#people might use the phrase “this is art to me” in a comedic way but newsflash thats how it works

[dynamicks]

Bitches who dont make visual art themselves will speak on what can't be considered art

Are you stupid?

[astrronomemes]

CAMP CAMP : SEASON TWO STARTERS (PART II)

a collection of quotes, phrases, and sayings from the second season of the Camp Camp webseries by Rooster Teeth. change & alter as needed.

“[Name], that is none of your business! And also a federal offense!”

“You’ve got that insidious look in your eye.”

“Yeah, make his ass take you to CostCo.”

“How am I supposed to make edgy art without an authority figure to rebel against?”

“We can’t kill them! We’ve been over this!”

“Your lips say no, but your eyes say they’re gonna kill me.”

“Nice try, [name], but I won’t fall for that a third time!”

“I could never be upset with you for chasing your dreams.”

“If I have to hear them say ‘[name], get down from there!’ or ‘[name], don’t eat that bug!’ or [name], that’s an endangered species!’ one more time...”

“It’s just nice to have a break from all the weird hijinks and wacky adventures.”

“Guys, don’t mess with it. It’s probably something that will trigger a series of events that will, on the whole, be an interesting and comedic adventure, but ultimately waste our Saturday.”

“Don’t tell us we’re taking care of the eggs until they hatch!”

“God, I hate this generation.”

“That’s strange. I suddenly feel... less rich.”

“As you can see, I’m the only one who hasn’t lost my mind over this.”

“Jesus, [name], what the fuck happened to you?”

“Oh, god, I’m a horrible parent!”

“Infant creatures are only good at one thing, and that’s finding the fastest way to kill themselves the moment you let them out of your sight.”

“Well, I’m sure this is some kind of poignant metaphor.”

“I don’t know what’s right, I don’t know what’s wrong... I just know that I’m scared, and I don’t know what to do!”

“Your ‘final frontier’ is gonna be flipping burgers at the drive-through.”

“We’re going to have to fake a moon landing.”

“That sounds like the kind of stuff we do around here.”

“[Name], ‘astronaut’ is spelled with one S, and you know it!”

“You see, [name], when your heart is in the right place, it’s okay if you a fib a little! It all works out! ...Is that a good moral?”

“As long as I’m cute and beautiful, people should give me what I want.”

“You can’t survive in this world on good looks alone.”

“Oh, sweetheart, you know I can’t keep up with all your silly little adventures!”

“Please accept my apology, and don’t sue us.”

“Why couldn’t you be passionate about something more manly? Like guns! Or football!”

“Aw, come on, son! I’m just trying to learn about your interests!”

“I don’t want to see my dad naked!”

“Okay, that might sound incriminating... but...”

“You have every right to be angry. But you deserve to be happy.”

“If you’re wrong about this, you’re only gonna make my trust issues worse.”

“This place doesn’t look that spooky.”

“Man, you have... no idea what you’re talking about.”

“We’re not here to talk about Harry Twilight!”

“Nice to see all this hasn’t gone to your head, [name].”

“Take it from me — you stretch a scam too thin, and people start poking holes in it.”

[nevebennett-viscom]

exquisite corpse

Cadavre exquis is similar to the old parlour game consequences – in which players write in turn on a sheet of paper, fold to conceal what they have written, and pass it on to the next player – but adapted so that parts of the body are drawn instead.

It was invented in 1925 in Paris by the surrealists Yves Tanguy, Jacques Prévert, André Breton and Marcel Duchamp. The name ‘cadavre exquis’ was derived from a phrase that resulted when they first played the game, ‘le cadavre exquis boira le vin nouveau’ (‘the exquisite corpse will drink the new wine’).

Cadavre exquis as a drawing approach has been used by other artists since the surrealists notably the YBA artists Jake and Dinos Chapman. - TATE

its a comedic way of drawing something where different elements are put together to create a caryoonish like image.

frieda Kahlo also played the game and depicted her husband, it is thought she is one of the first people to play it, this is often thought of as a party game since everyone adds to it and noone can expect the outcome. This links to the butterfly effect, becuase noone could predict the was the line of narrative would go. since everyone is contributong their own experiances and thoughts of what might be funny to the image and everyone has their own drawing style.

this is like an early form of madlibs.

this is when you often have no idea what the passage is and you're asked for words of a certain nature (eg adverb, adjective etc) and then that fills in all the appropriate gaps, it creates an unexpected funny passage.

lo1

Informs me to look at ways of experimenting with this and how people can make others interact with one another, maybe without knowledge to create something unique.

[dippedanddripped]

Old Nollywood aesthetics and fashion may be considered trendy today, but the films were not always so well-regarded. In the 90s and early 2000s, when these movies were made and watched in parlours across Nigerian homes as they were shot, straight-to-video, they were considered as bad entertainment, or ‘low culture’. To watch and enjoy Nollywood films was to celebrate mediocrity. But today, nostalgic young Millennials and Gen Zers are overlooking the jarring audio, grainy pictures, and sometimes hammy acting, to appreciate not only the grooming and style of the actors, but the original and diverse stories that reflect unique Nigerian experiences.

It was for this reason that sisters Tochi and Ebele Anueyiagu started Nolly Babes, a nostalgic Instagram account dedicated to celebrating the cinematic period’s women. Started in December 2017, their first post was of Nollywood’s biggest star Genevieve Nnaji; a still taken from 2004 film Sharon Stone In Abuja, directed by Adim Williams. Nnaji plays the titular character, a sexually liberated young woman who uses her beauty and charm to ensnare unassuming men into doing her bidding.

The account is an ode to the female characters of old Nollywood who were often portrayed as warning examples. The storylines were steeped in moral principles rooted in the patriarchal culture and the dominant Christian religion of Southern Nigeria. A large number of the female characters were considered immoral because they kissed other women, challenged men, smoked and drank, or wore mini skirts. Today, Nolly Babes and similar accounts are reimagining these women, taking their scenes out of the moralistic context of the films, and turning them into iconic feminist personas.

The first time Nollywood content seeped into the mainstream internet consciousness can be traced back to 2017 when videos of Nollywood’s favourite comedic duo Chinedu Ikedieze and Osita Iheme, better known as Aki and Pawpaw, rose to popularity due mostly to the influence of a now-defunct Twitter account @nollywoodroll ran by Nicole, a woman based in Brazil.

Their memes became the go-to reaction videos for expressing a wide range of emotions: joy, disappointment, sadness, frustration. The appeal was in seeing children making mischief or in adult situations – drinking beer and smoking cigars, wooing bigger women, or in oversized suits shouting instructions at people twice their size. Although both Ikedieze and Iheme were in their 20s in the early 2000s when most of the films were made, they mostly played children because of their body stature. By 2019, the memes had achieved such virality that brands like Rihanna’s Fenty would use them for social media clout.

Theodora Imaan Beauvais is the curator of Yung Nollywood, another archive of clips and stills from old Nollywood paying homage to its controversial female characters, after screenshotting moments from Nollywood she found “appealing or inspirational”. Yung Nollywood is remarkably distinct from Nolly Babes for its subtitling of the films’ stills from Nollywood films, something she attributes to Tumblr. While the idea to give witty captions to the actors’ facial expressions came from watching Netflix. “I thought, ‘If someone could describe Nollywood reactions in short phrases it’d be an art form on its own,’ and I became that someone.’”

In December 2019, Tochi and Ebele hosted a Nollywood-themed party in Lagos. Nollywood actor and musician Nonso Bassey attended the party dressed in a two-piece jean set and bucket hat, a signature look of the bad boy/alpha male archetype, and a role reprised multiple times by older actors such as Hanks Anuku, Emeka Ike, and Jim Iyke. Since that party, Nonso has attended social functions and premieres in outfits that make a nod to the fashion choices of that era of Nollywood. He insists, though, that he isn’t cosplaying Nollywood characters of that era. “I’ve always been attracted to the idea of merging old world charm with a new school approach,” he said.

The party caused a cultural stir amongst Nigerians and Africans both at home and in the diaspora – every other week, there seems to be a Nollywood-themed party held either in Lagos or London. Take for instance friends and business partners Imani Okunubi and Aseosa Uwagboe, two Nigerian-British kids who grew up in the UK. Nollywood was one of the ways they could connect back to their roots. That experience informs their event brand, Lasgidi to London, targeted at Nigerians living in the UK. “We wanted to create events that were reminiscent of the Naija hall parties (Owambe) we attended as kids, as we don’t want to see that culture die,” Aseosa said. Their next owambe is a Nollywood-themed party and guests are expected to come dressed in their “best nolly Y2K aesthetic”.

Below, the Nolly Babes sisters talk about creating and hosting the first Nollywood-themed party and the cultural moment it has inspired.

How did that first event come about – please take me through it, from the planning to how it turned out?

