basic fundamental level, understands how stories work. We hear them recounted to us over and over again from the day we're born to the day we die. It’s integral to how we communicate as human beings. Everyone knows innately how to tell a story even if that person couldn’t tell you how stories or structured or what certain literary terms mean, but they do it every day just through speaking. And while most audiences can’t always pin point what upsets them about a story they can for sure notice when things are off and not satisfying to experience.

Now that doesn’t mean that everyone can write an awarding winning novel, that study of a craft isn’t important, nor that every amateurish critique thrown at any given media is valid. But it does mean that people have come to expect certain storytelling practices and can pick up on narrative cues. We’ve familiarized ourselves with the language of film, novels, comics, ect, into order to comprehend what’s going on.

Rules of writing are just following that established language so that the audience can keep up. You can break these rules, sure, but unless you know what you’re doing and have a good narrative reason to do so, then you can easily lose you’re audience. And if you’re making money off said audience that’s something you want to avoid.

A narrative promise is a cue; a set up that lets the audience know that ‘hey this is important, pay attention to this cause it’ll come back into play later’. Now that the audience has been alerted to the plot point they expect fulfillment of the promise. If you break that promise, either through poor set up, lack of follow through, or by breaking an established convention of writing for no other reason then because you just wanted to, your audience is going to walk away unsatisfied.

The argument at the beginning of the episode was a narrative promise. It was a cue that set up the interpersonal conflict of the main character. For add context, I know that this is a coming of age story. Convention would dictate that the protagonist would resolve this conflict by learning they were wrong.

That’s not what happened here.

Convention was subverted. It wasn’t the protagonist who grew and change, it was the person they were in conflict with who did. And it wasn’t subverted because of any greater narrative reason, or future pay off, or even as effort to be shallowly ‘clever’; it was subverted because the author just didn’t want to hold the main character accountable for anything. Because said character has now become his avatar for his wish fulfillment fantasy and having the main character admit fault would be to admit fault in ones own self. Rapunzel doesn’t feel like Rapunzel this season because she’s just Chris in a wig.

The episode broke a narrative promise to the audience; both within the episode and in the greater premise of the story, because of ego.

I don’t claim this episode is bad just because of personal taste nor because I find it morally repulsive (even though both those things are true), I call it bad because it exhibits bad writing. Plain and simple.

Way To Undermine The Entire Point of the Original Movie, Show

Speaking of breaking narrative promises....

TTS is suppose to be a squeal to the original movie. It’s even in the title of the show; both of them. In one fell swoop, the series has managed to sabotage it’s very reason for existing, as it erases Eugene’s motivation and the inciting incident that kick started the film.

Way to fucking go.

To further twist the knife, it diminishes the duel protagonist of said film in order to prop up a series original character, who isn't even present in the episode itself.

I don’t mind Cassandra’s existence. I don’t even mind her being the new deuteragonist and one of the main villains; even though she wouldn’t have been my first pick to fulfill those roles given her lack of set up. But I do fucking mind it if she upstages other characters and/or derails their character arcs in the process.

This is the Death of New Dream

I was still in denial when this episode first aired. I honestly believed that this and The Return of the King was build up to a third “betrayal” where Eugene finally became fed up with Rapunzel’s bullshit and joined forces with Zhan Tiri. I thought the end of the series would have Rapunzel apologize to everyone she did wrong, Varian, Cass, and Eugene, in order to break ZT’s hold on them, and that true love’s kiss would reunite the sundrop and the moonstone and that would just tie everything together into a neat little bow and give us a truly daring character study of a Disney hero.

Oh dear merciful heavens, was I ever wrong.

How did we go from season one’s challenging and mature storyline, complete with Disney’s first real anti-villian, to this?!

What the hell happened!?

Rapunzel not only disrespects Eugene’s opinions, violates his privacy and trust as she manipulates him as a teen, and then brainwashes him to think like her (even if accidentally), but doesn’t even have good grace to tell him. She instead has the audacity to look all happy and self congratulatory because she got want she wanted. She, and the show at large, doesn’t care what evil thing she does to get the desired outcome Rapunzel wants.

Rapunzel in this show is a spoiled brat. And the image of her and her now lobotomized boyfriend staring dead eyed at a picture of the creator’s previous waifu OC with plastic smiles on their faces, sums up this series perfectly.

Conclusion

This isn’t even the worst episode of the series guys. I don’t know if it would even make it onto a bottom five list. That’s how much crap I have to wade through when it comes to this show. This is however the most damaging episode to the franchise as a whole.

Not even the most hardcore of New Dream fans want to acknowledge the existence of that final scene, and Rapunzel stans won’t defend her beyond, ’well she didn’t mean too, it’s the writing that’s bad.’ Yeah, the writing is bad, that’s why the character can’t and shouldn’t be defended, not here and not in other badly written episodes where she also does bad things and never makes up for it.

Anyways I’m finally caught up to where I left off, before the move, though sadly I don't think I’ll get this series done by the end of the month like I had originally hoped. But if you would like to help out I have a ko-fi you can drop a tip into if ya want.

https://ko-fi.com/rachelbethhines

#tangled #tangled the series #rapunzel's tangled adventure #Eugene #anti-rapunzel #anti-tangled

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agent-cupcake · 4 years ago

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Can I ask your opinion? So, I feel like everyone into 3H is in love with Dimitri, but I can't connect with him. I don't dislike him, but I feel like there isn't much to his personality without all his various mental health issues. It's hard to get a feel on what he's really like, so I end up just seeing him as a walking ball of trauma and not a three-dimensional character. Do you have any thoughts on Dimitri himself and how to separate him as a person from his psychological issues? Thanks!

Hmm, I guess my first thought is that everyone resonates with characters differently and so if you don’t particularly feel connected to him, that’s not wrong. Fictional parasocial relationships are very similar to real-life relationships, so it follows that nobody is going to like every character. I can’t say that a portion of my love for his character doesn’t come from his mental issues because that’s something I personally relate to and feel drawn to in others. That’s just who I am and how I build relationships. There is also something to be said for the unavoidable way mental illness informs a person’s behavior and character, it’s as much an aspect of them as being born with blond hair or losing an eye.

That said, I will do my best to explain why I think Dimitri is wonderful. Not in spite of his mental illness, but because I don’t think that’s all he is.

So, Dimitri is, as he says, a very clumsy person. This unfortunately extends to his social skills. He has a lot of very socially awkward tendencies and a general lack of self-awareness. This contrasts with his innate desire to please people, or at least avoid upsetting anyone. The thing is, Dimitri doesn’t always completely understand what upsets people or how exactly they might feel. His childhood isolation left him rather emotionally unaware and desperate for the acceptance and approval of others. That’s not to say he doesn’t try to understand other people’s feelings, but it’s not an intuitive process. He has a habit of saying kind of dumb or uncomfortable things out of nowhere, which is most likely his real feelings coming out in rather inept ways. He means well, but he’s just so dang clumsy.

The desperation to be included and validated I mentioned, I think, can be seen in the way he tries so hard to make the other Blue Lions see him as a peer and equal all the while keeping himself rather closed off from them. Dimitri approaches conversations as a means of focusing on the other person, trying to make an appeal to them rather than as an interaction where both parties could be seen as vulnerable. Of course, just like most other socially awkward introverts, he opens up when he feels closer to the person, but that takes a while. Gotta unlock the supports, you know? Although it’s not necessarily obvious, his incredibly stiff behavior (especially pre-timeskip) and the way he switches between overly formal and awkwardly friendly in his interactions with people as he tries to figure out how to socially and emotionally navigate relationships really gives me the impression of someone trying desperately to fit in without even the faintest clue of how to actually manage that. He also does his best to avoid social situations, which, mood. Basically, Dimitri’s a big dumb massive introvert trying to act like he’s not.

FURTHERMORE, he is a dork. An absolute goof of a person. Dimitri canonically thinks so-bad-its-good puns and jokes are hilarious. His own style of telling jokes is saying things that may or may not have contextual humor in a normal voice and then claiming after the fact that he intended it as such. Now, his supports with Alois are absolute factual proof of the so-bad-its-good humor, but might I also direct your attention to the scene before the battle against Miklan in Conand Tower (the event name is “Tower in a Storm (Blue Lions)”). Basically, Gilbert is explaining the history behind Conand Tower and Dimitri says, in an incredibly earnest voice, “You’re very well informed, Gilbert. Please, tell us more.” This is a joke. Supposed to be, at least. The delivery is somewhat emphasized, but not in a recognizably sarcastic way. Gilbert, who knew Dimitri very well when he was young, realizes it’s a joke after a second. But there are other things Dimitri says that I believe are his bad “jokes” and since nobody knows him well enough to tell, they don’t call him on it. There’s no proof, but his line in the Lord’s intro where he says, “And here I thought you were acting as a decoy for the sake of us all.” to Claude has to be an attempt at sarcasm. Dimitri is oblivious, but not stupid. In his Goddess Tower conversation with Byleth, when discussing the topic of wishes, he says, “Perhaps it would make more sense for me to wish that we’ll be together forever. What do you think?” In a completely normal voice. Following are two speech bubbles of “...” before he laughs and proclaims that it’s just a joke and that he’s getting better at telling them. Now, this is a two-parter because I see this as both his horribly awkward tendency to say things he feels without thinking too hard beforehand as well as his silly deadpan style of “jokes”. Granted, he does apologize. Dimitri’s got socially awkward zoomer humor. It’s endearing.

Here is a video of Dimitri hitting on Byleth pre-timeskip. I’m not sure how far it goes to endear someone to him, but the mostly awkward and occasionally smooth attempts of Dimitri’s flirtations are absolutely a highlight of his character.

Now, this isn’t quite as cute as all that, but I think character arc and change do a lot for making a character feel more three-dimensional. Dimitri is hypocritically selfish. Although those are both negative terms, I don’t necessarily mean them as such, at least not in their totality. Both are things to overcome, which he does. And that’s why I feel like they’re a valid point of discussion when trying to explain the allure of his character.

The hypocritical part comes from the way he easily allows and forgives the flaws of others while constantly castigating himself for the same reasons. He says things that show an absurd amount of a lack of self-awareness. For example, he tells Edelgard, “Hm. You will prove a lacking ruler yourself if you look for deceit behind every word and fail to trust those whom you rely on.” All the while straight-up lying to and emotionally avoiding his friends. Dimitri also tells Marianne, when she is punishing herself for putting other people at risk, “What matters is that they came back safely in the end. You shouldn’t blame yourself for that.” Really, his C and B with Marianne is an exercise in hypocrisy. The standards Dimitri has for himself are incredibly, unattainably high. He’s setting himself up for failure in that way and, to an extent, knows what he’s doing because he knows that those same standards are too much for his friends and allies to meet. He wishes to take on everything himself. But, what I find so beautiful about this, is that Dimitri eventually realizes that he can’t do that. He is not strong enough to take on the weight of the world on himself, he comes to understand that it’s something he must allow himself to share with the people who care about him. He comes to realize that, as difficult as it is to accept, he is a weak person. Despite all of his introversion and inability to emotionally open up, he figures out that having a support system and allowing yourself to rely on people who love you is a necessity. Personally, I think this message is incredibly important in real life. Watching Dimitri come to that conclusion and argue it’s importance really rounded out his arc and journey as a person. Now, the relatability of this conclusion will differ, but I don’t think it has to do with his mental illness as much as it is a fundamental aspect of growth.

The selfishness is basically outlined above. Dimitri is selfish about his pain and secrets, purposefully and selfishly driving people away because he wants to keep the burden to himself. His vice is guilt and he indulges in the pain of it like an addiction. Hatred, too, is a drug. He thinks he needs it to keep going, even though all it does is bring agony to himself and others around him. Learning to accept and let go of these feelings is, again, something I think is important and a character arc that I really love, especially when you see him suffer as much as he does. Now, the execution of this is lacking, I admit. But that’s an issue for another time I think.

I am not quite sure if I did much to change your opinion, but this is all I can think of for now. There is probably a lot more than I’ve left out because I think about Dimitri far too much to be healthy. So, I’ll leave you off with some honorable mention aspects of his character that I think are super fun:

Pre-timeskip Dimitri has his hair tucked behind his ear. He can lift a wagon by himself. In the DLC, when faced with an impossible-to-open gate, it was not muscle man Balthus who said he couldn’t open it, but twinkish teen Dimitri. He’s not really smooth with one-liners. Like, at all. Notably, when attacking Manuela post-timeskip, he says, “Perhaps I should have appeared before you holding a bouquet of flowers, rather than the weapon that will end your life.” Adding to this, at one point, Dimitri fucked up a pick-up line so badly the girl came after him. Areadbhar has a mitten on it in the Azure Moon final picture. He breaks everything. His Crest activation ability even supports this, using twice the durability of any given Combat Art. One of his post-timeskip counselor messages is, “I lived in the slums for a long time, and I saw how the people there suffered from poverty and the ravages of war. There must be something I can do to save them." His room in the academy is right next to Sylvain’s, meaning that for almost an entire year Dimitri was a single wall away from hearing whatever nonsense Sylvain was getting up to. Dimitri is the only Lord that takes the throne and doesn’t abandon his people in some form or another.

And, finally, he is pretty sexy. And that’s all that really matters, isn’t it?

#dimitri alexandre blaiddyd #fe dimitri #dimitri #fire emblem three houses #FE3H #Anonymous

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nighttimepixels · 4 years ago

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TALK TO US ABOUT MASS EFFECT I HAVE BEEN AN INSANE MASS EFFECT/SHAKARIAN TRASH PERSON SINCE 20-FUCKING-11 AND LEMME TELL YOU THOSE FEELINGS HAVENOT TARNISHED A SINGLE FRACTION IN THOSE TEN YEARS OH MY GOOOOOOODDDSSSS!!!!!!!

I DEMAND A PLAY-BY-PLAY UP TO THE MINUTE OF YOUR REACTIONS TO EVERYTHING!!!!

you are so valid and I totally see why everyone I've ever mentioned it to loves the hell out of it

aksdjlsdfj I meannnn if you want to hear my rambling about it then hell yeah

Okay, gonna put this below the cut to save everyone else XD also- since I'm not leaving this Mass Effect obsession anytime soon, if you're not interested in seeing occasional posts about it, please feel free to block the tag "night plays ME"~

(mild spoilers ahead??)

((also for real I mean it when I say this is rambling as hell lol, apologies and no stress if absolute no one reads all this))

OKAY SO Mass Effect 1-

Stars help me, I was honestly hooked right from the start?? Like even in Legendary Edition (the combined trilogy just re-released in one "can play it on one system + minor improvements", for anyone who doesn't know) where it's smoothed out, of course it's obvious that ME1 is a decade old... but the foundation for these relationships are all there and gods I love them already.

Like - Kaiden right off the top is a delightful good fightin lad, what the hell. I've heard that he's viewed as 'bland' by a good portion of the fan community but I dunno, he's a delight and even more complex by the time 2 rolls around and you encounter him on Horizon, it was honestly Ashley I was way more meh about - mostly because before you can learn about her family history/etc, she comes off as hella xenophobic and I was immediately offended for my growing space family that she didn't like/trust all the aliens around, pfff.

(she gets redeemed a bit through further actions/evolving thoughts, but I thought in retrospect it was a bummer that they didn't flip the order there, give her a chance to be liked before the complicating factor of being so rude about aliens >:c that then she could grow from... ah well. Apparently she has a good arc but uh, let's just say I chose Kaiden at the "key junction" in the latter part of the game so I won't be seeing anymore of Ashley uh... anytime soon, haha.)

Garrus??? Is??????? The ABSOLUTE best???????????

I liked him from the start, I'm always a bit of a sucker for a rogue-detective "the system won't bring this bastard to justice, so I've got to" type and all their moral shadiness XD But he just gets better, honestly, and where I'm at in ME2 (right before the Reaper IFF mission, as of typing this, with everyone's loyalty!) I am only digging myself deeper into this hole-

-*wheezing* okay anyways -

Wrex is AMAZING I love fightin' middle-aged krogan bastard, gods. Liara is great too, I'm a sucker for a wlw relationship (playing fem!Shepard, so) - buuuut I'll admit she's a bit more one-note in ME1. Last week while I was still on ME1 I remember hearing (while trying to dodge spoilers) that her arc is really good, though. I think they leaned a little hard on the 'innocent but sexy' sterteotype on her (so despite the yikes aspect of a few of the things I've learned in ME2, lol, I actually really like the complexity that's been added to her character.)

Saved Liara first, so by the time I got to Noveria and had the standoff with Benezia there was the chance to have emotions over Liara having to face her TwT and of course, I made the questionable but quality decision to free Queen Rachni heheh. no ragrets

More than a blow-by-blow of my choices though I totally wanna take the chance to say that even in the mild jankiness of ME1 (goddammit, the Mako.... please..... please just go up this impossible cliff I just want to resource hunt-) the way that the lore, both obvious/key to main plot and the lesser/filler/background/world-building kinds... I just love it. It incorporates it well, you can go ham in the codex learning more, or just dive into the basics - it's clearly a complex galaxy (and they do an even better job in 2 of fleshing it out further), and it never really felt overwhelming. It was pretty natural figuring it all out-!

Plus the interesting implications of resource hunting amongst the sapient races, and the little side missions you better bet I did every one of- there's so much rich depth in the story if you do 'em!! (And that lead with that Keeper side mission...? Looking back, damn, clever foreshadowing-!!!)

And oh my gods, Ilios??? hell yeah. I loved that mission so much, especially having Garrus & Kaiden with me when talking to the hologram/computer, and more than anything, that last sprint in the Mako trying to get to the jump before it closed-???

yeet the boi-

Also mannn I love a good setpiece, and having to go up the side of the elevator, space-side?? such a cool setup!!

Plus it felt good having been Paragon enough (as simple as the good v bad vibe system is, I don't hate it, lol) to avoid one of the Saren fights, ngl. And the er, "second fight" with Sovereign-Saren.... hell yeah

... I'll admit I had to double check my choice re whether to save the Council. I did in the end, but I swear, sometimes the way they phrase things I'm like ".... okay but Garrus is right, defeating Sovereign is more important than these few leaders??????" woops. Listen, priorities, is all I'm saying..... (￣ヮ￣|||)ゞ

'Course later they emphasize (in ME2) that there were 10,000 people on that same ship and I was like well I wouldn't have second guessed if I'd known that, I mean c'mon-

Also I did indeed romance Liara in this one, so I got that scene ;Dc But,,,, I also knew by the end that I was totally gonna romance Garrus in 2 since he's an option then finally,,,,, lemme tell you the guilt as I waffled over whether to romance Liara bc of it. hahaha.

Aaaaand Mass Effect 2-

So I'm only up to right before the Reaper IFF Mission, so I don't know the ending, etc etc lol. That said, I've just finished every side mission I've found with the exception of the Shadowbroker Quest and the Arrival Quest (I've heard the latter basically leads into ME3, and the former is best either right before the Omega 4 jump or in postgame).

So from the start - fuck yeah fuck yeah what a high adrenaline start Shepard noooooo but also yes save Joker aH-

The motion comic too hot damn nice job

I loved this setup, seriously - especially forcing Shep into this situation, having to work with/for Cerberus, and the compelling reasoning given behind "why" they do what they do (I especially found it a good point that the Salarians have the Task Force, the Asaris the Commandos, the Turians the- etc... like, true, when you put it like that, having a similar group advancing human interests/solving human interstellar problems is pretty reasonable...). That said, I love too that it really isn't shied away from how Cerberus is nonetheless fucked up - or its at least done fucked up stuff.

Listen, I still think some messed up stuff is gonna be revealed in 2's endgame......... after that Horizon mission and the Collector's ship???? TIM I SEE YOU YOU SHADY MF-

aaanyways lol...

I'm so so glad on a gameplay level they nixed the Mako style exploration. A few Hammerhead missions are fine and a lot more focused than the slippery ass navigation in that glorified ATV, pfff. The probes are a neat way of getting after similar resources - and more importantly, having good levels and some good hubs (the Zakera Wards, Omega, Ilium, etc) is way way more fun than having a more 'sprawling' space that is.... a lot of empty nonsense, lol.

Then there's the fact that we get Joker right off the bat and you can interact with him so much - and him and EDI??? Get out gods I love them. Kasumi is so right when she says they sound like a bickering old married couple lol. I have a terrible feeling that some shit is gonna happen with EDI..... but I don't think she's evil as-is, at least.

Side-eying the hell out of those "access forbidden" parts of her that she doesn't even know.... and the fact that her AI core has a locked door access................... something's gonna happen gdi LEAVE OUR ADOPTED AI ALONE.

(Also Joker pls stop fracturing your thumb on the mute button)

Also please save me there are so many hot aliens in this game,,,,, the xeno/monsterfuckers really comin' through strong in the sequels............... doin' the lord's work........................................

In general, I love how many levels ME stepped up in two with complexity and interwoven narratives!! Like, to the point it'd be almost a drag to replay ME1, even though it was fun going through it (if occasionally a bit tedious with the cookie cutter rando planet science/mine facilities, lol). Like, just from how fun and interesting ME2 is, mostly! more of all the pre-introduced races, plus new ones, plus more filling in of intragalactic politics, and more interesting implications of all these space-faring races mixing....

Also gods WREX and his planet holy shit,,,,, fuckin' hell yeah my man get their shit together and also adopt Grunt yes good-

And Mordin??? My singing semi-evil scientist best friend forced to confront his choices more than he thought he ever would have???? With some of the best ongoing general report chatter of all the companions??

(when I tell you I choked on my coffee when I talked to him after confirming romance choice w/ Garrus and that 'pamphlet' and 'anaphalactic shot if ingesting-' kajsldkfjsldfjk)

Like, fuck, the fact that they actually dive into the mixed morality and horrors of the genophage, and you can confront Mordin on it, for good reason, yet he still stands his ground, until finally some bits of his loyalty mission seem to... affect him, and I'm guessing might set up things for 3 with him? Unsure, but either way, damn, the fact that they start to dig into it...

And Taliiiii my beloved forbidden alien wife TwT her loyalty mission was SO GOOD. I love how varied they all are?? Getting to defend her and discover what she'd unwittingly been a part of-!!

Zaeed is a bastard but tbh I love that he is and that he's unapologetic in him - and Kasumi omg, best thief. A heist?? Gods, yes- I love our couch lounge chats XD

Samara is..... illegally.......... she's an illegally powerful and beautiful and eloquent MILF...........................

(.... listen I'm sapphic as hell and I'm kicking my own ass for picking her up last aksjdlfksjdfl - but her loyalty mission, damn. And seeing how there's this interesting cultural subset, and the struggle with the Asari in that they unquestioningly accept/respect justicars, but also know that the impact outside their culture is a diplomacy nightmare waiting to happen-)

,.,,,,,T,,, Thane,,,,,

I am weak for morally implicated murder dads okay?? And that voice??? His mannerisms?????? How you first see him, and that prayer after assassinating her...???????? And his history/his people's history with the hanar, gods I love how messy it is, it feels so much more real!

Also Jack is a mess and I love her (and want to get her some therapy, omg), and her and Miranda nearly duking it out after you've done both their loyalty missions??? so good and makes a lot of sense-! Honestly I would love more interactions between teammates on the ship, but there's already so much the devs had to balance I can't blame 'em for minimizing, heh. But suffice to say I also love Miranda and Jacob, even if I'm softest for my alien crew XD Hell yeah Jacob, we'll get loud and spill drinks on the citadel indeed TwT

.... I could write a whole essay on how much I love Garrus oTL Perhaps because he and Tali are the throughlines from 1 on your 2 crew, I have some of the strongest feelings about them... but genuinely, he was one of my favorite companions in the first game, and how you find him as Archangel in two? Getting to help him fight his way out after he's gone nearly 48 hours straight fighting off three gangs alone, jfc. His vengeance quest and what can happen there.... That line? fuck me, that line -

It's so much easier to see the world in black and white. Grey? I don't know what to do with gray...

How DARE you come for my heart like this, devs holy shit

(also, some other choice faves so far from the series from him include We can disobey suicidal orders?? and This wasn't in my training manual... [in 1, if you have him with you @ th Thorian fight] and his whole.... pop the heat sink - in his romance ;Dc)

asdasdfksadjfkl like I said I can write an essay on him PFFF suffice to say I'm very looking forward to his romance scene and where things go in 3

But yeah gods I'm just gonna keep rambling if I'm not careful lol. Gods I don't even know what to talk about it's all so good and while I can understand people roasting the obviousness of Paragon V Renegade (v neutral) choices/alignments, I think they do a pretty damn good job in 2 of pushing it further - to the point that there were some times that I accidentally got renegade points and I wasn't that mad, haha. There's so much fun in the interactions that I just have a good time anyways~

I have so many thoughts about TIM (The Illusive Man) and Cerberus.... theories evolving galore............... and like, what the hell!! Omega 4 going to the center of the galaxy is such a cool twist, goddamn - though my heart still breaks at losing Kaiden (his line if you haven't romanced him?? about feeling like he lost a limb when he lost you??? holy shit.... but I also can't blame him for not trusting Cerberus to the point of it affecting his ability to trust Shepard... like fuck Shep go after himmmm) I'm really excited to see where that goes since he comes back in 3, and what the fuck happens with Cerberus bc while I love the fact that obviously there are a lot of people in it for the right reasons, doing good work, there are those that are doing the opposite, and I have a very bad feeling about where TIM will end up landing....

All that said though I need to do the Reaper IFF mission (where I'm lightly spoiled as to getting That Boy, but not how/what happens to make it so - just that it's apparently wise to have all your side missions done before getting him...) and the actual Omega 4 jump. So we'll see what happens and what I think about it from there heheh!

.... major kudos and genuine props if you made it here to the end, I am so sorry for not editing on condensing all this, and appreciate you so much ;w;

#night answers #night plays ME #(yes that's a purposeful pun lol)#((i sure have played myself by starting this series its so good aksdjflskjfd))

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djemsostylist · 3 years ago

Text

Every once in a while a show sort of creeps up on you, you know? You don't really expect much of it, and then it sort of quietly wows you. Ada Masalı is that show.

At its surface, AM is about a city girl who falls for a small town boy, and all the clichés that entails, and that is the core of the story. I think that's part of why it's so good--bc this story had a premise and it's kept that premise solid. City girl moves to small town and falls in love with a local and everyone learns lessons along the way.

But AM takes the tropes and clichés and does them well. I've written before about how they take the basics and give them just enough "oomph" to make them special. I'll quote myself here, if I may:

Haziran and Poyraz both seem to fit into pretty typical roles: gruff, silent man and bubbly, talkative woman. But they’ve given each character enough nuance to move them out of the typical mold. Yes, Haziran is bubbly and talkative and a little overly loud, but she has a reason for it–silence in her childhood meant anger and fighting with her mother, and she learned how to fill the silence with talking. She is also very competent at her job, genuinely kind, smart, and driven. Poyraz is the “strong, silent” type, but he manages to subvert the “asshole” which far too often comes with the role. Like Haziran, he has some difficulties in his past, but he also seems well adjusted, smart, genuinely kind, focused, and again, competent. He and Haziran are true equals in this show, which is rare in romcom couples, particularly Turkish ones. They both are in similar financial situations, they both seem to have similar philosophies and outlooks, and, perhaps most importantly, they are both head over heels for each other and they both know it, even if they are unable to say it out loud just yet.

At the time when I wrote the above piece, I believe we were just before episode 6 or 7, so the secret hadn't been revealed yet, and at the time I speculated that it was likely to drop before their relationship started, and I was correct. This show continues to take the obvious and turn it on its head.

Poyraz and Haziran are one of the few dizi couples, and certainly the only romcom couple, I've seen where they have entered into a relationship that isn't built on a fragile house of cards held together by mutual attraction. This couple is completely and totally all in, and it makes sense. They've had conversation upon conversation about their parents, their past, their fears, their insecurities, their concerns. They've seen each other vulnerable and hurting and scared and been there for each other at their lowest. They have complete and total trust in each other, in their love for each other, in their relationship.

There is attraction yes, certainly, god is there ever, but there is also a deep affection. They like each other, which may seem a silly thing to fixate on, but so many times with couples I ask myself "okay, but do they even like each other though?" and in this case, they genuinely do. Poyraz loves her rambling and her overreactions and the way she hops from one idea to the other but somehow always manages to make it work. He loves that she works hard and never pawns off the hard jobs and he loves how genuinely kind and caring she is. He memorizes everything because he liked her before he loved her, and that's huge. And same for her. She loves his kindness and his empathy, his ability to fix broken electronics and his stubbornness when it comes to getting his way. She loves his honesty and his pride and the way he can't ever really say no to her. I think she also really loves that he doesn't let his past affect who he is. There's a connection between them that started with a spark but grew into something actually real.

The best bit, though, is that this is the first romcom couple I've seen (there may be more) that enter the relationship on completely equal terms, no secrets, and no uncertainties. All their secrets from each other were cleared up long before they ever said I love you. They are both in a similar place life wise--financially they are both probably around equal in terms of overall assets, they both have equal romantic histories (probably a series of short term relationships but nothing big or long lasting), they both value hard work and honesty and kindness, they are both mature adults who have been "out" of their parents house so to speak (yes, both still live with their respective parents, but neither play the typical "kid" role--they both are honestly more in the caretaker role), they are both college educated with business acumen. They both have had difficulties in their past, but neither allow those issues to hurt others--they both possess enough self-awareness to know how their issues effect them personally and they both work to ensure their issues don't become someone else's burden. Poyraz helping her with her fear of water or Haziran talking him through his mother are not them burdening each other, or using their issues as a reason to avoid a relationship--on the contrary, they build their bond by supporting each other through their pain. And, and this one is perhaps most important, they both love each other equally, and they both knew it before it was ever said outloud. That Poyraz could say "I love you" and Haziran could say it right back, no hesitation, speaks volumes to where they are both individually and as a couple.