Nolly Babes: From the inception of Nolly Babes, we knew we had to throw a party. Fashion is a huge part of what makes Nolly Babes different from other Nollywood-themed pages and we knew we were the only ones that could set Nolly Babes as the dress code and have people commit as they did. There are many iconic Nollywood scenes and scenarios. The daughter meeting her evil mother-in-law, the ominous visit to the Babalawo, the campus stroll – just the mere mention of these scenes evokes images that have been embedded in the minds of our fellow Nollywood enthusiasts. The party scene is probably the most iconic of them all. Whether it’s in a club, a mansion while mum and dad are out of town (but coming home early to crash the whole thing) or poolside, the Nolly Babes party scene has its staples: mad music, dancing, and sick outfits.

December in Lagos is notoriously hectic. On each day, there are day parties, beach hangouts, concerts, and we just knew we had to be a part of it. Our flyer was the first thing we made sure was done right, and that has been replicated (but never duplicated) many many times. We went through at least six drafts of that until we got the flyer to be a realistic replica of the home video covers from the golden era. The DJs Kemi Lijadu and vIVENDII Sounds understood the assignment and played music from the Nolly Babes era. We’re talking Tony Tetuila, Mo Hitz, Wande Coal, Plantation Boyz… We curated a special cocktail menu: Genny Colladas, Jim Iyke’s Hard Lemonade, MargaRita Dominic, and our Lagos Island Iced Tea, in tribute to Nollywood stars Genevieve Nnaji, Jim Iyke, and Rita Dominic respectively. We had a video projection on the famous red wall at Nok showing a mashup of emblematic scenes. We were partying while seeing images of a young Jim Iyke dressed just like many of the attendees were dressed. It was magical! We have an event we’re planning in New York for the summer – it’s going to be a madness.

Did you envisage it becoming the cultural movement it’s now become?

Nolly Babes: We really didn’t. We hosted the party because we knew people were taking inspiration from our page for styling jobs and music video treatments, and wanted to give everyone a chance to recreate some of their favourite looks. Now every week we see people planning Nollywood-themed parties and sending people to our page for references. It’s awesome. Toke Makinwa even recently attended a Nolly Babes-themed party and she was dressed as a character we have immortalised – Regina Askia in President’s Daughter. She killed it! Even though the character wasn’t referenced, it was clear as day and it was awesome to see that she pulled it off! Honestly, when we see people really pay attention to detail and execute the theme well it’s so, so dope.

How has TikTok helped grow Nollywood's influence? You posted a scene from Girls Cot, the famous “you stink with poverty” clip on TikTok and it went viral and birthed these recreations even by non-Africans.

Nolly Babes: We’re just happy to see that another aspect of Nollywood that we champion – the iconic scenes and one-liners – is also resonating across the world. We see Nolly Babes as an archival work and as much as we focus on beauty and looks on Instagram, it’s nice to be able to point people in the direction of the scenes that are forever embedded in our brains. These are scenes we recreated in jest ourselves before there was even a Nolly Babes to begin with, so to see it catching on TikTok is exciting and a new frontier for us to fully explore. I think what distinguishes Nolly Babes from other Nollywood pages and what contributes to our TikTok success is that we really watch Nollywood movies. We grew up watching these movies and continue to do so now so we can capture those moments in films that the casual consumer or poster of Nollywood content might not.

What are your thoughts on Nollywood’s influence on the Alté scene? Music videos of artists such as Lady Donli and Odunsi nod to the aesthetic and fashion styles of that era.

Nolly Babes: Nollywood, and specifically the aesthetic we have shone a spotlight on, is probably one of the biggest influences in terms of visuals in that scene right now. I have never seen so many Eucharia (Anunobi) eyebrows on TV and we love it! It’s awesome to see our images and scenes being used in treatments and storyboards. If we’re being candid, we think it would be great if we got the chance to step into our stylist/creative direction bag and help with the execution of the aesthetic.

“The bottom line is really that Nolly Babes has brought what was already an international cultural influence to the modern social media realm with a new lens” – Nolly Babes

How far do you see Nollywood's influence on pop culture, beyond Nigeria and Africa?

Nolly Babes: When we moved to New York we found our Dominican and South American friends had also grown up watching Nollywood films. The bottom line is really that Nolly Babes has brought what was already an international cultural influence to the modern social media realm with a new lens. Nollywood clips were online everywhere – but it was always in a comedic way. Aki and PawPaw are meme gods now, and that’s because their expressions transcend cultural boundaries. Black Twitter eats that stuff up.

Nolly Babes chooses to center the beauty, style, and iconic imagery, even the home decor with our #NollyDecor hashtag of the golden era of Nollywood. We share the makeup, accessories, fashion, iconic phrases, and scenes in a way that isn’t just comedic but inspirational and aesthetically groundbreaking. I see Nollywood being at the centre of this Y2K resurgence that is happening all over the world, from TV to runways and fashion collections. That era is coming back around and, this time, the Black experience is being revisited and centered in a way it wasn’t back in the late 90s and 2000s. (Black people) were always the originators of the trends and this time they’re tapping into the source and Nollywood, particularly the era we celebrate as Nolly Babes, is a great resource for that.

Follow Nolly Babes on Instagram

[anastoundingmango]

Good god anon let me study you.

When I first saw this ask I thought, “Oh, niche interest ask with fetish undertones. Weird champ but okay.” I even made fun of it on discord.

However, my curiosity had been stirred. I looked it up. And this is where things get interesting.

The first result on the search page was for fanart. On a tumblr blog. Fanart responding to this exact same ask. (Note: I use the DuckDuckGo search engine, so the first result may be different to other searches.)

There are six results that lead to tumblr drawings based off requests within the first two rows alone.

I thought, thats weird. So I clicked on the first fanart and the post is from fucking June 20th, 2018, almost three years ago. The question had the exact same phrasing.

(Link To Post)

I needed to know, how far back did this go? How expansive was this?

The likelihood of two questions that intricate being the exact same are extremely slim, especially for this niche of a character and complex of a question.

“Oh Yeah Cartoons!” Was run on Nickelodeon from 1998 to 2001, with reruns going from 2002 to 2007 on Nickelodeon, and reruns on Nick Toons going from 2002 to 2019. It only had 34 episodes. Herb, the man himself, was only in the second segment of episode 23, an episode that aired on November 20, 1999.

So, I pull tumblr back up.

I went into the tumblr search bar and typed “herb oh yeah cartoons”.

There were 104 posts in the search, 96 responding to this exact same anon, the earliest being from August 26th, 2016. Five years ago.

(Link To Post)

What the fuck. This anon has been sending the exact same ask for 5 years, about a one off character from a show from the late 90s and early 2000s.

Also special shout out to one of my favorite posts responding to it:

Anon is nothing if not committed, the “I’ve told you three times” is so comedic kafhakfjhekaj

So, of course, I did some graphing! Remember, these are only the ones that people have posted publicly. We have no idea how many have been deleted, trashed or ignored.

This is the timeline of the posts:

And here is the year frequency:

(My personal theory as to the spike in 2020 is that older years’ asks/art of this may have been deleted.)

So, anon, who are you? Why have you been, for almost 5 years, been sending the exact same question to so many blogs? Are you a bot? If so, what’s your purpose?

I have three theories: 

You are an extremely dedicated person with a niche interest who just really wants fanart of this character.

You are a bot meant to spam and troll people with requests open.

You are a bot meant to send an ask to people with posts about open requests as a way to give starting artists requests where they might not be getting them.

Any way this goes, I must praise your dedication. If you, or the creator behind this potential bot, wants to give me insight please DM me. I just want to know why you do this, you magnificently twisted creature.

If anyone reading this post has any information regarding Herb Anon, or has been a victim of Herb Anon, please fill out this form:

Herb Anon Form Link

[nurvuss]

I Watched the First Episode of Every New Spring 2021 Anime Airing on Crunchyroll

Hey, are you like me, and feeling like you're not getting the most out of your Crunchyroll subscription? Sure, there's stuff on there that you know you like. But whenever I look at the big long list of simulcasting shows, my eyes glaze over and I don't even know where to begin.

I wanted to change my habits and see if there were any shining gems that I should be watching. So, as per the title, I watched the first episode of every new Spring 2021 anime on Crunchyroll. And guess what? There’s a lot of crap! But indeed, there’s some stuff that’s worth your time.

Some clarification: I've only watched shows that began their first season in April 2021.

Backflip!!

Show Link

The Lowdown

As Futaba Shotaro comes to the end of middle school, his interest in baseball has begun to wane. Soon he notices the Ao High Boys Gymnastic Club and becomes enthralled, especially after seeing them perform. Once he learns they're down two members, he chooses to sign up and pursue the art of gymnastics. The club is also joined by Misato Ryoya, a star solo gymnast looking to expand his technique through teamwork.

Our Thoughts

Pretty formulaic shoujo sports anime: you've got your himbo, your thug, your ladies' man, your stoic guy, with Shotaro rounding out the cast as the shy and awkward audience surrogate. It looks wholesome enough, and the choreographed routines employ CG in a way that's quite convincing without being hideous.

Who It's For

Fans of  FREE, or Yuri!!! on Ice, or any similar shows about cute boys who succeed at athletic feats. 

Borscht Rating

Burning Kabaddi

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The Lowdown

Legendary high school soccer star Yoigoshi Tatsuya has given up on sports! That is, until he's blackmailed to join the high school kabaddi team, under threat of his online persona being leaked to the entire school. Although Tatsuya initially writes kabaddi off as stupid, the unexpected happens as he begins to have fun.

Our Thoughts

Kabaddi is kinda like competitive tag, or dodgeball but with your body instead of a ball. Burning Kabaddi is basically the shounen alternative to Backflip!! above, replete with nosebleeds, pratfalls, and dudes punching each other. The main cast don't seem to like each other very much; that probably changes as the show goes on but at first blush it's a dynamic I always find annoying.

Who it's For

Fans of Haikyuu!!? Maybe?

Borscht Rating

CARDFIGHT!! VANGUARD overDress

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The Lowdown

The newest series based on Bushiroad's collectible card game, featuring character designs by the beloved collective CLAMP. Petit middle schooler Yu-Yu just doesn't know how to say no. As his older students dress him in drag to use as live makeup practice, he suffers a panic attack and flees into the streets. After being accosted by a pickup artist, he's befriended by Megumi, who invites him to witness a Cardfight match at the local abandoned amusement park. However, Yu-yu is too shy to tell Megumi he's actually a boy…

Our Thoughts

What an unexpectedly weird concept for a show about a card game. Our hero spends the whole episode in drag, whimpering and simpering at the sight of any conflict. Then they show off the latest series of cards, which all seem to be giant buff knights with names like "Bad Steve" and "Violent Bruce". Your guess is as good as mine.

Who it's For

Cardfight!! lovers, Japanese gender studies majors, or the most desperate fujoshi. 

Borscht Rating

Cestvs: The Roman Fighter

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The Lowdown

The year is 54AD, and Nero has taken the throne as the youngest emperor of Rome. At the bottom of the population, Cestvs is a young slave training to be a colosseum boxer. Reluctant, his only choice is to fight or die.

Our Thoughts

Seeing Nero depicted as a gentle little twink is pretty funny. It's also pretty funny that the central character is named after a Roman boxing glove. The animation style transitions to some very uncanny CG when a major fight takes place, and I didn't like that one bit! This seems like a pretty average tournament anime but with a historical setting. It's currently unknown if any of these dudes are fucking each other. I'm gonna say probably.

Who It's For

The venn-diagram of Greco-Roman history buffs and lovers of tournament series?

Borscht Rating

Don’t Toy with Me, Miss Nagatoro!

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The Lowdown:

Hachioji Naoto is a nerdy, introverted student who spends his time studying and avoiding socialising. When pages from the fantasy manga he's drawing fall out of his bookbag, they catch the attention of a younger student named Nagatoro Hayase. Nagatoro begins to tease Naoto for his otaku interests and awkward demeanour, peppered with some suggestive flirting.

Our Thoughts:

What would you do if a younger girl flirted with you? Would you cry? Piss your pants maybe? Maybe shit and cum? Don't Toy With Me… attempts to barely conceal its BDSM fantasy with its comedic elements, but it's incredibly apparent as Nagatoro always wipes away Naoto's tears as a sort of aftercare. It's like a lighter, comedic version of Aku no Hana, but lacking any of the ponderings or danger that made that work so special.

Who It's For: 

People who search Pornhub for "bratty sister femdom".

Borscht Rating:

86 Eighty-Six

Show Link

The Lowdown

The Republic of San Magnolia and the Giad Empire, have been at war for nearly a decade. Using advanced military technology, the frontlines are fought by giant mecha drones called Juggernauts, controlled remotely by Handlers. Major Vladilena Mirizé is one of the military's most talented Handlers in the 1st District, and one who is constantly teased by her peers for the humanity and empathy she shows her squadron. The government line is that drone warfare has kept casualties to zero, but unbeknownst to the public these "drones'' are piloted by 86ers—the lowest class of citizens, forced to live in military internment camps in San Magnolia's 86th District.

Our Thoughts

This is incredibly my kind of thing. We've got a dual narrative being set up here: Vladilena as the kind, reluctant officer of a fascist regime, and the Bad Company-esque antics of her new ragtag squad, Spearhead. The first episode is split pretty evenly between the two, with each story converging at the end as Vladilena "meets" Spearhead for the first time through her comms station. It's an explosive and enticing first episode, and I can't wait to watch more of it.

Who It's For

Fans of Fullmetal Alchemist, Psycho-Pass, Gundam, or any number of anti-imperialist war stories.

Borscht Rating

Fairy Ranmaru

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The Lowdown

In a quiet corner of the city sits Bar F, a modest drinking establishment staffed entirely by five hot young men. Unbeknownst to the general population, these men are a crack team of fairies sent to the human world to gather the latent energy of "attachment". They do this by solving the problems of young women, taking their hearts in the process.

Our Thoughts

Hubba hubba, a little something for the ladies! It's Weiẞ Kreuz with a bar instead of a flower shop, fairies instead of assassins, and some pretty revealing outfits. There's definitely a little Persona 5 inspiration here too, from the punctuating phrase "Take your Heart!" to many of the visual cues. Make of that what you will.

Who It's For

Fans of Weiẞ Kreuz, slash fic authors.

Borscht Rating

Farewell, My Dear Cramer

Show Link

The Lowdown

Onda Nozomi was once the star player of her middle school football team. Completely unmatched, she no longer plays as there's no opponent she deems to be on her level. Meanwhile Suou Sumire far outpaces her teammates, causing her frustration. By a twist of fate, these two girls find themselves joining the scrappy Warabi Seinan High School FC as they begin to learn the value of teamwork and friendship.

Our Thoughts

I don't know sports. And I really don't know football. I had to look up what the title meant, and now I barely know who Dettmar Cramer is. I'm really not the best person to judge this, but it seems like a pretty good female-driven sports anime. 

Who It's For

Fans of Ace o Nerae! or other sports manga/anime about those ever burning bonds between young teammates.

Borscht Rating

Gloomy, the Naughty Grizzly

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The Lowdown:

Pitty lives with his pet Gloomy, a massive pink bear. Can a boy and a bear truly get along?

Our Thoughts:

This is a series of minute-long gag episodes in which Gloomy mauls Pitty and blood squirts everywhere. It's definitely meant to be a morbid parody of Sanrio or San-X; it might be a Rilakkuma parody in particular? Gloomy is the kind of thing you might laugh at if it came on in between shows, but it's pretty slight to go through the trouble of putting on.

Who It's For:

Gag anime fans with one minute to spare.

Borscht Rating:

Higehiro: After Being Rejected, I Shaved and Took in a High School Runaway

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The Lowdown

After a night of drinking in Tokyo, slovenly salaryman Yoshida encounters a teenage runaway sitting under a lamppost. She offers to sleep with him in return for letting her spend the night in his apartment. Yoshida refuses her offer but allows her to stay. The next morning the girl, Sayu, reveals she's travelled all the way from Hokkaido, sleeping with random men in return for lodging and money. Feeling responsible for her safety, Yoshida agrees for Sayu to stay indefinitely in return for handling household chores.

Our Thoughts

This is kind of the inverse of Koikimo (see below), but without a scumbag character and from a male perspective. It's not nearly as nauseating as that show, but it's still a fantasy about living with a busty teenage girl.

Who It's For

Libertarians.

Borscht Rating

I've Been Killing Slimes For 300 Years And Maxed Out My Level

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The Lowdown: 

Office lady Aizawa Azusa dies of overwork in her early 20s, and finds herself standing before a lecherous goddess. Allowed a wish as compensation for her untimely demise, Azusa wishes for an endless life of leisure. The goddess reincarnates her as a 17-year-old immortal witch in an RPG-coded fantasy world. Thrilled, Azusa lazes about, brewing potions for her neighbouring villagers, and kills a small amount of slimes each day to supplement her income. After doing this every day for 300 years, she inadvertently finds herself at Level 99. Her peaceful life is soon upended as adventurers and dragons come from miles around to challenge the legendary witch.

Our Thoughts:

I'm not really an isekai fan, and that goes double for series which aren't set in an RPG, yet use RPG mechanics. Levelling up, grinding stats, min-maxing, as if it's a part of the fabric of the setting. I don't get it. I like watching numbers go up as much as the next dork, but I don't need to watch numbers go up in absolutely every piece of media I consume. Just play a fucking video game, Jesus Christ almighty.

I thought this might be setting up a fun series in which a layabout is reluctantly called upon to undertake a dangerous quest, but I don't think that's what's going on at all. When the red dragon Laika wrecks Azusa's house, she transforms into a cute young girl and the two begin living together, teaching each other the pros and cons of hard work and slothfulness respectively. The trajectory of the series might be as laid back as its protagonist in the end, which, ultimately, would be fitting.

Who It's For:

Isekai fans, slice-of-life fans. The twain have met!