Perhaps what's been the most refreshing is them communicating, constantly. When these two fight, they share their issues, their anger, their irritation, and then they work through it. The way they talk through their issues, every time, is honestly stunning for how completely refreshing it is. When they get mad at each other, they don't act like everything is fine while actively treating the other like crap--they explain the reasons behind their anger/irritation, they listen, they talk. The scene this episode of their banter after their fight on the first date was incredibly refreshing--bc it wasn't actually fighting. Haz was upset bc Poyraz ruined their first date--which he acknowledges, apologizes for, and then makes up to her, and she accepts. Their playful flirting in the kitchen the next day is just that--fun and playful and both of them are in on it. It's not Haz treating him like shit under the guise of "comedy", it's not him purposely being an obnoxious pain in the ass. It's them being cute and flirty and light after their fight the night before, which they already solved with a text conversation.

What I love most about their relationship is that I buy it. Completely. These are two people who aren't going to run when things get tough, who aren't going to play coy about their feelings, who aren't going to fight just to fight. We've seen them be honest and straightforward in their feelings, good, bad or otherwise. We've seen them fight for each other and their relationship. We've seen them encounter problems (whether in their relationship or in life) and work through them, together. And perhaps the greatest part of their relationship is that they allow each other to be exactly who they are. They are both allowed to feel the things they feel, and the other lets them. They are given a safe space to be themselves, and to know that they will always have the support and love of the other person, no matter what.

I said I thought this show was about love, at it's core, and all the ways love manifests, and I still think that's true. But I think this show is also about happiness--and about the idea that we can't always know exactly what is going to make us happy. True happiness can't always be predicted--what you think might make you happy isn't always what actually does, and sometimes that's a hard thing to accept. All of the characters on this show have a view of the world and what will bring them joy, and one by one I think we are seeing that change. Sometimes what makes you happy is the thing you didn't expect.

This show is hardly perfect. It's a dizi, and it has it's flaws. And without knowing how long it's set to run, the chances of it losing focus is not an impossibility. But this show continues to delight and surprise--from introducing new characters like Batu who are far more than they appear, to continuing to keep us guessing with old ones, I think AM has the chance to be a romcom people remember as being special. I'm hoping right now for between 20-25 episodes, which would allow us to explore their island and it's story in the detail I think it deserves, without leaving too much room for nonsense to creep in.

I think I'll leave this here for now--sometimes a show is more than it seems, and sometimes a show is exactly what it seems. AM is both and neither, and I'd be willing to argue that it's the summer's best. The focus in the diziworld seems to be entirely on the summer's other two romcoms, but AM stays quietly getting better by the week. I look forward to what these writers have in store for us in the weeks to come!

#ada masalı #ayça ayşin turan #alp navruz #djem watches dizis #seriously if you aren't watching this show pls do #its a feel good happy show #thats well written and fun #an honestly seems to be on an upward trajectory #in terms of getting better and better

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passionate-reply · 3 years ago

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Great Albums is kicking off Pride Month with a special feature on one of the weirdest and wildest queer artists of the New Wave era: the one and only Klaus Nomi! Combining glam, synth-pop, and opera, of all things, Nomi’s tragically short career is nothing short of mystifying. Check out the video or read the full transcript, below the break!

Welcome to Passionate Reply, and welcome to Great Albums! In this installment, I’ll be looking at the self-titled debut album of one of the most unique, incomparable, and unforgettable artists in music history: the one and only Klaus Nomi. What is it that makes Nomi so noteworthy? Perhaps the most obvious thing is his background as a classically trained opera singer. While a lot of pop vocalists have some degree of classical training, it’s rare to find one who worked so hard to bring ultra-mannered, literally operatic lead vocals into an otherwise pop context.

The other thing I should mention is that Nomi’s voice part was the “countertenor,” giving his vocals an even more unusual dimension. Countertenors are men who sing in a high range usually covered by women, and even in the operatic tradition, they weren’t necessarily all that common, particularly since the rise of opera coincided with that of the infamous castrati--male singers who were castrated to preserve their prepubescent voices. The combination of partially electronic, New Wave compositions with these bizarre, but ultimately “traditional” vocals results in something that sounds simply otherworldly.

Music: “Total Eclipse”

“Total Eclipse” is probably Nomi’s best known track, due in part to being featured in the seminal concert film Urgh! A Music War, which sought to capture the diversity of the early 80s New Wave scene. Like a lot of classic songs of this era, it tackles the subject of nuclear annihilation, albeit with a nearly depraved, gleeful tone, that makes it feel like more of a party. For the verses, Nomi adopts a sort of rhythmic speak-singing, which was much more par for the course for “New Wave” music, only to shockingly explode into a powerful operatic rendition of the refrain. It reminds me a bit of how, in musical theatre, tension builds through spoken dialogue, before characters are so emotional they feel compelled to burst into song--or, of course, how recitative blossoms into arias in opera. In the context of this particular track, it’s easy to interpret it as an embodiment of how “cold wars” can suddenly burst into flame. While “Total Eclipse” was a new composition, written specifically for Nomi by Kristian Hoffman, this album also features several covers of past hits, such as “You Don’t Own Me.”

Music: “You Don’t Own Me”

Nomi’s covers of the Midcentury pop ditties “Lightning Strikes” and “You Don’t Own Me” repeat the structure of “Total Eclipse,” showing that this signature pattern of increasing tension leading to increasingly mannered vocals is just as effective when retroactively applied to pre-existing compositions. What’s also significant about “You Don’t Own Me” is that it was originally written for a woman, Lesley Gore, and its defiant assertion of self-confidence has long been associated with women’s liberation. Being openly gay, Nomi sees fit to leave the lyric “play with other boys” just as it is, and could be interpreted to be deliberately emphasizing that last word, intentionally queering his rendition of the song. Nomi’s ability to sing in a traditionally female voice range, combined with his eccentric, gender-bending personal aesthetic, makes the interrogation of traditional concepts of gender an integral part of his art. Some of the other covers on the album are even older than the Midcentury, coming from the golden age of opera, such as “The Cold Song.”

Music: “The Cold Song”

Also known by its opening lyrics, “What power art thou?”, “The Cold Song” is a rare operatic aria that was actually designed for the countertenor voice part. It was written by the English composer William Purcell, a noted fan of countertenors who lived outside the influence of the Italian castrati, for his 1691 opera King Arthur. Well, King Arthur is actually what’s sometimes called a “semi-opera”: not all characters sing, and those who do often tend to be supernatural entities. “The Cold Song” is sung by a winter spirit called the Cold Genius, when reluctantly awakened from icy slumber by Cupid. His lines are sung so as to stutter, as he shivers from the freezing cold of his surrounds. Unlike the pop covers on the album, the arias are actually played pretty straight, almost as if they serve as evidence of Nomi’s actual chops doing traditional opera the old-fashioned way. “The Cold Song” is certainly a great fit for Nomi’s unique stage persona, which presented him as a fey or elfin non-human visitor from some mythical Otherworld, or perhaps an extraterrestrial from outer space. This theme is addressed most directly by the one track on this album composed entirely by Nomi himself: “Keys of Life.”

Music: “Keys of Life”

“Keys of Life” is the album’s opening track, and perhaps serves as Nomi’s personal introduction to the people of our realm--a sort of musical “we come in peace” message. Its lyrics seem to portray Nomi as a benevolent visitor, but one with a dire warning for mankind: we need to get our act together soon, for our actions now are of great import, as we humans “hold the keys of life.” Perhaps Nomi’s mission is to prevent climate catastrophe on Earth, or, given the context of “Total Eclipse,” a nuclear apocalypse. With its warbling synthesiser backdrop, and Nomi singing fully in the operatic style throughout, “Keys of Life” is arguably the most experimental piece to be had on the album, and putting it as the very first track certainly pulls no punches.

It is, of course, difficult to fully address the significance of Nomi’s persona without getting into his visual identity. The cover of Nomi’s self-titled debut features his most iconic outfit: an oversized plastic tuxedo, with hugely exaggerated shoulders, and a pointed hairstyle with a bit of Streamline Moderne flair. I mentioned earlier that Nomi’s work seems concerned with gender, and in that context, I’ve often interpreted this look as a sort of caricature of masculinity, parodying men’s formalwear and calling attention to Nomi’s receding hairline. There is certainly something absurd about a high-pitched, perhaps feminine-coded voice emerging from a ludicrously masculine sort of character. The use of thin, shiny, reflective plastic, and the aforementioned Midcentury feel of the hairstyle, make me also consider interpreting it as less of a parody, and more of an alien’s bad attempt at adopting the appearance of an “ordinary,” upstanding, conservative human male in attire, using space-age materials to cobble it together.

The oversized, geometric appearance of Nomi’s garb reminds me of the great Dada poet, Hugo Ball, founder of the legendary Cabaret Voltaire. Ball was the inventor of what he called “sound poetry,” and enacted lively readings of poetry that consisted of entirely nonsensical words. He did this while wearing a strange, cylindrical-shaped cardboard suit, said to restrict his movements so much that Ball needed to be ceremoniously carried off stage when he was finished reciting. Given their shared German heritage and cabaret avant-gardism, I can’t help but wonder if Ball’s striking costume was something of an influence on Nomi here.

This album is, of course, self-titled, but that, too, is an artistic choice that can be analyzed. The artist was born Klaus Sperber, but adopted the stage name “Nomi” for his creative endeavours. In the context of the track “The Nomi Song,” the name is often used punningly in comparison with the English phrase “know me.” Nomi’s choice of stage name is almost a dare or a challenge, a request for us to attempt to know and understand this seemingly inscrutable being before us. As with many other portrayals of queerness as alien or otherworldly, the messaging here seems to be that Nomi may seem different at first, but his intent is ultimately benign, should mere mortals like ourselves be kind enough to give him a chance.

Nomi’s follow-up to this debut album was 1982’s Simple Man, an album which is much more similar to its predecessor than different. It has a wider variety of contributing musicians and different instruments employed, but it’s got a similar overall feel, and mix of tracks. You’ll find more covers, like “Falling In Love Again” and even “Ding Dong, The Witch Is Dead,” more original compositions, like the Hoffman-penned sequel to “Total Eclipse,” entitled “After the Fall,” and even some more arias, like this stunning rendition of another work of Purcell’s. Referred to here as simply “Death,” it comes from Purcell’s Dido & Aeneas, and is sung by the titular Carthaginian queen, Dido, as she prepares to commit suicide. Also called “Dido’s Lament” or “Thy hand, Belinda,” its darkly descending melody is as captivatingly ominous today as it was when it was written, over three centuries ago.

Music: “Death”

Sadly, Nomi became gravely ill at around this time, and his own untimely death was just around the corner. He died of complications of AIDS in 1983, at the age of just 44, leaving behind an unfinished opera of his own creation, Za Bakdaz, which would go unreleased until 2008. That, and a posthumous live album released in 1986, would be the only other works under Nomi’s name. As with all artists who die tragically young, we will always be left wondering what else Klaus Nomi might’ve accomplished in the ensuing decades. I find it hard to imagine a timeline in which this sound ever became particularly mainstream, but anything else Nomi came up with would have undoubtedly been fascinating.

My favourite track on Nomi’s debut is “The Twist.” Yes, this is indeed Chubby Checker’s “The Twist,” another one of those Midcentury covers that Nomi was so fond of. But compared to the rest of Nomi’s covers, this one is much more of a deconstruction, perhaps even a “piss take,” featuring a sparse instrumentation, centered around a lethargic bass guitar, and the overall pace is slowed to a crawl. Add in Nomi’s piercing vocals and some nearly demonic, chittering laughter, and you’ve got a track that turns a fun, light-hearted dance craze into a surreal nightmare. As difficult as it is to be the strangest track on an album like this, I have to give that honour to “The Twist.” That’s all for today--thanks for watching!

Music: “The Twist”

#music #great albums #album review #album reviews #klaus nomi #new wave

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randomingoftherandomness · 4 years ago

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Hi, I’m sorry to bother you with this, but I was wondering about your distaste for S*a*g C*i. I’m not very familiar with the comics or the characters. Your post caught my attention because I try to be knowledgeable about the media I consume, especially coming from Marvel/Disney(being Jewish Rromani, I’ll never forgive them for what they did to Wanda). I tried googling information about it but couldn’t find much. I was just curious if your post had a deeper meaning or if it simply isn’t to your taste. Obviously feel free to ignore this if you don’t feel like getting into it or don’t want to answer.

Hi! First up, thanks for taking the chance to ask and being willing to listen. I appreciate that a lot.

I am going to preface this by saying that I am part of the Chinese diaspora. I have never read the comics in full but I have seen enough to formulate my own thoughts. All my opinions made here are my own and I’m not looking to debate or be persuaded or to shift my point of view. I have my mind about these things and you have yours. I do urge you to keep opening avenues of discussions as I should not be the only person being asked.

Also, heads up, I will block any sort of argumentative bs-ery.

SC is obviously made with the perspective of the Asian American lens in mind and I have seen it been pointed out that it isn’t meant to be ‘representative’ but let’s be real here. How many people in the tag have already been hyping it up as Asian rep and stuff? I’m just saying. I just want to say that the experiences of Asian Americans do not reflect those of the diaspora. Yes, we can relate to a certain extent, but to generalise and distill all experiences of all members of the diaspora into that of Asian Americans is unacceptable.

My issues with SC (not gonna bother with spelling the name out and we are going into the whys) are as follows:

I would recommend starting out by reading this article on cbr.com that goes a little further into detail on the history of the character

The tl;dr is this; SC started out as an insensitive East Asian stereotype character created to capitalise on the 1970s fervour for anything Kung Fu. Sure, Marvel has done their best to retcon some of the less stellar parts of his origins, but the funniest thing is (legend. big bro. uncle Tony) Tong Leung, a renown Hong Kong actor has been casted as The Mandarin while Simu Liu, a Canadian Chinese actor, was casted as SC. Make of that what you will.

Okay deadass I’m not saying Simu Liu won’t do a good job because at this point all we have to work on is a teaser trailer but I’m all saying that is, was Arthur Chen Feiyu not available or something?? Idk. He didn’t pick up the phone?? Did Marvel even ask?? This is nonsensical salt and I digress

Then there’s the name. What kinda hell name is S**** C**??? This is some Cho Chang level bullshit. Yeah, sure we can say, oh they just want to make sure the branding is right. Ok. This coming from the studio that amalgamated the characterisations of Ned Leeds and Ganke Lee. Sure, Jan.