Borscht Rating:

Joran: The Princess of Snow and Blood

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The Lowdown

In alternative history Japan the Meiji Period continued well into the 1930s, and the ongoing Tokugawa Shogunate has brought technological prosperity to the nation through a magical energy source called the Dragon's Vein. Sawa Yukimura runs a bookshop where she lives with her little sister by day, but by night she's an assassin for Nue, the shogunate's secret police. As the terrorist group Kuchinawa deploys transforming beasts in an attempt to topple the shogunate, Nue springs into action with their own abilities.

Our Thoughts

There are a lot of concepts competing here, and a few too many flashy transformation sequences for my taste, but I'm really into it! Nue are made up of sex workers and street musicians, often overlooked and therefore easily able to blend in. There's a supernatural Standalone Complex vibe to how the team operates, and they're almost assuredly on the wrong side. Worth a shot!

Who It's For

Fans of alternate history science fiction, Ghost in the Shell: Standalone Complex, Demon Slayer.

Borscht Rating

Koikimo: Koi to Yobu ni wa Kimochi Warui ("It's Disgusting to Call This Love")

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The Lowdown

Amakusa Ryo is a womanizing salaryman concerned with nothing but his own base desires. As he slips on the train station stairs one morning, he's saved by the swift action of Arima Ichika, a kind-hearted high schooler. When it turns out Ichika is friends with Ryo's younger sister Riou, he decides she's his soulmate, and begins to pursue her no matter how many times she refuses him. Comedy ensues!

Our Thoughts

Yeah, OK groomer.

Alright look, Korikimo is written by a woman and told from Ichika's perspective, so this is obviously meant to be a lighthearted "older man" shoujou romance. As an older man, all I saw were the adventures of a paedophile and the teenager he's stalking. Fuck off.

Who it's For

There's probably other stuff like this, right? If you like that, here you go.

Borscht Rating

Let's Make a Mug, Too

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The Lowdown

After the death of her mother, Himeno and her father relocate from bustling Tokyo to quiet Tajimi City in Gifu Prefecture. The former salaryman opens a quiet cafe using the remarkable mugs made by his late wife, while Himeno follows in her mother's footsteps and joins the school pottery club. Although her first project ends in disaster, Himeno makes fast friends with the eccentric pottery enthusiasts who make up the club.

Our Thoughts

It's no Eizouken, but I guess it's probably not meant to be. I'm not a big iyashikei genre fan, but if that's your thing, you might enjoy the wholesome non-adventures of three girls trying to make a mug. It's worth noting these episodes are only about 12 minutes long, with the remaining runtime segmented into live action episodes where the voice actresses tour Tajimi and unconvincingly pretend to be interested in Gifu's famous mino-yaki pottery. I think this must be a tie-in with a local tourist board. 

Who It's For

People who enjoy stuff like Aria, actually.

Borscht Rating

OddTaxi

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The Lowdown

In a Tokyo populated by anthropomorphic animals, a solemn walrus named Odokawa spends his nights driving his cab around the bustling metropolis, spending his free time drinking with his pals. Odokawa soon finds his quiet life disrupted by a caper involving a missing girl, some crooked cops, and the animal yakuza. 

Our Thoughts

A deft blend of working class slice-of-life with mystery, cute animals, and striking visual design. OddTaxi might be the sleeper hit of Spring 2021.

Who It's For

Fans of existentialist film noir with absurdist comedy, Polar Bear Cafe, walrus lovers.

Borscht Rating

Osamake: Romcom Where The Childhood Friend Won't Lose

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The Lowdown

Suehiro Maruo Sueharu Maru has his heart set on Shirokusa Kachi, the hottest girl in school. When she begins dating a young actor, Sueharu confides in his childhood friend Kuroha Shida, who's openly in love with him and he rejected in the past. Kuroha suggests the two get revenge on Shirokusa by pretending to be in love. Will Sueharu fall in love with Kuroha for real, making her dreams come true?

Our Thoughts

Give me a fucking break.

Who It's For

I don't know and I don't care.

Borscht Rating

SD Gundam World Heroes

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The Lowdown

The newest instalment of the SD Gundam media-mix franchise. In a world populated by super deform mecha, a burning meteor lands in the middle of Captain City. From it launches a terrible mechanized beast: Naughty Lion. When the police are powerless to stop it, a crack team led by Zhuge Liang Gundam and Liu Bei Gundam sorties to bring Naughty Lion to justice. When the beast stops rampaging, it transforms into Sun Wukong Gundam, a youthful amnesiac mecha horrified at the destruction he wrought. The Three Kingdoms Gundams welcome Sun Wukong into the fold to make sense of this mysterious event.

Our Thoughts

I'm an 80s kid, I know a 30-minute toy commercial when I see one.

No, seriously though, I'm aware of SD Gundam's merchandising—they're cute designs, and I even used to have a bunch of the gum rubber mini figurines. I've played the SD Great War Super Famicom games, they're fun! This is a vehicle to get kids hyped up about the latest toys, which are...based on  a hodgepodge of Journey to the West and Romance of the Three Kingdoms this year? There's even a little SD Guan Yu Gundam with a big long beard!

I kinda wanted to like the idea of a bearded robot, but the mechas are super busy and overdesigned. I guess there's only so much you can do to make your next series of toys bigger and better, so these guys are all decked out in gold accents, capes, horns, and antlers, and half the time I couldn't parse what I was seeing.

I'm so glad I don't have to watch any more of this. 

Who It's For

Very, *very* young mecha fans.

Borscht Rating

Seven Knights Revolution: Hero Successor

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The Lowdown

Long ago, the Dark God Nestra ruled the world through fear. Standing against him were the Seven Knights, seven brave warriors chosen by the Light Goddess Serrass. With their powers combined, Nestra was defeated and the lands returned to peace. Hundreds of years later the wicked Physis Cult seeks to revive Nestra, summoning undead beasts to ravage the countryside. With the Seven Knights long dead, the Granseed Academy has risen to train the next wave of heroes to combat this threat. Using special cards, the students of Granseed are able to call upon the power of the Seven Knights to guide them in battle.

Our Thoughts

As soon as the opening started with its transforming heroes and lovingly depicted weapon cards, I realised this must be based on a mobile game. Indeed, this is based on a free-to-play gacha from Korean developer Netmarble. Even before I was able to confirm this, Hero Successor failed to draw me in, eschewing details on the nature of its world in lieu of a glamourised marketing push for its source material. What's here is incredibly slight, and likely to be of little interest to anyone who isn't deep into this game.

Who It's For

Seven Knights whales, I guess.

Borscht Rating

Those Snow White Notes

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The Lowdown

Sawamura Setsu mourns the death of his grandfather Matsugorou, a talented shamisen player who refused to pass his secrets on. Not knowing what else to do, he leaves his remote village for Tokyo, taking nothing but his shamisen along with him. Soon he finds himself wrapped up in the complicated life of aspiring actress Yuna and her scuzzy rockstar boyfriend Taketo. When Setsu opens for Taketo's band, he stuns the audience with the raw emotion of his playing. However, his heart is still tumultuous. 

Our Thoughts

An entertaining first episode of a speciality music series, which is the kind of thing I have a place in my heart for. I couldn't shake the feeling of some latent misogyny that suggested the role of a woman is to inspire a tortured artist, but I might be wrong. The final few minutes take a twist by introducing Setsu's weird, horny mother who seems to have her own personal SWAT team, and it looks like the series becomes a more conventional high school anime from episode 2 onwards. Don't know about that!

Who It's For

Fans of Kids on the Slope, Sound of the Sky.

Borscht Rating

Tokyo Revengers

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The Lowdown

Former delinquent Takemichi is unsatisfied with the way his life turned out, living alone in a paper-thin apartment and working a minimum wage job under a boss who doesn't respect him. When watching the news one evening, he learns that his highschool sweetheart Hinata was killed, alongside her little brother. On the way to work the next morning, Takemichi falls in front of an oncoming train and wakes up 12 years in the past. Armed with foreknowledge, he attempts to turn his life around and save his onetime lover.

Our Thoughts

This is drawing from a lot of sources; the whole train sequence is lifted straight from Gantz, while the story itself initially seems like a Life on Mars kind of deal. In fact, Tokyo Revengers sees Takemichi jump back and forth between the present and the past, seemingly making small changes until he achieves his desired outcome. It feels like a very video gamey depiction of time travel, and one that's not super interesting.

Who It's For

Steins;Gate fans, maybe? Delinquent manga (Shonan Junai Gumi, Crows, etc.) fans, maybe? It's pretty self-serious compared to any of those.

Borscht Rating

To Your Eternity

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The Lowdown

An immortal being in the form of an orb falls to earth and becomes a stone. Years pass, an ice age sets in, and a white wolf stumbles onto the tundra and dies. The orb, able to take the form of anything that leaves a strong impression on it, transforms into the wolf and slowly learns how to use its newfound ambulatory body. The creature treks back through the tundra where it meets a boy living alone, after the rest of his village left in search of a better life. The boy recognises the wolf as his beloved pet, Johann, and the two begin living together in the harsh, lonely wastes.

Our Thoughts

I'm being a little coy with the synopsis here, and there's a major shake-up at the end of this debut episode. This one's based on a manga by the critically acclaimed Yoshitoki Ooima (A Silent Voice), and it's a depressing, compelling, and exciting start to a series. Lots of potential here!

Who It's For

Fans of NieR, Fragile Dreams: Farewell Ruins of the Moon, Last Exile, Kino's Journey.

Borscht Rating

So, there you have it. I'm hoping this will be of use to anyone who experiences a similar sense of dread when faced with so many choices. Maybe we’ll do this again during the Summer 2021 anime season.

Also, please don't get mad at me if I'm snarky about your new favourite show! It’s just TV and I'm a big idiot anyway.

[rickriordanfandam]

opinions on riordanverse ; my edition

a lot of people have been doing this so i decided why not right. probably gna lose some followers or smth but anyways. pls respect my opinions! if u disagree, thats fine, but please be polite. unless any of my opinions strikes u as morally wrong then pls point it out to me respectfully. thanks!

- i actually liked drew. im so sorry to everyone who hates her but full offence, why. think about it this way ok, first of all drew became hc because silena died. silena was the traitor, the one who betrayed chb, yet after she died campers celebrated her as a hero? and then drew suddenly has to replace her and live up to idk that legacy she left behind,, when all of a sudden this girl named piper swoops in and takes her place. idk abt u but i wld be salty abt that too. not only that, but as an asian, the chances of drew having faced racism/bullying as a child is pretty high (she studies at brooklyn academy). which means that when she finds out shes a demigod, and arrives at chb where most of the campers are white (this is an assumption btw), she’d obviously be scared of being bullied for her skin color right?? so the first thing she wld do before the campers get to bully her is to bully them before they can do so. (sentence structure here is wack i apologize) ofc this might not even have happened, drew could have had a perfect childhood && was a b1tch for no reason, BUT EVEN THEN HER ROLE AS A BULLY WAS PRETTY VITAL BECAUSE THAT FURTHER SHOWED THE CONTRAST BETWEEN HER AND PIPER,, HIGHLIGHTING PIPER AS A HERO//GOOD CHARACTER,, AND THEREFORE MAKING READERS LIKE PIPER MORE. anyway stop hating on drew please. ALSO WHY IS THIS SO LONGA SDFJHG

- jason isnt bland, the fandom just kinda erased his backstory (thanks to @pjohoo-memes for the phrasing lol)

- reynabeth wouldnt have lasted/would have broken up several times. idk i just see them as two extremely powerful characters who have firm opinions and will definitely clash at some point. in a platonic relationship,, i can see them as really good friends but as lovers? idk i just think theyll break up

- PIPABETH

- i dont really like jercy,, i see them as better friends than lovers. also idt jason and percy were that close..?

- the dam and not my type jokes are srsly cringey and were never funny. ik that seems hypocritical since my username literally makes use of the dam joke but honestly i dont actually like the joke. its not funny to me and has never been funny

- the seven were not best friends. they definitely argued,, and honestly probably werent as close as the fandom makes them seem. like ure dumped with 6 other people, out of which u only know a few. my introverted ass would have jumped off the argo 2 quicker than leo valdez could bomb camp jupiter up. also leo was a dick to frank. so what if frank is bigger sized?? thats not a valid reason to tease him

- the fandom needs to stop hating on octavian while worshipping luke. if u hate luke and u say u hate octavian too, then okay. but if u tell me ure a luke stan but u despise octavian?? imma disagree w u. luke was worse than octavian im sorry. first of all, octavian being a dick was kinda justified. hes been after the praetor position for so long, and everyone keeps saying to “wait for jason” when suddenly this dude, whos a son of NEPTUNE (neptune wasnt liked much by romans), and the camp decides to make him praetor?? dude i would be pissed off big time. and then afterwards, he finds out that greek demigods are real and the dude they made praetor is greek. AND THEN GREEK DEMIGODS COME TO CJ AND ONE OF THEM BOMB IT UP?? octavian has been told all his life that greeks are scum and this dude called leo valdez attacks cj. sure it was an accident, but did octavian know that? no. so it was honestly justified that he was such a salty prick im just saying. also some of yall be hating on octavian for cutting a teddy bear open and thats the funniest shit ive ever heard i swear 

- luke didnt go to elysium

- travis and connor stoll r way too underrated. the two have been head counselors of the hermes cabin since luke was revealed as a traitor, can u imagine the stress? luke, the person they probably looked up to as a brother, betrayed them. and they didnt even have time to process this when they were  thrown the roles of being hcs. that would have been so stressful and i would probably have broken down if i were them. the stoll brothers taking turns to wake up at ungodly hours because a new camper is crying and homesick and terrified, the stoll brothers having to comfort and take care of new campers, having to deal with the amount of people in that cramped space because not enough campers are being claimed fast enough. having to resolve issues between campers in the hermes cabin all the time. the stolls arent just comedic relief, and we need to stop treating them as such

- tratie shldve been canon idc idc

- demigods of the demeter cabin arent talked about enough and i love the fact that meg was demeters kid. like she isnt the child of one of the big three yet shes so powerful.

- we need to hype clarisse up more her character arc was phucking amazing 

- rachel is overhated. sis found out greek gods exist and regularly come down to earth to fuck around and went “ok cool”. queen shit behavior methinks

- the floor 19 crew of mcga is srsly underrated. like do u even remember halfborn gunderson, mallory keen, tj, etc??? bc i feel like we only remember samirah, magnus, alex, and sometimes blitz and hearthstone

- sadie (tkc) was kinda annoying at first. i like her more now tho but i rmb not liking her for a phat while

- tkc and mcga need more love

- carter kane and jason grace arent boring. theyre just really sweet boys who are too good for this world and yes yes yes 

- hazel and frank (especially frank) need to be hyped up more. i hardly ever see anything about them. also yall seem to forget that frank was literally made praetor and that even hecate admired hazel and was willing to fight beside her because of how powerful she was

- frazels age gap is kinda sketch but i still think theyre really cute

- nico definitely had trauma from going to tartarus on his own

- GROVER IS PERCYS BEST FRIEND

- annabeth isnt smarter than leo but neither is leo smarter than annabeth. ive seen a lot of discussions about who is smarter and heres my hot take on it: neither. theyre equally smart, just in different ways. leos a genius mathematically speaking. he has no issues solving math problems meant for people much, much older than him. annabeth on the otherhand, is great at strategies etc. she can make an army of 1000 more powerful than the enemy, even if theyre outnumbered. so in my opinion, both are equally as smart//u cant compare their intelligence, because their talents lie in two different areas.

- while i do agree rick riordan isnt a god and that hes bound to make mistakes,, AND that hes given us a lot of representation,, if the representation offends the people its sposed to represent, then theres a problem. im talking about piper as a poc and wearing feathers in her hair. im not a poc, so i cant speak for them on whether or not its wrong, because i dont know either. HOWEVER, i have seen multiple posts BY pocs talking about how they didnt really like rick’s representation of piper, and thats an issue. pocs have been and are still oppressed and discriminated against by many. as a white cis man, we cant really blame him for not knowing (tho he could have done a research,, asked some pocs,, idk), but by representing pocs in that manner, hes influencing impressionable kids/teens into thinking “oh pocs wear feathers in their hair all the time” etc, which isnt true. the pjo/hoo series is extremely successful, and kids who read the books will probably start forming inaccurate opinions on pocs. the amount of fan art that depicts piper with feathers in her hair dont help either. “but rick said so in the books, so its canon” yeah well rick isnt a god and he can get some things wrong at times. im not saying we should cancel him, im saying we should start educating ourselves and not spread false info like pocs wearing feathers in their hair all the time. also that snake song shit where she sang Summertime was just- yeah. bc heres the thing you can be racist, and still include minorities, but portray them in a racist way. And even then, ignorance isn't a thing to admire. Getting those facts wrong still has a major impact. It continues to perpetuate racist stereotypes.

“ With the feather thing, I looked it up myself; it takes less than five minutes to figure out that Cherokees don't braid feathers into their hair. I didn't grow up in the country where my parents are from. I have many other first/second generation American friends who have also been through that, with a bit of a disconnect from their culture. But something that most of us have in common is that when we didn't know something, and when our parents weren't that big of a help, we looked it up. We sought out resources online and through other people from our culture to be able to connect more with where we came from. Some of that took a Google search. So I find it hard to believe that Piper, a girl who Rick's trying to portray as someone who is attempting to connect with her culture and is totally against racist stereotypes, wouldn't know that eagle feathers aren't supposed to be braided into your hair casually. She may be disconnected from her culture, but she's also shown to want to connect back to it. Piper wouldn't be casually braiding feathers into her hair while also telling off people for being racist. It makes no sense.” - reddit thread (down below) 

for those of yall who wanna know more please please read this, it has a lot of things i wanna add in here : https://www.reddit.com/r/camphalfblood/comments/gy3gl2/piper_mcleans_portrayal_is_innacurate/ 

as well as https://finding-my-culture.tumblr.com/post/189422373260/maxie-ratties-and-cattie-finding-my-culture 

i will be posting screenshots of these in future posts so if ure viewing this on ig and u dont have tumblr,, dont worry 

- the fact that most of the strong female characters in the series refuse to be “girly”, and ngl i dont really like that. just because ure girly doesnt mean u cant be strong. 