Full disclosure, I did like some of the vibes given out by the teaser. There were some very wuxia and xianxia inspired shots and scenes and if I do watch, I’ll be very keen on these bits. Awkwafina already looks like she is set to be etched deep into my heart and Uncle Tony looks to be gearing up to kick this out of the park because goddamn he looks good in that armour. Haven’t seen Tan Sri Michelle Yeoh’s character, but I’m sure she will be kicking ass and taking names for sure too because I am very sure veterans like her and Uncle Tony will look good doing wire works. But this isn’t a movie about them, is it? It’s about SC and right now with this teaser trailer, nothing about SC makes me want to froth at the mouth to watch.

Yes, I am saying that that subway scene does not impress me. We live in a world with stunt teams from China can work on a peanut budget to make conversations flow in a fight scene. Do better.

Again, I am very aware that this teaser is to hype people up. I know. I am still waiting for the proper first trailer to drop. I have actually deliberately kept myself oblivious to the production of this movie so as to not give myself any sort of preconceived notions. When that first trailer drops, then I will formulate my thoughts again.

Okay, I know it’s a teaser but some of the cgi just looks... very uncanny valley? It looks unfinished, is what I am getting at here. For a mega conglomerate verging on industry monopoly, even a teaser trailer should look 1000% better than this. Every beat of this should be flawless. It should look on par with the trailer. People who follow will know that I won’t ever fault a product because of shitty cgi (re: Word of Honor) but when you are the people behind the Live Adaptation of Mulan (which I hate) and Raya and the Last Dragon (which I categorically DETEST because that shit is bullshit mishmash of SEA cultures with fucking made up words being painted as *representation* and that is some fucking bullshit and as someone from SEA I’m sorry Queen Kelly Marie Tran BUT NO) I will hold you to the fucking standards of the high heavens as the House of the Devil Mouse deserves. Do fucking better.

I am not clairvoyant but I can already see how it is going to go when this movie doesn’t “do as well as expected” in Asia; you’ll hear people going on about how the Asian Asians don’t support these types of stories, how we don’t put effort into hyping movies and shows that push for representation. But can I ask whose representation are we talking about? I saw it with Crazy Rich Asians and Mulan, I saw it with Raya. Whose rep are we talking about? If someone out there, some little child sees themselves in these media products, sure, great! Empower these next generation for the push for a better hope. But whose rep are we pushing for? Because I definitely do not see myself in the Asian American lens of representation and I’m very sure I won’t ever and I know that I am not alone in this.

Hollywood needs to do better. To borrow the words of a friend, excusing mediocrity for ‘cultural appreciation’ is no good.

This rant has gotten long enough and I’m so sorry to everyone seeing this on your dash. I have a lot of salt today.

#gab rants #I’m typing this out in my phone I’m so sorry

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michael-drummey · 4 years ago

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Achilles x Patroclus: Part 2, Harmful Stereotypes in Modern Media

**Since my last post on this blew up! Here is just a little more on the subject & some of the nonsense I have seen & experienced on said topic online & in other forms of media**

For anyone who needs proof that Achilles & Patroclus were always and originally presented as a gay couple in a committed relationship mapped out in The Iliad (see my original post here) SOME in our society (not those who are properly educated) like to project harmful & stereotypical LGBTQ+ tropes on Homer’s material & their representation in other forms of media that are still prevalent today such as:

“Gay as not the Main Character” - The Iliad starts with the lines “RAGE: Sing, Goddess, Achilles’ rage,” so right at the start this Story we meet Achilles; obviously he is crucial in the story’s plot, yet even for his importance in this story it is not named for him, the focus is on Troy. Achilles is “Greatest of all the Greeks” but is remembered for all his bad qualities, while others like Agamemnon who is also deeply flawed or Odysseus, get the recognition of trying to reason with Achilles, and are seen as the more reasonable leaders set on winning the war. Achilles and Patroclus get reduced to just once aspect of the story, then once they are dead, we get The Odyssey and our new main boy Odysseus. The wily & super straight war hero trying to get home to his darling wife and son, which leads us to our next trope...

“Bury your Gays” - Achilles and Patroclus are obviously coded as homosexual even though the Ancient Greeks did not have a word to use for gay, but it is none the less glaringly obvious. Patroclus is killed by Hector when he rides into battle to help his fellow Greeks and retain Achilles’ Honor, thus setting in motion the events that will unleash Achilles’ Rage upon Hector and the Trojans. We also find out later in The Odyssey Achilles died when Odysseus meets him in The Underworld where he stands off with Patroclus so check check for both stories. This is a huge piece of Homer’s story, but so many times Patroclus is forsaken and treated as a plot point not as a character who’s fate changes the course of the story, they view him as a “gotta go” kind of sidekick to Achilles.

“Depraved Homosexual & Loose Bisexual” - Either perverse and/or murderous the “depraved homosexual” trope portrays the gay character as possessing all quirks and qualities one/society considers undesirable. Achilles is vengeful and refuses to fight when Agamemnon tarnishes his honor, then when Patroclus is killed Achilles is completely inconsolable, wishing to end his life, he weeps for days on end in bed with the body of Patroclus. When he unleashes that grief (The Rage of Achilles) he is reduced to a killing machine hellbent on nothing but avenging his beloved’s death, which eventually will lead to his own demise. He is rarely referred to as a 3-dimensional character with complex emotions from this point on. As one who has suffered in this war, lost his honor & lost the love of his life, which has caused all that is human in him to die as well; he succumbs to his pain. His wrath is what so many know him for even if they haven’t read the story, They just see him as a ferocious warrior, but so few know the full context behind his actions, or love to claim he did what he did because his “best friend” was killed. Some forms of media love to also portray them as bisexual, where we are given over the top sex scenes, and shown two men who are meant to be “less than” for their sexual freedom/lack of sexual morals. While it really has nothing to do with that and just creates more biphobia and erasure. We are never are shown them happily and honestly committed to each other, which leads us to our next stereotype.

“Everyone is Straight” - SOME Historians, Scholars, Writers, Movies love to predominately present characters as “all straight or only straight”. Since The Iliad was recorded people have been debating if Achilles & Patroclus were an item or not. Personally I think the evidence is overwhelming and plain as day, (you do not share a tent & bed with just your homie, Rage as Achilles did at Patroclus’ death, then keep his body in your bed yearning for his “μένος” (menos) aka manly vigor and semen, then get your ashes buried together in the same urn, just for someone to say “They were Best Friends Forever!” There is more than enough evidence to say Homer wrote them as gay, but some love to throw the “Briseis Argument” out there saying he intended to marry her, and she was his girl, ie. lots of gratuitous sex scenes to follow. If that were so, why does he only take her into his bed once at the end of Book 24? He had 10 years what was stopping him? And why did he wish her dead when he receives the body of Patroclus? Truthfully you would be sad your friend died, but at least its not your lover, right? Unless, wait what happened to Achilles when Patroclus died?... oh right, that’s the reaction of a man who has lost his best friend, lover, basically entire world, so “Bye Briseis!” you were a broken man’s booty call, time to move along. (Not that there is anything wrong with being a booty call, but in The Iliad that’s what Homer gave us to work with and this ones more directed at Hollywood and Straights™ who like to ignore all historical context.)

Now we know that these tropes did not exist when The Iliad was recorded, and Homer did not set out with the mind set “gotta kill these gays!” the word homosexual did not exist until 1869, it is not like being LGBTQ+ people just popped up then too. But viewing the story with some of these lens we can more clearly see these modern tropes and stereotypes 1. Can exist in pieces of art and literature despite the time the story was told. 2. Hurtful stereotypes affect the way people translate & view stories, peoples, cultures, etc. A prime example I still find it shocking when people say “weren’t they just cousins!?” (NO) 3. Not thinking critically and thoughtfully about such a piece, prevents others from truthful experiences, and devalues the meaning and emotion one gets from reading or telling such a story. 4. It is modern weaponizing & blatant erasure of those LGBTQ+ (fictional and non-fictional characters) that came before us to present a false narrative of heteronormativity.

In the end, as I stated, Homer did not use these stereotypes, these stories would have been sung and told in a way that captivated its audience, which they obviously are still doing today. Homer is a phenomenal storyteller, truly a classic and one of the best, but some still feel the need to straightwash these characters. So next time someone tries to say Homer never wrote Achilles and Patroclus as gay lovers, there is no evidence in The Iliad to support it, and that we cannot look at them through a modern lens. Or call out others who choose to ignore history, facts, and context, you can say “You Can! and Yes, Achilles x Patroclus are 100% in a committed gay relationship!”

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mirkwoodshewolf · 4 years ago

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Never have regrets; Joe Mazzello x reader

*Author’s note*

Hey guys well here I have another Secret Santa gift. As a part of the Get Down Give Joy giveaway I would like to present @stewielover95 with your fic. Yes dear I am your secret Santa. I really hope you like this fic in the end, I struggled with it at first but then I finally had a good direction to go with it. Anyways I also want to thank @warriorteam1924 and @thosequeenboys for creating this splendid give away, after the LONG AND HELLISH year that 2020 has given us, it was very sweet of them to create this little give away to brighten up our holiday spirit (esp. since we can’t really see our families this year. Even if you can, PLEASE BE SAFE!!!). Now I’ll stop typing so that you all can start reading, hope everyone enjoys this lovely little fic with our beloved dino boy Joey Mazzello :)

Warnings: Joe’s chaotic child behavior (MAY CAUSE CAVITIES), fluff, parental angst, parent death, mentions of suicide, a small very subtle HINT of COVID (word isn’t mentioned but still think I should give warning),

Taglist:

@plethora-of-things

@waddles03

@psychosupernatural

@ixchel-9275

@simonedk

@queensdivas

@queen-paladin

@jd-johndeacon-or-jackdaniels

@queendeakyy

@geek-and-proud

@wormzteef

___________________________________________________________

I was peacefully sleeping. After working long hours at my job I wanted nothing more than to just stay in bed all day and sleep until lunchtime.

“Hey baby~” Joey’s voice cooed in my ear. I felt him kiss my cheek and I let out a tired groan. “Good morning.”

“Joey!” I whined. “Go back to sleep.”

“No. The sun’s awake, so I’m awake. Which means we have to snuggle and make out.” I cracked an eye open and looked up at him. His auburn hair all messed up from his constant tossing and turning that he does in his sleep.

“We’ll make out when the rooster crows.”

“But babe there aren’t any roosters in New York.”

“Exactly.” He faux a gasp as he collapsed back on the bed.

“How could you? And I thought you loved me?! I knew it. You’re only in it for the money! Or the childhood fame crush! Or was it for Ben? It was for Ben wasn’t it! I knew you two were having an affair behind my back!” god he was such a drama queen. But he was my drama queen.

“Yes we’ve been sneaking in text messages behind your back.” I teased him.

“Okay that’s it!” I then felt him wriggle himself under the covers and I felt myself go from my stomach to my back in a split second.

“Joseph Francis Mazzello III! What the f—NO AHHH NO DOHOHOHN’T! DON’T TICKLE ME!!” I thrashed around trying to get him off of me but he had me pinned right down to the bed.

“You gonna get up now?” I heard him say from under the covers.

“JOHOHOHOE!!!” I screamed out in laughter. “Plehehehehease!”

“No not until you either say you’re gonna wake up. Or until I hear an apology.” Then I heard the dreaded sound and feeling of his deadly raspberries being blown on my stomach, just an inch over my bellybutton. And it was even worse now that he was growing out his beard.

“Okay! OK! OK! OK! OKAY STOP! I surrender! I surrender!” his head soon peaked out from the covers as his face was just a few inches away from mine. His shit-eating grin spread across his face, while his eyes twinkled with that same mischievous spark that made me fall in love with him. “I hate you.” I whined.

“Aww and I hate you too.” He moved closer to my lips and kissed me. “I hate you—so much.” His voice lowered down as he deepened the kiss. I felt his hands cup the sides of my face while my arms wrapped around him.

My right-hand stroking through his already messy hair while my left wrapped around his back. After what felt like an eternal make out session, we finally separated from each other and stared at one another.

“Alright you have my attention Joey.”

“Yay!” he cheered softly. “But in all seriousness, we need to get up. We promised my mom that we’d help with the Christmas decorations.”

“Okay. Now get off me yah goober so that we can help her.” He got off of me and I sat up but I was quickly pulled back onto the bed, laying against Joe’s chest. Him grinning smugly at me as he kissed me on the lips.

“Sorry, had to get my morning kiss from you.”

“And the morning make out session wasn’t enough for you?”

“Morning make outs and morning kisses are two completely different things.” He told me in that philosophical tone of his. You know the one you use to make yourself sound smarter.

“Ahh I see. Well thank you Professor Mazzello on explaining the differences between the two.”

“That’s Dr. Mazzello to you. But you are most welcome. Anything for my best student.” I pecked his nose and got back up but found myself being pulled back again towards Joe.

“Joey!”

“Sorry, sorry I couldn’t resist. Okay for real this time, go on. I’m right behind you.”

“Why don’t you go first and I’ll be right behind you?” I suggested. He sighed and pulled the covers off of us and went to sit up but this time I grabbed his hand and pulled him back onto the bed. I pecked his lips before taking off out of the room.

We both raced down the stairs and towards the living room when I felt Joey catch me in his arms, pick me up and spin me around. Laughing manically while he did it. I myself couldn’t help but giggle when a female voice said.

“Ah-uh Joseph! No horse playing in the house.”

“Sorry mom.” He said as he sat me down.

“Sorry about that mama.” I said.

You see, Joe and I had been dating for practically ten years. We actually met through our good friend Rami way back when we were all on the Pacific. I was part of the costume department, and I was Rami’s assistant costumer. So whenever he got into Snafu’s character of course he tried to flirt with me and I’d play along off of his character telling him he didn’t have a chance.

Between takes the three of us became thick as thieves and kept in contact. Then one day when we were all on break, Rami set Joe and I up to meet at the beach so that the two of us could talk to each other. At the time of filming, Joe and I had been really shy around each other and we both liked each other (of course neither of us had the guts to say it to the other).

But after spending our break at the beach together that’s when Joe made the first I love you confession and—the rest is history as they say. When the three of us reunited for Bohemian Rhapsody and got to know Ben, Lucy, Allen, and Gwilym, our little family had now grown bigger. And it was after filming a concert scene in Japan (with some help from the actual Queen band themselves) that Joe (yes still dressed as early 70’s John Deacon) proposed to me.

So for 2 years he and I had been married. Of course like all couples we have our fights and disagreements but in the end we patch through them and not let it run our lives. Oh and I almost forgot, since I had been so close with the Mazzello family throughout our entire relationship, I had the privilege to call Joe’s parents, my parents even before we got married.

“I swear you both remind me of—” that’s when mom trailed off sadly as she looked down. Joe and I grew sad too as we thought about his dad.