- piper would have been a great way for him to start making the strong characters act girlier, but instead he went with the “I’m not like other girls” trope which is quite obnoxious to hear constantly, and I don’t think it’s necessarily great for younger girls to read that idea growing up.  the closest we've ever had to a strong female character who was also into "girly" things was Silena. when I was younger I admired Piper's "I'm not like other girls" thing, but then I got older and realized that the whole mentality of "not like other girls" is super obnoxious, and a little bit toxic

i have a heck load more that i cant rmb rn but yeah feel free to add more 

[au10]

Eastwood

So I watched all the westerns by Eastwood. Below you’ll find my list of what I’d say are his best to not necessarily worst just not great. Keep in mind that this list is just my opinion and yours very well may differ and hey that’s great. Also keep in mind there will be spoilers but to be fair the majority of these movies are older than me. I would also like to point out that I didn’t view Rawhide as I really didn’t seem like something I’d like. The list is as best as I can tell are all of his westerns. Some are kind of iffy as I don’t consider them a western. 

http://most-wanted-western-movies.com/clint-eastwood-westerns/

1.”Unforgiven” 1992

 My original pick was going to be “For a Few dollars more”. I re-watched Unforgiven again and have decided that Unforgiven is his best western. Made in 1992. It features Morgan Freeman, Gene Hackman and Richard Harris. There might even be more stars but those are the ones that stood out to me. The plot basically goes like this. William Munny a ruthless killer back in the day settles down with a woman who changes his life. He gave up his killer ways. The wife is already dead when the movie starts and Munny stays on the good path for lack of better phrasing. I don’t want to spoil to much more but needless to say a large bounty put on some ruffians leads to some nice action. 

I love the soundtrack to this movie. Well at least one song in particular and that’s Claudia’s theme. You can YouTube if you wish. I think it’s really great. 

A couple of quotes that I enjoyed. 

“ I've killed women and children. I've killed everything that walks or crawls at one time or another. And I'm here to kill you, Little Bill, for what you done to Ned”

.”It's a hell of a thing, killing a man. You take away all he's got and all he's ever gonna have.“

2. “For a few dollars more” 1965

 This is the sequel to a “Fistful of dollars”. It’s part of the famous dollar trilogy movies. Made in 1965 Eastwood portrays the man with no name. I really like  Lee Van Cleef as Col. Douglas Mortimer. It’s a revenge type of western. Both Cleef and Eastwood characters are pretty much bounty hunters. Cleef has an entirely different motive for his actions though. They seem to have great chemistry together too. I also like the dialogue between them as well. Clint Eastwood's character calls Lee Van Cleef's character "old man", while Van Cleef's character calls Eastwood "boy". Once more I love the music plays when the pocket watch is opened up. 

3.” A fist full of dollars.” 1964  

The beginning if you will of the the man with no name trilogy or dollars trilogy which ever you prefer. The dollars trilogy is what you call a spaghetti western. “ Spaghetti westerns were not rated highly due to their low budgets, over the top violence and inferior art work. But, these Spaghetti Westerns changed that perception forever. Director Sergio Leone gave one after another hit and this trilogy made Clint Eastwood a mega star. “ Some people don’t like them or they find them to corny. Each to their own. I loved the movies. My father pointed out to me one of the things that bugged him was the constant camera cuts to the other characters in the film. It especially focuses on their eyes. I never noticed it until he pointed it out. I do love the scene where he confronts the bullies/bad guys. On his way to them. He passes by the undertaker and tells him to get three coffins ready. After the shootout he passes back by the undertaker and tells him my mistake 4 coffins.

4. “The Good, The bad and the Ugly.” 1966 

The last of the dollars trilogy. A lot of people will say that this is the best of the three movies. Like the previous  film it also stars Lee Van Cleef. This time though he is one of the villain’s. It’s a good movie. I enjoyed  Eli Wallach as Tuco. Once more you have the music on point with  The Ecstasy of Gold. I heard that song years earlier when Metallica would use it. My last thought on this trilogy is I do love how Eastwood is always smoking those little cigars. I have read though he actually hated them.

“ You see, in this world there's two kinds of people, my friend: Those with loaded guns and those who dig. You dig. “

5. “Two Mules for Sister Sara” 1970

This one is a film I really liked. It doesn’t seem to be as serious as the previous I’ve listed above. It actually has quite a few comedic moments in it. I think one of the best parts of the movie is after Hogan (Eastwood) saves Sara from impending doom. She gets dressed and comes back out in her nun gear. Once Hogan realizes she is a known his expression is great then he exclaims “Jesus Christ”. I noticed this movie had blood in it. A lot of the earlier ones don’t. One guy gets his arm cut off and one takes a machete to the face. It’s a good movie and I enjoyed it. I should note the soundtrack or at least one song they play over at times in the film is a play on the title. It sounds like a mule actually braying. Pretty nifty. 

6. “Pale Rider” 1985

Another good movie. Eastwood is just known as the preacher in this movie. He helps out a prospect town from becoming a mining town. When the prospectors will not give up their land. A marshal and his deputies are sent in to get prospectors out. It’s hinted at that the marshal may know the preacher form the way he reacts after told his description. This is definitely one of my favorites though. It does get a little weird with the preacher having intercourse with a guy’s girlfriend. The action is great though. It should be noted that it’s been told that Eastwood’s charter is a ghost in this film. Richard Kiel is in this movie as well. He is a well established actor. Most likely known for playing Jaws in Moonraker. 

7. Outlaw Josey wales 1976

A lot of people like this movie. It’s Eastwoods only PG rated western. It’s once more a revenge type western. Josey’s family is murdered by the Union army and he joins a confederate group to get his revenge. I think one of the best parts in the movie is when Josey shoots the rope holding a ferry going across the river. Some of the Union soldiers horses fall into the river preventing them from reaching Wales. This movie is said to be George Strait’s favorite. I did find it funny that the old man in charge of the ferry was playing to both sides. If you were a Confederate he would sing “Dixie” if you were a Union solider he would sing “Battle hymn of the republic” Ever the opportunist I suppose. 

"Well Mr. Carpetbagger, we got something in this territory called a Missoura boat ride!"

"Well are ya' gonna pull those pistols or whistle Dixie?"

8.”High plains drifter” 1973

This movie could be almost a part of the man with no name trilogy. It’s just not as good. I liked the midget character named Mordecai . He is one of the best in the movie and funny. This is one of the movies where it’s possible that the stranger (Eastwood’s character) could be a ghost. Some people say he is the sheriff’s brother. Eastwood has said that himself. Then again some people say he is the ghost of the sheriff himself. It’s up to the viewer and how you choose to interpret it. This movie also marks the first movie Eastwood directed that was a western.

“You're going to look pretty silly with that knife sticking out of your ass.“

9. “Hang’em High” 1968

This was Eastwoods first major role in America. The Dollars trilogy had yet to come out over here in America. Jed  (Eastwoods character) is wrongfully hanged by a posse. He naturally seeks revenge after being rescued. He becomes a Marshal and winds up bringing some of the posse to justice. It also stars Pat Hingle. I really only know him from Tim Burton’s Batman. He played Commissioner Gordon. 

10. “Joe Kidd” 1972

To be honest with you this movie really doesn’t do anything for me at all. It’s not a bad movie but it’s not one that really captivates me either. It stars Robert Duvall as a rich/wealthy landowner trying to push Mexicans off of their land. He hires Eastwood’s character named Joe Kidd. It does have some decent moments. A pretty cool scene shows Kidd taking out a gunman upon a rock. The final fight is also pretty neat where Kidd drives a train through the bar.

Honorable Mentions: 

1.”Bronco Billy” 1980

This movie was on the list and I viewed it. I liked it. Eastwood plays a carnival showman. It’s your typical story of guy and girl don’t get along. Then as the movie progresses they start to get along and wind up with one another. It’s not a western but it has the theme. It does have  Scatman Crothers in it as Doc. Throw in a crooked lawyer and a crooked husband and this is the movie you have. 

2. “Paint your wagon” 1969 

This set during the gold rush. It is a musical though and you can get the soundtrack on itunes. I heard about this movie from The Simpsons years ago. It doesn’t have a western feel to me. Eastwood plays Pardner. It’s a cool little musical. It’s an interesting movie though. A Mormon has two wives and he sells one. Well Pardner and his partner Ben rum son played by Lee Marvin buys her. Elizabeth the wife that was purchased basically has two husbands. It’s really a good movie. My favorite song being “Wand’rin Star”

3. “The Beguiled” 1971

They had this movie on the list and there again I witched it. It’s certainly not a western. It’s okay. Eastwood kind of plays a bad guy in it but only to survive. Set in the Civil War era. He is an injured Union solider rescued by a little girl. She takes him to an all girls school. It should be noted that this is the only movie in which a character portrayed by Eastwood dies. 

[arcticdementor]

“Hey bro! Check out this Nike ad!” This was my entry point into a new world.

…

Since Carlos had lived mostly outside the United States, he was able to follow soccer on a level I’d never encountered in my hometown. Back then, before social media and the advent of scarf-wearing Northwestern fútbol hipsters, big-time European soccer was like the metric system: Known to almost all but ourselves. But Carlos knew, and immediately used LimeWire to curate me a massive archive of 1990s through early 2000s soccer highlights. What was I doing in the world without them?

Oddly enough, in trying to inculcate me in soccer fandom, he started not with game highlights, but with the advertisements. Yes, Carlos was an educator and a voluntary footsoldier for Big Apparel. Going in, I had no clue about high-quality, internationally popular Nike soccer ads. The ads, written by the legendary Wieden+Kennedy firm, were miniature movies, films that were often creatively daring but also quite funny. The most popular of these ads might be “Good vs. Evil,” from 1996, where Nike’s best soccer players team up to play Satan’s literal army. The blending of sacrilege, theology and comedy just worked, like a more ambitious version of Space Jam that somehow took itself less seriously than Space Jam.

…

Yes, I know ads aren’t supposed to be high art. I understand that they are the purest distillation of manipulative greed. And yet, they sometimes are culturally relevant generational touchstones. While Nike was weaving soccer into enduring pop culture abroad, it was having a similar kind of success with basketball and baseball stateside. These ads weren’t just pure ephemera. Michael Jordan’s commercials were so good that, as he nears age 60, his sneaker still outsells any modern athlete’s. “Chicks dig the long ball” is a phrase (a) that can get you sent to the modern HR department and b) whose origins are fondly remembered by most American men over the age of 35.

Modern Nike ads will never be so remembered. It’s not because we’re so inundated with information these days, though we are. And it’s not because today’s overexposed athletes lack the mystique of the 1990s superstars, though they do. It’s because the modern Nike ads are beyond fucking terrible.

…

They’re bad for many causes, but one in particular is an incongruity at the company’s heart. Nike, like so many major institutions, is suffering from what I’ll call Existence Dissonance. It’s happening in a particular way, for a particular reason and the result is that what Nike is happens to be at cross-purposes from what Nike aspires to be.

…

For all the talk of a racial reckoning within major industries, Nike’s main problem is this: It’s a company built on masculinity, most specifically Michael Jordan’s alpha dog brand of it. Now, due to its own ambitions, scandals, and intellectual trends, Nike finds masculinity problematic enough to loudly reject.

This rejection is part of the broader culture war, but it’s accelerating due to an arcane quirk in the apparel giant’s strange restructuring plan, announced in June. Under the leadership of new CEO John Donahoe, Nike is moving away from its classic discrete sports categories (Nike Basketball, Nike Soccer, etc.) in favor of a system where all products are shoveled into one of three divisions: men’s, women’s and kids’. Obviously Nike made clothing tailored to the specificities of all these groups before, but now, Nike is emphasizing gender over sport. Gone is the model of the product appealing to basketball fans because they are basketball fans. It’s now replaced by a model of, say, the product appealing to women because they are women.

And hey, women buy sneakers too. Actually, women buy the lion’s share of clothing in the United States. While women shoppers are market dominant in nearly every aspect of American apparel, the clothing multinational named after a Greek goddess happens to be a major exception. At Nike, according to its own records, men account for roughly twice as much revenue as women do.

You might see that stat and think, “Well, this means that Nike will prioritize men over women in its new, odd, gendered segmentation of the company.” That’s not necessarily how this all works, thanks to a phenomenon I’ll call Undecided Whale. The idea is that a company, as its aims grow more expansive, starts catering less to the locked-in core customer and more to a potential whale which demonstrates some interest. Sure, you can just keep doing what’s made you rich, but how can you even focus on your primary business with that whale out there, swimming so tantalizingly close? The whale, should you bring it in, has the potential to enrich you far more than your core customers ever did. And yeah yeah yeah, a bird in the hand is worth two in the bush, but those were birds. This is a damned whale! And so you start forgetting about your base.

You can see this dynamic in other places. For the NBA, China is its Undecided Whale. It could be argued that the NBA fixates more on China than on America, even if the vast majority of TV money comes from U.S. viewership. The league figures it has more or less hit its ceiling in its home country, so China becomes an obsession as this massive, theoretical growth engine.

…

Here’s the main issue for Nike in this endeavor: The company, as a raison d’être, promotes athletic excellence. While women are among Nike’s major sports stars, the core of high-level performance, in the overwhelming majority of sports, is male. Every sane person knows that, though nobody in professional class life seems rude enough to say so. Obviously, there’s the observable reality of who tends to set records and there’s also the pervasive understanding that testosterone, the main male sex hormone, happens to give unfair advantages to the athletes who inject it.

Speaking of which, there’s a famous This American Life episode from 2002 where the public radio journos actually test their own testosterone levels. The big joke of the episode is just how comically low their T levels are. Sure, you would stereotype bookish public radio men in this way, and yet the results are on the nose enough to shock.

As a nerdy media-weakling type, I can relate to the stunning realization that you’ve been largely living apart from T. Before working in the NBA setting, I was an intern in the cubicles of Salon.com’s San Francisco office, around the time it was shifting from respectable online magazine into inane outrage content mill. Going from that setting to the NBA locker room was some jarring whiplash, like leaving the faculty lounge for a pirate ship. To quote Charles Barkley on the latter culture, “The locker room is sexist, racist, and homophobic … and it’s fun and I miss it.”

…

The “Good vs. Evil” ad boasts a “Like” to “Dislike” ratio of 20-to-1 on YouTube. On June 17th of 2021, Nike put out an ad ahead of the Euro Cup that referenced “Good vs. Evil” as briefly as it could. In this case, a little child popped his collar and used Cantona’s catchphrase. As of this writing, the new ad has earned a thousand more punches of the Dislike than of the Like button.

When you see it, it’s no surprise that the latest Euro Cup ad is disliked. I mean, you have to look at this shit. I know we’re so numb to the ever-escalating emanations of radical chic from our largest corporations, but sometimes it’s worth pausing just to take stock and gawk.

…

But today we are in the land of new football, where we take dictatorial direction from less-than-athletic minors. After her announcement, we are treated to a montage of different people who offer tolerance bromides.

“There are no borders here!”

“Here, you can be whoever you want. Be with whoever you want.”

(Two men kiss following that line, because subtlety isn’t part of this new world order.)

Then, a woman who appears to be breastfeeding under a soccer shirt, threatens, in French, “And if you disagree …”

And this is when the little boy gives us Cantona’s “au revoir” line before kicking a ball out of a soccer stadium, presumably because that’s what happens to the ignorant soccer hooligan. He gets kicked out for raging against gay men kissing or French ladies breastfeeding or somesuch. Later, a referee wearing a hijab instructs us, “Leave the hate,” before narrator girl explains, “You might as well join us because no one can stop us.”

Is that last line supposed to be … inspiring? That’s what a movie villain says, like if Bane took the form of Stan Marsh’s sister. Speaking of which, was this ad actually written by the creators of South Park as an elaborate prank? It’s certainly more convincing as an aggressive parody of liberals than as a sales pitch. Why, in anything other than a comedic setup, is a woman breastfeeding in a big-budget Euro Cup ad?

It’s tempting to fall into the pro-vanguardism template the boomers have handed down to us and sheepishly say, “I must be getting old, because this seems weird to me,” but let’s get real. You dislike this ad because it sucks. You are having a natural, human response to shitty art. This a hollow sermon from a priest whose sins were in the papers. Nobody is impressed by what Nike’s doing here. Nobody thinks Nike, a multinational famous for its sweatshops, is ushering us into an enlightened utopia. Sure, most media types are afraid to criticize the ad publicly. You might inspire suspicion that what you’re secretly against is men kissing and women breastfeeding, but nobody actually likes the stupid ad. No college kid would show it to a new friend he’s trying to impress, and it’s hard to envision a massive cohort of Gen Z women giving a shit about this ad either.

Now juxtapose that ad not just against the classics of the 1990s but also the 2000s products that preceded the Great Awokening. Compare it to another Nike Euro Cup advertisement, Guy Ritchie’s “Take It to the Next Level.”

…

Here’s the problem, insofar as problems are pretended into existence by our media class: The ad is very, very male. Really, what we are watching here is a boyhood fantasy. Our protagonist gets called up to the big show, and next thing you know he’s cavorting with multiple ladies, and autographing titties to the chagrin of his date. He can be seen buying a luxury sports car and arriving at his childhood home in it as his father beams with pride. Training sessions show him either puking from exhaustion or playing grab-ass with his fellow soccer bros. This is jock life, distilled. Art works when it’s true and it’s true that this is a vivid depiction of a common fantasy realized.