“We miss him too mom. God I—I can’t believe this will be our 3rd Christmas without him.” Joe said as he walked towards his mom and gave him a hug.

“As much as I wish he could be here with us, he wouldn’t want us to be sad on his favorite holiday.” She told us. She took a deep breath in and cleaned her eyes of her hidden tears. “There now, I’ve got breakfast all ready for you two. Once you’re done, Joseph, I want you to bring in the Christmas boxes from the garage and set them in the living room. (Y/n), you and I will get the Christmas decorations from the attic.”

“Ma’am yes ma’am!” We both saluted. We went to the kitchen and ate our breakfast. After that we went to our stations and helped Mama Mazzello with the Christmas decorating.

It took almost all day but we came to a pretty good stopping place today decorating wise. We put up some of the minor Christmas displays up all over the house (like small animal plushies, Christmas pictures of the Mazzello family throughout the years, etc.) Joe managed to get all the outdoor decorations set up and displayed, and mama and I set up the Christmas placemats on the tables.

It was now a bit past 5pm and it was pitch black outside. Joey and I were cuddled together on the sofa and I looked out the window and shook my head.

“I still can’t get over the fact that it gets dark at freakin 4o’clock now.”

“I know it’s crazy. My mom’s never liked it, have yah mom?”

“Oh it messes up my schedule everytime!” Mom cried out from the kitchen as she was prepping dinner. “Hey (Y/n) are your mom and Derek still coming to the party?”

“Yeah. They said they’d be taking the train from Virginia instead of the plane. I think they said they’d be coming up sometime next Wednesday. I’ll call them later tonight to confirm that.”

“Alright well I’ll get the guest room set up for them.”

“You know you don’t need to do that.”

“Nonsense you guys are family. And it’ll be a lot safer here at the house than taking a hotel room with everything that’s going on.” She said.

“Yeah that is true. Thanks mama.”

“Okay well come and make a plate you two, dinner’s ready.” We stood up and got our dinner (steak and potatoes) and ate at the dinner table while playing on Freeform’s 25 days of Christmas was the Santa Clause.

Weeks later and it was the day before the Mazzello Christmas party and arriving in less than an hour was my mom and Derek. If your curious as to why I call my dad Derek, well he’s not really my dad. He’s my stepdad but I really do care for him.

He and my mom met up shortly after I graduated from high school after my parents divorced. My real dad and I…well—we don’t talk at all. Our relationship is very strained so why don’t we just leave it at that? But when my mom met Derek, he’s been the father I wished I had.

He’s loving, supportive, kind, funny, and he’s always there whenever my mom or I needed him. He was there for me when Joe and I were going through a bad patch in our relationship, he was there for all my birthdays and movie premieres, and he was even the one to walk me down the aisle at mine and Joe’s wedding.

I was doing the last final touches of cleaning up the house for my mom and Derek’s arrival, as well as Joe’s siblings, nieces, and nephews. I heard the door open and a stampede of footsteps soon came running towards me.

“Auntie (Y/n)! Auntie (Y/n)!” I was soon glomped by 4 little nuggets.

“Hey there kiddies. Oh I’ve missed you four soo much! How have you all been?”

“I lost another tooth see?” Joe’s niece Samantha said opening her mouth to show me her missing tooth.

“I learned how to ride my bike!” his nephew Matthew aka Matty exclaimed.

“Oh big boy now huh? Bet you were better than your uncle Joey was.”

“I heard that!” Joe called out. He along with this brother and sister came through the living room and I hugged my brother and sister in laws.

“Hey guys Merry Christmas.” I greeted them.

“Merry Christmas (Y/n).” his sister Mary said as she and I hugged each other first.

“Even though Christmas isn’t until tomorrow.” His brother John said.

“Okay Scrooge. Get over here John.” He gave me a kiss to my cheek and the two of us embraced each other. “Joe’s told me about your little league’s championship win. That’s amazing.”

“Yeah those kids did me proud.”

“You know if you could convince Joe and (Y/n) to hurry up with getting kids of their own, they might give you some new champions.” A female voice soon spoke up. Soon coming around the corner of the house along with Mama was my own mom as well as Derek.

“Mom!” I whined.

“Now, now (m/n) don’t go pressuring her just yet. There’s still plenty of time for her and Joe to have kids. Say when their 50.” I chuckled and shook my head at Derek’s statement. I walked up to them and first hugged my mom.

“Did you guys have a safe train ride?” I asked.

“It went well. Much less crowded than I expected.”

“That’s cause you’ve always done the Metro mom. Metro and train are two totally different things.” I told her. I turned to Derek and he said with a smile as he extended his arms out.

“Come here baby girl.” I smiled and went into his arms and the two of us hugged each other. “Don’t just wait till the holidays to come see us. How will your mother and I survive?”

“I’m sorry Derek, work’s just been crazy lately. Directors have been wanting me to do costume designing and fittings for them left and right.” I said as we released each other from the hug.

“And why wouldn’t they? You’re incredibly talented.” Joe said as he came up and quickly pecked my cheek.

“He’s right. I remember you staying up way past your curfew designing costumes for your tech theatre class back in high school.” Derek continued. “And all those times of drawing on napkins and the corners of the morning paper. I swear you doodled sketches like it was no one’s business.”

“You stayed up pass curfew?” my mother snapped.

“Thanks a lot Derek.” I muttered angrily.

“Hey had to come out sometime right?” I playfully nudged him and said to my mom.

“That’s in the past mom. No need to talk about it now.”

“Oh you can be sure we’ll discuss that later little missy.” She lectured as she waved her finger at me.

“Alright, now the rooms have all been prepared for you all in advance. Mary, John you’ll take your old rooms. (M/n) and Derek the guest room has been made up for you all and of course the kids get the cloud bedroom.” The kids all cheered. “Now everyone drop your bags off in your designated rooms and we can all gather around the table for some dinner.”

I helped mom with her bags and guided her and Derek to the guest room while Joe went to help his mom set up the table for dinner.

“So when can we expect future grandbabies from you and Joe (n/n)?” my mom asked.

“If you keep pestering me about that then you won’t have any grandbabies.” I teased her as we came to the room. “Here we are, I cleaned it up myself. Hope you guys will be comfortable.”

“It’s great (y/n). Thank you.” Derek assured me.

“Tell Virginia we’ll be down in a moment once we’re finished unpacking.” My mom said. I nodded then left the two of them to unpack their stuff.

As I came down the stairs, I already saw Joe being attacked by all his nieces and nephews. The kids were climbing all over him like a tree, all of them talking over the other and squealing like little piglets.

God seeing Joe with those kids it—really did make me want to have kids with him. He’s already a fun uncle, I’m positive he’d make a great dad. Probably spoil our kids to no end but—he could be the discipliner if he needed to.

“Ow! Who’s on the head?!” Joe exclaimed. I shook my head at his nephew Matty who had half of his body on top of Joe’s head.

“Alright you kids break it up.” I told the kids as I grabbed Matty and held him in my arms.

“Auntie (Y/n), will you sing for us tomorrow at the party like you did last year?” He asked me.

“You bet she’ll sing for you kids. And hey how about we do one better. How would you kids like it if your auntie (Y/n) and I performed together?” Joe asked joyously. But the kids all let out a groan.

“No uncle Joey you can’t sing!” complained Sammy.

“Excuse me?!” Joe gawked offensively.

“Yeah uncle Joey, you don’t have that good of a singing voice.” Matty agreed.

“And too loud sometimes.” His other niece Katie or as I like to call her Kitty-cat said.

“My own kin turned against me. That’s it you three are in BIG trouble. C’mere!” he went to grab his nieces who quickly ran off his lap and hid behind me.

“Save us auntie (Y/n)!” the girls chorused out. I shielded the three of them and stood before Joe as his face got right up close to mine.

“You know we could team up and catch them together.”

“I don’t betray kids Joe.”

“So—they’ve turned you too. Fine. I’ll take you down first.” Suddenly he picked me up over his shoulder and proceeded to spin me around and around like a helicopter.

“JOEY!!” I exclaimed through my laughter.

“Then surrender the kids to me or the spinning continues.” He threatened.

“Well then this game’s gonna have to be put on hold cause it’s time for dinner.” Joe’s mom spoke up. The kids all raced to the dinner table while Joe put me back down. I stumbled a little but he caught me and asked.

“You okay?”

“I’ll live. Just next time don’t spin me around so fast.” I kissed the corner of his lips before heading towards the sinner table with Joe right behind me. Soon enough we all gathered around and had ourselves a pre-Christmas family dinner.

Soon it finally arrived. The most wonderful time of the year, Christmas eve. All the gifts were now placed under the tree wrapped up in various Christmas themed wrappings or color schemes of silver, red, gold, and green. Now it was really beginning to look like Christmas.

“Alright guys, as per tradition we shall start off with (Y/n);s annual Christmas performance.” Mama Mazzello said. I stood up from Joe’s lap as everyone applauded.

Derek at the speakers ready for my signal for him to turn the first song on. I nodded and he clicked the play button and soon my first song (in fact the very first song I ever sang back when I was a teen for my family) Faith Hill’s “Where are you Christmas”.

It’s also my mom’s favorite song and every year since I sang it back when it came out in 2000 she’s wanted me to sing it just for her. As I sang I could see the tears forming in my mom’s eyes as a wide smile spread across her face and she lip synched the words. The kids all stared at me in awe, and my beloved Joe Mazzello he was entranced.

He’s always teased me of how I should be a singer instead of a costume designer and back when we were both involved with Bohemian Rhapsody he’s sworn that he’d get me up on stage with Queen and Adam Lambert to sing with them. Thankfully that hasn’t happened (and I hope it continues that way) so Joe’s just had be do private concerts for him.

After the song was done they all clapped as I told Derek my next song and helped him search the right version of the song.

“This one right here?” he asked to confirm.

“Yep that’s the one.” I told him. I turned back towards the family and now playing on the speakers was Carrie Underwood’s “Do you hear what I hear?” I fingered the piano chords against my thigh, pretending that I was actually playing the keys (even though I can’t play to save my ass, even with Rami’s help).

That song required a lot of breath work and correct timing but I managed to pull it off and once the song concluded everyone clapped again. This time for the final song, I took out two chairs and set them before everyone.

Joe took this as his cue to come up and help me set up the finale song, especially since he was going to be joining me on it this year. We had been practicing this since November, he wrote the script and everything and we rehearsed it and rehearsed it and rehearsed it.

“For this final song I first want to thank my director and partner Joe Mazzello for writing the script for this little skit you will see.” Joe nodded as he came in with two cups of hot chocolate (his being made of almond milk of course). The two of us sat side by side and Joe clapped his hands together and said.

“And…..action!” I took a sip of my hot chocolate and said my first line.

“I still can’t believe you can finally drink hot chocolate.”

“Hey almond milk saves lives.” He said his line.

“Personally, I’d never drink that stuff but so long as it helps you. I’m glad I could share this tradition with you.”

“Me too babe.” My phone then dinged and I said.

“Oh my god!”

“What? What is it babe?”

“It’s already pass midnight. My mother’s gonna kill me!”

“Whoa, whoa wait a minute. Don’t tell me you’re going out there!” he said as we both stood up and he gestured toward the window.

“I have to Joey. Even if it’s 20ft of snow out there, it’s nothing compared to the wrath of a mother who doesn’t like their baby staying out past curfew.” I broke the 4th wall and turned to my mom who crossed her arms and looked at me with a playful scowl.

“C’mon just give her a call and explain it to her. It’s way too cold out there for you. I won’t let you freeze out there.” Derek then turned on the song “Baby it’s cold outside” the Seth McFarlane and Sara Bareilles version.

The two of us walking in circles of each other with me trying to head out of the living room and Joe coming around in front of me singing Seth’s part while I sang Sara’s.

Every now and then he’d take my hands in his and giving them a kiss. Or he’d brush a strand of hair out from my face, gingerly brushing my cheek with the back of his finger. But just as we got to the end of the first verse, there was a knock at the door.

Joe and I stopped singing as Derek cut off the music and we all turned our attention to the door.

“Mom is—anyone else coming?” asked Mary.

“No.” she simply stated. Four more knocks rang through the house. The kids were started to get frightened as they ran up to their parents.

“I’ll find out who it is.” Said Mary’s husband Dylan.

“No, no, no. You just stay with your kids Dylan. I’ll go see who it is.” Derek offered as he left the living room. After about a minute my mom followed behind him and the next thing I heard was my mom saying.

“What are you doing here!?” it—it couldn’t be. I raced out of the living room as Joe tried to reach out for me and stop me but he was too late. I came around and walked down the small hallway staircase that led to the front door and there at the door was someone I hoped I’d never see again.

For there standing at the door in his famed fedora hat was my dad.

He looked older than the last time I saw him, his hair going grey from the stress and wrinkles forming at the end of his eyes.

“I know I don’t have a right to be here, but……”

“That’s right you don’t!” I snapped. My mom and Derek looked up at me.

“(Y/n) go back upstairs. Derek and I can handle this.” My mom told me.

“(Y/n)?” my dad asked in awe. I glared at him and crossed my arms over my chest. “Wow look—look at you. You’re……practically grown up.”

“Yeah.” I snapped shortly. “You’d know if you’d pay attention instead of just criticizing me all the time.”

“I know. I……that’s actually why I came here.”

“How did you even know we’d be here (F/n)?” my mom asked.

“Well as part of the NYPD I’ve been—keeping tabs on our daughter. And found out who she married and where she was currently living at.”

“You’ve been spying on me!? Great even when you’re no longer apart of this family you still have to spy on everything I do!” I snapped. “So have you come to complain about my husband now? How I should’ve married a doctor or a cop? How I’ve thrown my life away by marrying an actor?”

“No.” he said. “I haven’t come to do anything like that. I just…..”

“No you know what? Let me start off since you never listened to me then, but you’ll hear me now!”

I walked down the steps and even though my mother tried to get me to go back upstairs, I got out of her arms and got right in my dad’s face and sneered at him.

“For years I’ve tried to be the perfect daughter you said you wanted! And for my childhood I tried to follow in your footsteps. But as I became a preteen you began to nitpick at everything! The color of my hair, what type of clothes I should wear, how I should wear my makeup, you even didn’t like the fact that I wanted to get my ears pierced! Said it was for criminals and goth kids to get their bodies pierced. You called me a delinquent!”

“I-I-I know I did. But now I’m……”

“It doesn’t matter what you have or want to say. The verbal abuse you gave me throughout my life has been nothing but a stab at my self-esteem. I tried to commit suicide by the time I was 16 because of you! You did that!”

“I’m sorry (Y/n).”

“Where was the sorry back then? Where was it? All you told me after I got back from the hospital was that it was my fault for disobeying you.” I once again got in his face and sneered lowly, “So whatever you have to say forget it.”

I turned around and walked up the steps. As I got halfway up my dad tried to say to me.

“(Y/n) please. I’m trying to make amends for that now. I know I’ve done and said awful things to you in the past. And looking back on it, it’s made me feel absolutely disgusted with myself. I’m your father, please forgive me. It’s Christmas time.” I lowered my head before turning my head towards him.

“Derek’s my father. Now get the fuck out of my life.” I said lowly to him while I glared at him. I ran back up the stairs and headed right towards Joe’s room. I slammed the door and hid myself in the corner of his room, curled myself up into a tight ball, and tried to keep my tears at bay but every now and then a tear fell from the corner of my eye.

I heard the door open and softly shut. The bed softly dipped down; and the familiar smell of Joe’s cologne hung in the air.

“Please Joe I—I’m not in the mood.”

“I know. That’s not why I came up here though.” I felt him rub my back in soothing circles. “Baby girl, I—I think you should really talk to your dad.” I raised my head up at him, my jaw dropped in shock and my eyes bug-eyed.

“You can’t be serious.”

“C’mon babe it’s Christmas…..”

“So?! I already spoke my mind to him!”

“No. You ranted in anger. You’re not supposed to be angry or any other negative emotion during Christmas.”

“Joe you—” I took a sharp breath in. “I’ve told you what he’s done to me. The neglect and verbal abuse he gave me. How am I supposed to suddenly let it go and forgive him!?”

“I know it’s not easy…..”

“I don’t believe this….you’re actually taking his side!!” I snapped as I backed away from him.

“I’m not! All I’m saying that is if you continue to hate him for the rest of your life, you’ll never be truly happy. Babe please I’m just thinking about what’s best for you.”

Oh my god—it couldn’t be. He wouldn’t…….

“You called him.”

“What? No!?”

“No. No, no, no, no, no, no, not-it-it-it all makes sense. How else could he pick up this address? That whole detective bullshit you reached out to him and called him up didn’t you!?”

“(Y/n) I—”

“TELL ME THE TRUTH!!” I screamed at him. Silence rang out through Joe’s childhood room as he and I stared eye to eye with each other. Not a single one of us flinching or breaking eye contact.

“Even if it was me, as I told you I was only trying to help.”

“How!?” I snapped. “Be thankful your dad died a good man!” At the mention of his dad, Joe’s face grew hard and angry.

“I know. I was lucky. My dad was a kind man, and generous and forgiving. But get this (Y/n), I won’t get to experience that type of father love ever again! And I would give anything to have him back here! To have gotten to know you as my wife instead of my girlfriend! To one day see our children! So be thankful that your father is still alive and healthy!” his voice quivered and choked as his voice got steadily louder.

“Joe, I—”

“All I wanted was for you to make amends with your dad because you never know which day will be your last!” he stormed out of the room and slammed the door shut.

Goddamnit! Now I feel like shit. I sighed heavily and fell down onto the bed and felt the tears stream down my face.

After calming myself down and cleaning myself up, I walked downstairs and there was my mom, Derek, Joe’s mom, and siblings. The kids weren’t there so I assume Mary and John sent them to bed after what had happened.

“If you’re wondering where Joe is he left. Didn’t say where he went he just—took his coat, hat and scarf and just left.” John said.

“I wasn’t going to ask that.” I walked over to my mom and said. “Where’s (f/n)?”

“What?”

“Please mom I—just tell me where he went.” I said urgently.

“He told me he was staying at the Milton motel just 15min. away from here.” I raced and grabbed my winter gear and keys. My mom calling out to me but I didn’t hear her as I got on my bike and took off down the streets.

When I arrived at the Milton, I went up to the front desk and asked to see a (F/n) (l/n), I told the concierge that I was someone close to him. She called him up and told me he’d be down in a minute.

I sat down in the lobby and waited for him to come down. I heard the elevator ding and soon coming out of it was (F/n). He turned to his left and when he saw me, his eyes widened.

“(Y/n)?” I stood up. He slowly walked towards me. “But I thought—”

“First I want to say this before I say something else. You suddenly showing up the way you did was uncalled for. You can’t expect an apology after the years of neglect and verbal abuse you gave me. Even from the smallest little thing about me that I wanted to change, you insulted me to no ends.” I took a deep breath. “And as much as I want to never want anything to do with you again—someone once told me that if I continue to hate you for the rest of my life, I’ll never be truly happy.”

“I’ve looked back on my actions and every day I hate myself for what I’ve done to you. So—will you give me another chance?”

“I won’t forgive you right away and start calling you dad.”

“I’ll take what I can get. Thank you (Y/n).” he extended his hand out for me to take. For the first time in years I took my dad’s hand and we shook on it. “Do you want to spend Christmas day with us tomorrow?”

“I’d like that very much. Plus I’d—I’d like to get to know the man that stole your heart.” My eyes widened.

“Joe! Shit I almost forgot! Ohh but where could he be? He could be anywhere!”

“Just a minute (Y/n), let me make a call.” He took out his phone and made a call. “Hey Jeremy, it’s me. Yeah hey listen I know it’s the holidays but I need your tracking skills.” I saw him nod and hum in agreement, “Okay just a second,” he placed the phone down against his shoulder and asked me, “Do you have his number?”

I told him Joe’s number and he relayed that to his friend. Wow I guess he really is a police officer.

“Really? Great. Thanks Jeremy. Yes you have a Merry Christmas too. See you after the New Year. Bye.” He hung up his phone and said. “His cell was last pinged at the Rockefeller Center.” I thanked him and raced out of the motel and back to my bike. I revved it up and raced on down to Rockefeller Center.

The monument around Christmas time. I stood before the giant, beautiful tree and raced towards it on foot. I looked around for Joe till I finally found him on the other side of the two angel statues playing their horns.

“Joe!?” he turned around and looked at me before glaring softly and turned back around. I raced towards him but he still refused to look at me. “Joey……I—I talked to him. My dad. And—it’s gonna take some time but I…..I told him I’d give him another chance.” He didn’t respond back, hell he still didn’t even look at me. “I was way out of line. I shouldn’t have accused you like that. I mean, even if you did call him I shouldn’t have snapped at you like that. I was angry and—those feelings that my dad gave me when I was a kid I’ve tried to bury them for years. And seeing him for the first time in forever it—made me feel like that extremely insecure girl I once was. And I didn’t want you to see me like that.”

Again, he remained silent and stoic.

“And I shouldn’t have mentioned your dad. He wouldn’t have wanted us to fight, especially on his favorite holiday. I’m sorry Joe.” Nothing. Not even a smug Deacy grin. “Joey?” why wasn’t he answering me?

I slowly approached him and everytime I tried to lean forward to look at him, he just turned his head further away from me.

“Joe please? What more do you want me to say? You were right and I was wrong? That Ben should really be with you instead of Gwil? What can I say that will help you say something to me?” he crossed his arms over his chest and huffed at me.

I sighed sadly and looked up at him. Okay, I get it. Guess he’s really upset with me and I could possibly expect him to go stay with Rami and Lucy for the next month or so.

“Alright. I get it. You don’t want anything to do with me anymore. I deserve it. I was a real bitch to you. But I just want you to know that I’ll always love you, and that I hope you find the right girl for you. Even if it’s not me.” I turned and walked away from him when I suddenly felt two arms wrap around my waist and pull me up against a comfy coated chest.

“And just what makes you think that I would want anyone else?”

“What?” he gave me a cheeky grin. “Oh you son of a—” I proceeded to hit him in his chest screaming profanities at him. All the while he kept laughing and holding my arms back. He then proceeded to peck all over my face with kisses.

Soon my anger turned to laughter as I calmed down and surrendered to his kisses.

“You’re a real jerk sometimes you know that.”

“But you married me in the end right?” I nodded as he once again wrapped his arms around me. “So you really talked to your dad? Not just yelled at him.”

“Yes. I—even invited him for Christmas lunch tomorrow.”

“Well look at you making progress!” he exclaimed proudly before taking off my beanie and ruffled my hair. I exclaimed and tried to shoo his hand away from my head. He chuckled then readjusted my hair to some level of normalcy. “In all seriousness babe, I’m glad you took my advice.”

“Yeah. I mean like you said, I’ll never truly be happy till I let go of my anger. And I haven’t realized til now just how much that anger has been weighing me down.”

“I could see it every time your dad was even mentioned. I hate seeing you be that angry.” he embraced me from behind, nuzzling his nose into my hair.

“I’m—also sorry about….you know what I said about your dad.” He placed my head over his chest.

“I forgive you. We were both angry and said the first thing that came to mind.”

“But I shouldn’t have spoken ill about your dad. He really was a sweet guy.”

“That he was.” He smiled the smile he inherited from both his parents.

“Like father like son.” I giggled. He chuckled and took my hand then as we walked back to my bike, we both looked up and saw that snow was starting to fall.

“Well, looks like we’re getting a White Christmas after all.” He said.

“Indeed, just prepare for the avalanche of feet from the munchkin army come morning.”

“Don’t I know it. But you’re also forgetting one other kid.” He looked at me confused. “You yah big man child!”

“Hey you’re just as crazy about snow as I am!” we then proceeded to nag at each other over who was a bigger fan of the snow, even going as far as to see who would crack first tomorrow morning once we’d see the snow on the ground.

#getdowngivejoy #joe mazzello #joe mazzello fanfiction #joe mazzello x reader #joe mazzello fanfic #joe mazzello imagine #joe mazzello imagines #joe mazzello fluff #secret santa #christmas fic #getdowngivejoy event #bohemian rhapsody #the pacific #wooly boys #jurassic park #the social network #joe mazzello oneshot #undrafted #joe mazzello undrafted

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absolutebl · 4 years ago

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This Week in BL

April 2021 Part 1

Being a highly subjective assessment of one tiny corner of the interwebs.

Ongoing Series - Thai

Second Chance Ep 1 - living up to its name since it looks to be a series of redemption arcs. Launched with a college confession and a broken friendship, then a flash back to them as seniors in high school. Pairings include friends to lovers, nerd/jock, and maybe cafe boss/employee. There’s a lot going on, but it’s still... quiet and sweet. The script is pretty pat but it’s still WAY more watchable than Cupid Coach or Brothers and most of the acting is solid. Ep 1 tropes included: he’s in engineering, wound tending, fast & bicurious. This could turn into what I wanted My Gear & Your Gown to be. Fingers crossed.

Love Poison 2 Ep 1 & 2 turns out I did watch and report on season 1 (8 eps), season 2 seems equally unmemorable. Thai countryside setting, strong dialect, incomprehensible plot, camp side characters, and ghastly singing.

Y-Destiny Ep 1 (eng subs?) - opened with the sports romance enemies to lovers (they aren’t going in the teaser order). When the couple got over fighting, the flirting was v cute, but the flipping SPONGE BATH trope had to rear its ugly head. Still, this series is shaping up to be less coy and more frank than most BL, better than expected. It feels, I don’t know, gay-er or something? *** Sources were correct that each couple is getting (at least) 2 eps, and MDL has been updated to say this is a 15 episode series (not 7).

Cupid Coach 12 fin - The new Nite was great and should have been a main all along. It felt like we got a tiny nugget of what could have been in about 10 minutes worth of this last ep. It was way too slow with terrible editing and a criminally bad script, but at least it ended happy. Mostly, like Friend Forever, I’m just disappointed that these two actors were done dirty by the series. Bad Cupid Coach, no screen caps for you.

Lovely Writer Ep 6 - breaking news, there’s a het couple I like: toppy bi femme + soft boi = such a good pairing! I know, but this NEVER happens. Meanwhile, Sib’s secret is out, Gene is a bit of a drama queen, and the plot thickens. We half way through.

Brothers Ep 9 - Kaow had a serious moment of advice giving that was truly lovely. Lots of family dama made this a superior episode to... well... any of the others in this series. Which isn’t saying much.

1000 Stars Ep 10 fin - at the start this series didn’t grab me the way GMMTV’s last BL, Tonhon Chonlatee, did. But boy did it end 1000x better. Might have given us 2021′s best forehead kiss. I enjoyed the ultra romantic cliff-top reunion kiss, and I LOVED the stinger flirting scene. That was an absolute gift we had no right to expect. This drama is a poster child for finishing on a high note (always focus on that dessert course). Final thoughts? This was FAR more a classic romance than it was BL. There were some BL tropes used but not many and most of them originated in the romance genre not yaoi. A picture perfect ending bumped 1000 Stars much higher up my best-of list than expected. Not sure how often I’ll rewatch it as a whole, but this last episode? I’m probably rewatching it right now.

Ongoing Series - Not Thai

Dear Uranus (Taiwan GL) Ep 3 fin - I guess that’s it? Okaaaaay

HIStory 4: Close To You (Taiwan) Ep 3 (AKA Ep 5-6) - we got actual legit gay culture not just BL (always appreciated) from XingSi. I’m starting to find LiCheng’s “show them we fucking” hijinks hilarious rather than annoying (not sure why, maybe I just love a rubber chicken, or maybe it was the STUFFED CORN WITH THE TASSEL that did it).

-- H4 Moment of RANT --

Tropes included beach trip, there’s only one bed, cook for him, baby is a floppy drunk, carry baby to bed, and.... drunk non-con. Whoopdedoo. Here we go again. Did TharnType teach us NOTHING? (Apparently it taught us if the chemistry is good enough, I have no morals at all.) At least H4 seems to be taking us out of cheese into serious when it comes to assault. Or is it?

I take back what I said last week about XingSi & YongJie being codependency + salvation trope, that only works if YongJie is the uke. He’s NOT. So we got us an obsessive predatory villain with a possible redemption arc. That’s more common in crime dramas, mafia romance, and epic fantasy than BL. It’s real hard to redeem a sexual predator in a reality-grounded universe like contemporary romance (See Kla in LBC1&2).

Next week is gonna be a test of the whole damn franchise. Imma remind both me a you that this was ep 3 of 10 so we got a ways to go yet... but ooof, what have we wrought, BL? (I ended up doing a whole post about the stepbrother trope because of this sub plot.) Taiwan is killing me.

-- RANT ended --

Word of Honor (China) Ep 19-21 - over half way point so we got ALL the back story (in a classic 4 act story structure midway reveal). Now we know who WKX really is and his lineage. We also got some cute hugs and hand holds. Moving along at a nice clip despite being 36 eps total. Still gayest thing to come out of we-not-gay China since Advance Bravely.

Most Peaceful Place (Vietnam) Ep 2 - takes them a while to get eng subs together and ep 2 didn’t drop until late. So I’m putting this in a Thurs time slot going forward. Miscommunication already cleared up and a 2nd couple has been introduced. The pacing on these Vietnamese BLs is always a bit... off. But it’s still better than most of its ilk, enjoyable. I’m thinking it’s a 6 ep arc.

We Best Love 2 (Taiwan) Ep 5 - after the initial drama DRAMA of ep 2, the current external crisis at work is much quieter, giving this whole season a top heavy feel. Taken along side the first season, I think it’s fitting nicely into a 4 act structure, but that might be my bias. I hope I’m not wrong, we’ll find out next week. Shi De puttering about being domestic with Shu Yi on his back was the best execution of the piggyback trope EVER. Meanwhile, our little D/s side couple of codependency, salvation trope + mental illness is becoming weirdly appealing. I don’t know. H4 done mess with my head.

Stand Alones

Absolute BL AKA Zettai BL ni Naru Sekai vs Zettai BL ni Naritakunai Otoko (Japan) Ep 1-4 mini series. Found subs under A Man Who Defies The World of BL. IT’S HILARIOUS. It’s Japan making fun of us, but also itself for having started this whole BL nonsense - from yaoi roots to present day. It’s parody goddamn gold. Utterly cheeky unto the very last line. We are not worthy.

Apparently the most powerful tropes of all time are: baby is a floppy drunk and the piggyback fo nobility. Oh and chocolate. {Full review here.}

Honestly, this show may have been made with only @heretherebedork and I in mind. I don’t know if you’d even understand half of it if you don’t have a history with the manga source genre and an obsessive interest in underlying narrative devices. I haven’t seen much chatter in the blog’o’sphere on this one because, in the end, it’s not a romance at all, it’s social commentary.

The ending line was a masterclass in lampooning a genre. I’m going to rewatch the whole thing just to catch all the digs I missed first time around. It is a thing of beauty and a joy forever.

Thank you Japan. I forgive you all your hair-styling sins of the last decade.

Breaking News

Spring Line Up:

Scholar Ryu’s Wedding Ceremony AKA Nobleman Ryu’s Wedding (Korean historical BL) April 15th

Close Friend the series (Thai trailer) April 22.

2gether the movie (Thai trailer) April 22 to Thai theaters.

Nitiman (Thai) May 7 on One31.

I Told Sunset About You 2 (Thai) May 27 on LineTV

Ossan’s Love (Hong Kong) June to Viu

Gossip

Bad Buddies released its first promo op via Arm Share, which means GMMTV is at least *thinking* about filming it.

Fun behind the scenes gossip sesh with eng subs for Tell the World I Love You (that Perth Bas movie we are maybe getting someday but will likely be sad).

New Thai BL Bite Me (adapted from novel Grab a Bite) dropped a teaser. It stars Mark Siwat (Kla in LBC) as uke character Ake, a delivery boy with special foodie powers, and chef Eua (seme played by Zung Kidakorn) who discovers him. It’s from the same author as Manner of Death so we might even get some actual plot. Since it’s an established BL actor who I happen LOVE, a known author, and a plot about FOOD, I could not me more excited for this one.

Next Week Looks Like This:

Some shows may be listed a day later than actual air date for accessibility reasons. Some are dropping multiples at a time but just started so I’m not sure on numbering.

Upcoming 2021 BL master post here.

Links to watch are provided when possible, ask in a comment if I missed something.

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aion-rsa · 4 years ago

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Best Serial Killer Movies of the ’90s Ranked

https://ift.tt/3tcsgCf

Someone must have left the freezer door in the morgue open, because grisly reminders of the past are thawing before our eyes. You can see it this weekend with the release of John Lee Hancock’s The Little Things, a throwback to the days when movie stars hung out at crime scenes instead of in spandex, and it’ll be more apparent next month with the launch of Clarice, a television spinoff of 1991’s The Silence of the Lambs. All the evidence points to only one conclusion: the serial killer thrillers of the ‘90s are back!

Not that we’re complaining. For a macabre minute or two, every Hollywood name appeared eager to play either the detective or the killer—the hunter or the obsessed, which often proved interchangeable for both characters. Granted that means there can be something formulaic about many of these movies. Yet they can also be bleak, hard-edged, and ambiguous. From our modern gaze, where the dominant studio conventions prefer reassuring morality tales and sunny lighting, these movies’ preference for shadows and discomfort in the mainstream is kind of startling.

So grab your magnifying glass and fortify your stomach, because we’re about to revisit some of the best (and worst) of ‘90s serial killer thrillers. (Also this list is strictly for the decade when the genre was at its height and it excludes slasher movies like Scream, which may feature serial killers but were not exactly adult-oriented thrillers.)

12. Eye of the Beholder (1999)

Eye of the Beholder is a tonal oddity that only passingly flirts with the conventions of ‘90s serial killer thrillers, all while it tries to pay homage to (read: rip-off) Alfred Hitchcock. But any credit it deserves for deviation—including making Ashley Judd’s central femme fatale the killer—it loses in execution. As a muddied, impenetrable tale about an intelligence officer (Ewan McGregor) who spies on and falls in love with a serial killer, Eye of the Beholder is a scattershot of bad ideas that run the gamut from ludicrous to misogynistic.

Beauty may be in the eye of the beholder, but this movie will close the lids over your pupils inside of 30 minutes.

11. Nightwatch (1997)

It feels a little mean to rag on Ewan McGregor back-to-back, but maybe serial killer movies just aren’t his genre? That could be at least one takeaway from an ill-advised double feature of Eye of the Beholder and Nightwatch, the latter of which is a remake of a 1994 Danish film that I’ve not seen… and probably won’t since both the original film and American remake are directed by the same man.

McGregor plays medical student Martin here, a kid who gets an after school job by becoming the night watch security at the local morgue. But as a series of grisly prostitute murders pile up, Martin realizes he needs to figure out who the killer is—that or continue to be framed by the necrophiliac fiend who keeps coming by the morgue for one last liaison. It’s exactly as skeevy as it sounds. Do yourself a favor and go your whole life without hearing Nick Nolte sing “This Old Man” while climbing onto a corpse.

10. Natural Born Killers (1994)

The movie that Quentin Tarantino disowned, Natural Born Killers is a seedy mess based on a Tarantino script that was heavily rewritten by Oliver Stone, David Veloz, and Richard Rutowski. The concept itself is a seemingly inevitable escalation of the “bad romance outlaws” archetype that’s been floating around Hollywood since at least 1950’s Gun Crazy, and which was then made iconic by Bonnie & Clyde (1967).

But whereas those films relied on bank robbers living fast, Natural Born Killers descends into a seeming final form with Mickey and Mallory (Woody Harrelson and Juliette Lewis) as giddy serial killers who are eventually out for maximum carnage. Technically the pair are supposed to be presented as victims of traumatic child abuse—and who are then wrongfully glorified by the media. But Stone’s sloppy and tanked vision lacks the discipline to achieve anything beyond its maliciousness. Early sequences imagining Mallory’s abusive childhood like it’s a television sitcom, and later psychedelic visions of Robert Downey Jr.’s opportunistic news reporter as the Devil, do little to divorce the film from its shallow self-satisfaction in close-ups of heads being shot.

The movie came under controversy in the years after its release for inspiring alleged copycat killers as well as school shooters. It feels irresponsible to blame media for actual violence, but it’s still quite an indictment that Stone’s attempt to criticize media glorification became a favorite for many a disturbed individual with a gun.

9. Kiss the Girls (1997)

When studying competent, middle of the road Hollywood thrillers, Kiss the Girls is a solid place to start. As a decently made bit of studio convention, the movie is anchored by strong elements like Morgan Freeman as James Paterson’s literary hero, Alex Cross, and Ashley Judd as Kate, the victim who survives a masked killer’s attempt to abduct her into his harem.

Moments like Kate’s escape sequence through the North Carolina wilderness are effectively filled with adrenaline, and Judd particularly gives the salacious piece conviction. However, it is salacious to a fault. Even if the movie toned down the source novel’s even more lurid misogyny, the film studies Kate and the other victims with a lascivious male gaze, blurring sex with violence, real world horror with leering entertainment. Right down to its title, the film can be rightly criticized as Hollywood glamourizing another story about violence against women. Whether that damns the whole movie depends on the viewer, but it certainly keeps it low on our list.

8. The Bone Collector (1999)

Marketed with a hell of a tagline about there being thousands of taxi cabs in New York City that’ll get you home—and one that won’t—The Bone Collector is almost comically slavish to the clichés of ‘90s moviemaking. The wrinkle here is that after a faux cab driver begins abducting his victims off the street, the crime psychologist who must stop him is entirely stuck by his bedside. Due to a tragic accident, Denzel Washington’s Lincoln Rhyme is paralyzed from the neck down. Yet he is still able to catch serial killers by communicating in the earpiece of police officer Amelia Donaghy (an entirely unconvincing Angelina Jolie).

Movies

Lost Girls Review: Netflix Takes on the Long Island Serial Killer

By Rosie Fletcher

Books

The Last Book on the Left Takes on the Grim History of Serial Killers

By Alec Bojalad

Together the pair stay one step behind the mystery killer’s tracks as he executes a series of increasingly gruesome and ridiculous murders. It’s preposterous, and in some ways a forerunner for Saw with the satisfaction it takes in absurd death traps, but Washington is effortlessly compelling, even when he never leaves his apartment. As a bit of absurd Hollywood fluff, right down to the ultimately lackluster unmasking of the killer, it can be entertaining, even if you’ll deny it afterward.

7. Copycat (1995)

More potent than I remembered, Copycat is a genuinely well-crafted Hollywood thriller that may not reinvent the wheel but takes it out for a damn good spin. In the driver’s seat is Sigourney Weaver as Dr. Helen Hudson, a criminal psychologist who is an expert on serial killers until one follows her into the bathroom after a guest lecture. He nearly hangs her from the ceiling. Following that white-knuckled opening, the film jumps years ahead and Helen has become agoraphobic and afraid to leave her home.

Yet when a local series of murders reveal the pattern of a predator imitating the methods of his favorite “celebrities”—one crime scene is like the Boston Strangler and another emulates the horrors of Jeffrey Dahmer—Helen is pulled out of retirement by a no-nonsense detective (Holly Hunter). The winning chemistry between Weaver and Hunter—who are refreshingly free from the studio-mandated romantic subplots in some of the other movies on this list—and the blunt force power of their performances aid this sincerely disquieting flick. A needlessly convoluted third act aside, the movie still works as a warning about the danger of fanboys a generation early.

6. Fallen (1998)

Denzel Washington appears again thanks to this clever supernatural spin on the serial killer genre. At the beginning of Fallen, Washington’s John Hobbes appears on top of the world. The serial killer he chased for years (Elias Koteas) is about to breathe deeply in the gas chamber. Yet after the lever is pulled, and with Koteas singing the Rolling Stones’ “Time is On My Side” until his last breath, a funny thing happens: the murders continue.

In fact, more than just the killings, strangers in the street sing “Time is On My Side” in Hobbes’ ear, and he soon realizes that he faces a devil of a killer whose been operating since the beginning—quite literally since the villain is a demon who was once an angel that fell with Lucifer. It’s a bizarre premise given strutting confidence thanks to Washington’s performance, as well as good supporting work by John Goodman and Donald Sutherland. Twenty years later and its ending still sticks with me.

5. The Exorcist III (1990)

If you haven’t seen The Exorcist III, we know what you’re thinking: “Really?!” Yes. In fact, this isn’t even an exorcist movie; it should’ve been titled Legion like the 1983 novel it’s based on. Alas writer-director William Peter Blatty was forced to use the title and do reshoots that added an exorcism in the climax. Still, this supernatural thriller which involves a serial killer back from the dead is far better than it has any right to be.

Following the character of Lt. Kinderman from the 1973 masterpiece, the middle-aged gumshoe is now played by George C. Scott instead of the late Lee J. Cobb, and he possesses Scott’s usual love for contrasts between the restrained whisper and a bombastic howl. He also makes a sympathetic, secular detective forced to face the horrors of Hell when a series of murders committed against Catholic priests appear to be the work of the Gemini Killer (Brad Dourif), a serial killer whom Kinderman sent to the chair more than 10 years ago.

Movies

The Exorcist III is a Classic and Better Than You Remember

By Jim Knipfel

Movies

The Exorcist Is Still the Scariest Movie Ever Made

By David Crow

Somehow the fiend—plus Kinderman’s long dead pal Father Damien Karras (Jason Miller)—appear to now be living in the same body of a John Doe kept in a mental asylum. With an unrelenting atmosphere of dread, palpable tension, and more of Blatty’s intellectual struggle with concepts of faith and evil, the film is more high-minded than its hacky title suggests. It also features one of the best jump scares in movie history.

4. Summer of Sam (1999)

The only movie on this list directly based on an actual serial killer’s crimes, Spike Lee’s Summer of Sam is a serious-minded joint. However, it’s only partially about the murders perpetrated by David Berkowitz, aka the “.44 Caliber Killer,” aka the Son of Sam. Rather the film focuses on the effects a serial killer has on the culture of New York City during the sweltering summer of 1977, and how it affects young lives trying to make it in the big city.

Influenced by Lee and his co-writers Michael Imperioli and Victor Colicchio’s memories of growing up in 1970s New York, the pic is a love letter to a grim moment in history when the city was about to explode with murders, blackouts, crime, and disco. All of this is digested from the vantages of Vinny (John Leguizamo), a philandering hairdresser guilt-ridden for cheating on his wife (Mira Sorvino), and his childhood pal Ritchie (Adrien Brody), who’s left the old neighborhood behind to join the fledgling punk rock scene.

With a greater interest in how a serial killer affects the culture and institutions of a city on edge than being a traditional crime drama, Summer of Sam is a bit of a forerunner to David Fincher’s far more polished Zodiac from a few years later. With heavy-handed dialogue and a plot too big for Lee to fully get his arms around, even at 142 minutes, Summer of Sam can be uneven and messy. But it has the sweaty incorrigibility of a long night out, and of revelries half remembered like from a fever dream.

3. The Talented Mr. Ripley (1999)

The rare serial killer movie told entirely from the perspective of the killer, Anthony Minghella’s The Talented Mr. Ripley is disarmingly creepy. Despite its glossy awards bait sheen, there is a cold-blooded streak that runs deep to the heart of the piece, likely due to Patricia Highsmith’s source 1955 novel. Starring Matt Damon fresh off his Good Will Hunting golden boy sheen, the film uses its casting to disorient and ultimately disturb.

Like Highsmith’s book, the film is not structured like a traditional thriller. It instead favors a detached ambivalence about its seemingly nebbish hero as he agrees to become an errand boy for the rich by traveling to 1950s Italy in order to retrieve a silver spoon cad (Jude Law) for his father. But the more time Tom Ripley (Damon) spends with Law’s Dickie Greenleaf, the more he grows envious of Dickie’s lifestyle, his wealth and confidence, and maybe even his affection for socialite Marge (Gwyneth Paltrow). There is a subtle—too subtle due to ‘90s Hollywood conventions—homoerotic undercurrent throughout the film as Ripley slowly works up the courage to take his first life. It won’t be his last.

Movies

Knives Out: When Murder Makes You a Better Person

By Natalie Zutter

Movies

Seven: The Brilliance of David Fincher’s Chase Scene

By Ryan Lambie

Highsmith wound up publishing four subsequent sequels to The Talented Mr. Ripley, but unfortunately no more were made with Damon. Perhaps because this was too unsettling for an ongoing franchise.

2. Seven (1995)

While watching David Fincher’s masterful Seven, the thing that immediately stands out is the oppressive nihilism that permeates throughout. There were decades of neo noir before this detective yarn about the hunt for a serial killer, but none demonstrated such an overbearing sense of despair before the opening credits were even concluded. And perhaps what makes it unshakable is how welcoming the film is toward bleakness; it succumbs long before the gut-punch finale.

Telling the story of an old cop days from retirement (Morgan Freeman) and a hotheaded rookie detective (Brad Pitt), Andrew Kevin Walker’s script has an economy of pace that still impresses despite its cynicism. Very quickly one murder becomes two, then three, and soon four. Yet none of the atrocities are reveled in by Fincher’s blocking; they’re off-screen mutilations which leave psychic damage on his two leads and, eventually, us. The deaths also quickly establish a pattern that their serial killer is targeting seven souls, each intended to embody one of the seven deadly sins.

The movie is a classic now for its climax where the killer “John Doe” (a reptilian Kevin Spacey) turns himself in and leads the cops into the darkest pit, but it’s the entire package that makes this one linger more than 25 years later. At the end of the film, Somerset quotes Hemingway by saying, “‘The world is a fine place and worth fighting for.’ I agree with the second part.” I’m not convinced his film does.

1. The Silence of the Lambs (1991)

As the film that kick-started the idea that serial killers could create their own film genre, The Silence of the Lambs still remains the best of its kind. Blessedly unaware that it was creating conventions for countless copycats, the film tells its psychological drama with simplicity and clarity. Whereas other films on this list bask in their bleakness, there is a dogged optimism and even perverse warmth to this Jonathan Demme adaptation of Thomas Harris’ Silence of the Lambs novel. And that’s of course largely attributable to the casting of Anthony Hopkins and Jodie Foster.

As Dr. Hannibal Lecter, Hopkins is of course monumental. It’s a performance that turned a quinquagenarian into an overnight movie star, and became Hopkins’ calling card as he returned to the not-so-good doctor’s well one too many times. Still, he’s undeniably enthralling as Hannibal, a cannibal psychologist with superhuman powers of observation and mental menace. Even so, Foster is often overlooked by critics for her own contributions as the FBI trainee who’s proverbially fed to the incarcerated Lecter—a pretty face to get the serial killer to consult pro bono on the crimes of another mass murderer. It’s just one more example of casual sexism faced by Clarice that gives Foster as much to play as Hopkins.

Culture

David Fincher’s Zodiac: The Movie That Never Ended

By Don Kaye

Movies

The Little Things Ending Explained

By David Crow

Surrounded by the slights and prejudices of men—be they in law enforcement or straight jackets—Clarice is constantly underestimated. She finds an intellectual rapport with Hannibal, but she pulls herself out of the darkest night, and the screaming of the lambs, without assistance. Her perseverance matched by Hannibal’s darkly seductive qualities is the juxtaposition that makes Silence of the Lambs one of the finest films of its decade.

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yokelish · 4 years ago

Text

Rhetorical.

This is not easy-peasy-lemon-squizzy. This is difficult-fucking-difficult.

I hate myself for the person I am because my first reaction was “that’s a drag, I don’t remember much of the manga already”. But then I remembered complex human relationships is nyom-nyom-nyom. And so fell in love with working on it more and more as I went. So here you go, @gogolparadise

Unfortunately, I am one of those people who doesn’t blame Ango for Oda’s death. My blaming scale looks more like this: Gide, Oda, Mori, everyone else. I blame Oda for Oda’s death, mostly. And there’s no denial about who shot Odasaku in the first place. But Ango isn’t blameless. He done fuck up.

I won’t write how and when Dazai sabotaged the airbag, I am sure even he wouldn’t know it either. P L O T. The scene between Ango and Dazai unfolded differently in manga and anime. And I like manga’s version better. I rarely use Japanese respectful suffixes like “san” and “kun”, but here….it’s sorta important.

✏ Fandom: Bungou Stray Dogs ✏ Characters: Dazai Osamu, Ango Sakaguchi ✏ Word count: 2,166 ✏ Warnings: none?

Rhetorical.

He couldn’t deny the fact that having a gun in his hand felt distantly pleasant. The power and control that came with the weight in his hand would add more pleasure to it. But the weapon was oddly light compared to his memories of handling one. It wasn’t loaded. A good decision: a smart and safe decision. If Dazai couldn’t trust himself, he could trust in the distrust people have for him. And no one would know that better than someone he once called a friend. The two loyal guard dogs wouldn’t be able to stop him if that’s what he wanted. The resting blade against his neck only sharpened that tiny thrill coursing through his veins. It was bringing up old memories of having his life on the line every other day. The sound of raining shots, the lightning bolt shine of it, the heat of the muzzle afterwards. And the lingering smell of gunpowder. Unloading the gun was the smartest decision his once-friend had ever made. Because Dazai also couldn’t deny the fact that when it was aimed at the back of Ango’s head, it felt invigorating.

“What on earth made you think…” Dazai asked calmly. “…that I had forgiven you?” He didn’t regret asking. The question didn’t need to be answered. There was no need to have a conversation about that part of history. After all, there was too much to forgive, and Dazai didn’t even start on it. But asking had to clearly state where they stand.

“I was the one who cleaned your record when you fled the Mafia. If anything, you are the one who owes me,” Ango replied, unfazed by the threat, and even sounding a little exasperated.

“Alright.” Dazai easily dropped the threat, the aim of the gun, the feeling coursing through his veins. “The gun isn’t loaded. You knew I’d do that.”

A hand was offered to collect the empty weapon. “I am glad you catch on so quickly.” The man in glasses offered a calm, collected smile, with a little amusement traced in the lines of his face. Dazai would roll his eyes at this if the man wasn’t so obviously looking. Credit given where its due, Ango wasn’t slow on the uptake — always deceitfully sharp. But Dazai didn’t appreciate proximity or eye-contact. Least of all he wanted to grow an appreciation for Ango’s quick thinking, stoic and neutral approach, and overall efficiency. He remembered the man from the past too vividly, and separating those images was harder than it should have been. Liar. Traitor.

“If we are not rekindling our old friendship,” Sakaguchi spoke again, more hesitantly this time. “…What do you want?”

How eloquent and bold it was to say that there was something to rekindle between them. When a torch goes out, you look for a fire to light it again. You don’t wet the cloth and chop up the wooden stick. And you sure do not let the torch burn to ashes. If so, there was nothing to rekindle.

With his back to Ango, Dazai allowed himself to smile. The half-masks he knew how to transform and switch seamlessly. His goals were for him to know. Ango would find out soon enough. The bandaged man shifted his smile into a childish grin. “Oooh…” He patted the roof of the car. “You government men drive fine cars, eh?”

The government man graced him with an unamused stare. A sharp look of a man who didn’t want his car touched in such manner. Pity, really, that should be the least of his worries. Government men drive fine cars, but there are many fine cars in this world.

Ex-Mafia rested his elbow on the car if only to gauge a reaction out of the man he once made a mistake to call friend. “Care to go for a drive?” Dazai didn’t regret asking. The question didn’t need to be answered.

Fine cars indeed… For what those government men got those fancy cars Dazai could only guess. “It’s your job to keep those skill-oriented crimes in check, isn’t it? You mustn’t shirk your duty like that.” He spoke leisurely, enjoying, savouring. There was something sickeningly amusing in the ease of the situation. The tension that was visibly lacking in the air. Ango’s safe driving befitting of a good citizen. The calm Dazai couldn’t help but feel. He almost felt guilty about it, too. The calm that comes with the knowledge of what’s to come. And yet, by all canons of the world, it should not be as easy as breathing.

“We have been keeping tabs on the Guild as well,” Ango finally gave a reply fitting for a government man. A limited, careful answer.

Dazai’s interest was piqued by the narrowness of such words. “You knew…and you simply let them be? Do I have that right?” He knew he did. The question didn’t need to be answered. But he didn’t regret asking, he savoured it without guilt.

“Unlike you, Dazai-kun, I believe in an honest day’s work,” Sakaguchi answered evenly, never taking his eyes off the road. “Do you even know what kind of kind of group the Guild is?”

Dazai could guess that this feeling inside him was glee. There was nothing compared to the feeling of knowing and seeing through the deceit of others even if that deceit was a delusion for one’s self. He cared little for the games the government played, he just despised them. He cared not for the power the Guild possessed, he just wanted to beat it.

“Oh my, wait a moment,” the bandaged man said. “This discussion is taking a strange turn.”

“This is politics, Dazai-kun.”

That’s an exceptionally fine carpet word for lies, deception, manipulation, power play and the like. Perhaps, it was a matter of perception, the things one believes in. If perception can stop you from seeing the world upside-down, if it can grant you the vividness of colours and appreciation for abstract, then it surely must be able to install a belief in the greater good.

“…to grant immunity to their members…”

Like Ango believing in an honest day’s work. Or Atsushi believing in his own worthlessness or that saving people will justify his existence. Like Kunikida upholding his ideals stronger than any other man alive.

“…truly, above the law…”

Perhaps, it was all about the installed moral compass within a person. The lines one draws to walk a straight path. Those constructed margins of morality that should never be crossed lest the world changes its meaning or loses it completely. Dazai’s compass had been broken for the longest time, he could admit that much. There were too many bold strokes beyond the margins: crosses, stains, incomprehensible lines made in indifference and irresponsibility.

“…they’re surveilling our little conference even now…”

But, truly, how morally superior is the government handling the bizarre world of skill-users compared to the Mafia? He couldn’t be the one to judge and tell. He couldn’t understand.

“Dazai-kun, start running away. Now.” The urgency in Ango’s voice brought him back to the oncoming reality. Whatever emotions were hidden behind the glasses, Dazai couldn’t press into his memory. The mind was too preoccupied. He pressed back into the seat — a response of his body to the upcoming and unavoidable danger. The thought of dying had never once scared him, but pain, broken bones, and the like — loathed.

“Run, and tell your agents that danger will find them soon —” It didn’t matter what the answer was. There was no need for it.

If there were indeed parallel worlds — an infinite number of possibilities of the current one — then it could be different. In another world, perhaps, it could be different. They could have never met and, thus, never had their past shared. Two perfect strangers to each other — two parallels never meeting. In a different world where the events unfolded differently, where they still met, became friends and met in a bar with, preferably, a similar menu. In a world where he didn’t die, they could remain forever as they were back then. Dazai would feed them his terrible tofu and talks about suicide. They could eat and drink together while sharing nonsensical stories. There would be no guilt or regret. But that would have to be a different world.

In this world, Sakaguchi Ango, a government agent, successfully infiltrated Port Mafia and then Mimic. In this world, Sakaguchi survived in the Mafia and climbed the ranks. In this world, he had successfully pretended to be a friend to Dazai Osamu, youngest Executive in history, and Sakunosuke Oda, the lowest of the ranks. He done so not out of necessity but because he could. In this world, Sakunosuke Oda was dead, killed in confrontation with Mimic. Ango’s betrayal of the Mafia didn’t matter in the least. After all, Dazai had done so too: even he wasn’t such a hypocrite. In this world what mattered was the death of a man who didn’t get to write his novel. In this world, Dazai Osamu wasn’t a better man to forgive. In this world, ex-Mafia held grudges despite knowing the regret of another.

If he were in a different world and was a different human being, he would understand the necessity for the flowers when visiting a hospital. But he wasn’t, and he didn’t really understand it. Nonetheless, he had done it. A man who believes in honest day’s work deserved that much, at least.

“Why, hello there, Ango!” Dazai’s chirpy voice carried through the ward. “How are you doing?” With a bouquet and a basket of consumable goods as visiting protocol dictates. And a bright friendly smile, of course. “Well, you look lovely,” Dazai lied effortlessly, seamlessly. He had done so not out of necessity but because he could. “I have a fine story for you!”

It was in the very same bar where the three of them met that he witnessed it: regret. Sakaguchi Ango, a government agent who infiltrated Port Mafia and climbed the ranks, expressed regret. Perhaps, that alone was the thing that steadied the Executive’s hand. That, and Odasaku’s presence. Unfortunately, there was no more Odasaku to steady the bandaged Executive’s hand. Only the words of a friend now gone to guide this ex-mafioso.

It was much later that Dazai truly saw the guilt behind the round glasses. It’s much easier to recognize guilt in others when experienced. He couldn’t tell if it was cleverly hidden from others or if Ango had hid from himself.

“Thirty-five count murderer?” the bedbound man asked, unsurprised. Dazai was a visitor but he sure wasn’t a good one after eating from the basket. According to him, that’s what he planned. According to everyone else who could be in the room to pass judgement: selfish, inconsiderate, and even mocking. He didn’t do it out of necessity but because he could.

“Murder is murder,” Sakaguchi stated simply. Dazai remained a patient listener despite how easy it would be to probe at wounds unhealed, to uncap the bottled regret, to stir their shared but erased past. He knew full well what murder was. So did Ango. But the thing about murder and death is that it often was accompanied with guilt. And guilt was a disobedient spirit: it didn’t follow you because you murdered, it followed because it could. For all that Ango did, for all the lies and treacherous moves, Dazai knew one thing for sure: in the moment it mattered most he had nothing to offer Odasaku to cling to. In that vital moment all he could offer were pitiful words that wouldn’t even convince a child. If he had to live with the guilt of it, he would.

“…if you seek other help…I’d be glad to do that.”

“Is that so?” Dazai asked, getting up from the chair. That was all he needed to hear. The task was accomplished. “Well, I’ll be back.”

“Dazai-kun.”

That stalled him at the doorway.

“I am accepting your offer of treatment in exchange for support. So just tell me one more thing.” Sakaguchi Ango was deceptively sharp as ever and just as calm. “When we were struck by that mystery vehicle, the airbag on my side alone failed to inflate. Would you happen to know the reason?”

Just as Ango doesn’t put his regret and guilt out on display, Dazai, too, had trick to hide his darkness. If guilt was a disobedient spirit, then darkness was a parasite set on self-destruction.

Oh, he hoped to make his once-friend regret the question. For it would be easy to hide the smile with his back to Ango. It would be equally as easy to switch one smile for another. But there was no need for that. Whatever it was he hid, the other would soon find out. Dazai allowed himself to smile with sincere darkness of his mind and offer it to the man who betrayed him. There was no need for an answer.

#yokelishtorturesenglish #bsd scenarios #bsd imagines #bsd fanfic #dazai osamu and ango sakaguchi #dazai osamu #ango sakaguchi #did i allude to BEAST? who knows~#i am not very happy with this work because it's not fucked up enough #i want more fucked up thank you #a very shitty character dynamic exploration

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