Nike’s highly successful “Write the Future” ad (16,000 Likes, 257 Dislikes) works along similar themes.

…

The recent Olympic ads were especially heavy on cringe radical chic, and might have stood out less in this respect if the athletes themselves mirrored that tone on the big stage. Not so much in these Olympics. It seems as though Nike made the commercials in preparation for an explosion of telegenic activism, only to see American athletes mostly, quietly accept their medals, chomp down on the gold, and praise God or country. Perhaps you could consider Simone Biles bowing out of events due to mental health as a form of activism, but overall, the athletes basically behaved in the manner they would have back in 1996.

But Nike forged onwards anyway. This ad in celebration of the U.S. women’s basketball team made some waves, getting ripped in conservative media as the latest offense by woke capital.

…

“Today I have a presentation on dynasties,” a pink-haired teenage girl tells us. “But I refuse to talk about the ancient history and drama. That’s just the patriarchy. Instead, I’m going to talk about a dynasty that I actually look up to. An all-women dynasty. Women of color. Gay women. Women who fight for social justice. Women with a jump shot. A dynasty that makes your favorite men’s basketball, football, and baseball teams look like amateurs.”

When she says, “That’s just the patriarchy,” the camera pans to a bust of (I think) Julius Caesar. At another point, the girl says, “A dynasty that makes Alexander the Great look like Alexander the Okay.” Fuck you, Classical Antiquity. Fuck you, fans of teams. You’re all just the patriarchy. Or something.

Nike could easily sell the successful American women’s basketball team without denigrating other teams, genders and ancient Mediterranean empires that have nothing to do with this. Could but won’t. The company now conveys an almost visceral need for women to triumph over men because … well, nobody really explains why, even if it has something to do with Undecided Whaling. In Nike’s tentpole Olympics ad titled “Best Day Ever,” the narrator fantasizes about the future, declaring, “The WNBA will surpass the NBA in popularity!” ​

…

There are theories on the emergence of woke capital, with many having observed that, following Occupy Wall Street, media institutions ramped up on census category grievance. The thinking goes that, in response to the threat of a real economic revolution, the power players in our society pushed identity politics to undermine group solidarity. Well, that was a fiendishly brilliant plan, if anyone actually hatched it.

I’m not so convinced, though, as I’m more inclined to believe that a lot of history happens by happenstance. If we’re to specifically analyze the Nike Awokening, there is a recent top-down element of a mandate for Undecided Whaling, but that mandate was preceded by a socially conscious middle class campaign within the company.

This isn’t unique to Nike, either. Given my past life covering the team that tech moguls root for, I’ve run into such people. They aren’t, by and large, ideological. Very few are messianically devoted to seeing the world through the intersectionality lens. They are, however, terrified of their employees who feel this way. The mid-tier labor force, this cohort who actually internalized their university teachings, are full of fervor and willing to risk burned bridges in favor of causes they deem righteous. The big bosses just don’t want a headline-making walkout on their hands, so they placate and mollify, eventually bending the company’s voice into language of righteousness.

…

All the guilt and atonement transference make for bad art. And so the ads suck. There’s no Machiavellian conspiracy behind the production. It’s just a combination of desperately wanting female market share and desperately wanting to move on from the publicized sins of a masculine past. So, to message its ambitions, the exhausted corporation leans on the employees with the loudest answers.

There’s a lot of interplay between Nike and Wieden+Kennedy when the former asks the latter for a type of ad, but the through line from both sides is a lot of cooks in the kitchen. Based on conversations with people who’ve worked in both environments, there’s a dearth of personnel who are deeply connected to sports. In place of a grounding in a subculture, you’re getting ideas from folks who went to nice colleges and trendy ad schools, the type of people who throw words like “patriarchy” at the screen to celebrate a gold medal victory. The older leaders, uneasy in their station and thus obsessed with looking cutting edge, lean on the younger types because the youth are confident. Unfortunately, that confidence is rooted in an ability to regurgitate liturgy, rather than generative genius. They’ve a mandate to replace a marred past, which they leap at, but they’re incapable of inventing a better future.

…

Ironically, Nike mattered a lot more in the days when its position was less dominant. Back when it had to really fight for market share, it made bold, genre-altering art. The ads were synonymous with masculine victory, plus they were cheekily irreverent. And so the dudes loved them. Today, Nike is something else. It LARPs as a grandiose feminist nonprofit as it floats aimlessly on the vessel Michael Jordan built long ago. Like Jordan himself, Nike is rich forever off what it can replicate never. Unlike Jordan, it now wishes to be known for anything but its triumphs. Nike once told a story and that story resonated with its audience. Now it’s decided that its audience is the problem. It wouldn’t shock you to learn that Carlos hated the new Nike ads I texted to him. His exact words were, “I don’t want fucking activism from a sweatshop monopoly.” He’ll still buy the gear, though, just not the narrative. Nike remains, but the story about itself has run out. Au revoir. 

[brainsdivided]

Uncommon Questions for OC’s and Their Creators (1/2)

(Art by Yesjejunus!)

I saw @bloody-fists-beating-hearts and @socksual-innuendos​ doing it so I’m answering all of them cause I can and I love my boys. Original by @cassandrapentayaaaaas​

So I don’t take up someone’s entire dash, peep under cut for it :) 

ps. some warning: read tags for any mentions of triggers or things you find uncomfortable, Isaac and Ezekiel have had tough lives and since a lot of that occurs during childhood it may cause some distress for readers.

QUESTIONS FOR YOUR OCs:

What’s the maximum amount of time your character can sit still with nothing to do?

Ezekiel? Never. If it looks like he’s doing nothing, he’s actually daydreaming or bouncing his leg or fiddling with pieces of his clothes. Isaac also cannot sit still. This starts to change as he gets older, but when he moves to Zion he needs to be keeping his mind active on a physical thing, like studying.How easy is it for your character to laugh?

Ezekiel will laugh at just about anything. He’s a child at heart and will crack a giggle and the smallest of things. Even when he’s in combat, you might hear a devilish chuckle. Isaac is different, because of his teenage years, he doesn’t feel as much happiness as he once did. Genuine laughs are rare and at most, he’ll give a weak light-hearted laugh, especially when recalling a good story. For kids, he’ll feign a belly laugh.

How do they put themselves to bed at night (reading, singing, thinking?)

Ezekiel never puts himself to bed. It will always be Joshua or Isaac that reads or talks him to sleep just as Courier Six once did. If Ezekiel is alone, he will think himself to sleep. If Joshua is available and not willing to put Ezekiel to bed and depriving him of comfort items, he will scream and cry himself to exhaustion.  Isaac has cried and screamed himself to exhaustion on more than one occasion but will never admit it. he does his best to fall asleep to music on the radio or on a holotape.

How easy is it to earn their trust?

It’s not very easy to gain either brothers’ trust. Ezekiel follows the ‘If you’re a friend of theirs, you’re a friend of mine’ phrase. Isaac doesn’t trust anyone completely until he spends enough time around them. He believes everyone has good in them and will give them the benefit of the doubt, BUT he won’t be caught off guard if someone happens to turn on him. 

How easy is it to earn their mistrust?

For either brother, the second you turn on one of them or their family and friends, it’s game over. Ezekiel won’t take verbal or physical acts lightly, but if it’s verbal, Isaac will offer a second chance. He won’t give out a third.

Do they consider laws flexible, or immovable?

Ezekiel will follow laws that he feels he doesn’t need to break at the time. If he can justify it, including ‘Cause I can, there’s no one to stop me’ he will break it. Isaac follows all laws, even the ones he doesn’t want to. For the ones he doesn’t want to, he’ll find ways to bend them, especially if they’re immoral/unreasonable in his eyes. Best example I can give is in the Legion, not sure if it’s actually a law, but, women are treated as breeding stock and that’s it. Isaac had slaves but would only treat them as such around the other legionaries. Behind closed doors, he cooks for them and looks after them personally. Never once did he use them as breeding stock.  

What triggers nostalgia for them, most often? Do they enjoy that feeling?

Ezekiel is in almost a complete state of nostalgia constantly as he unconsciously tries to live his old life in Goodsprings in Zion. Good food, sleeping in a quiet camp, hunting, learning from Joshua/father-figure, etc. helps keep him grounded in his world. Isaac often receives nostalgia from intrusive memories, but as a physical thing, probably his appearance. In a fit of fear and rage, he destroyed his mirror and where the river runs next to his home he added extra rocks to help disfigure his reflection when he’s near the water. It brings him great pain to see his own face and body due to the scars he received from the Legion. 

What were they told to stop/start doing most often as a child?

Pre-story... Ezekiel was probably told to stop beating up kids for minor offenses and Isaac was probably told to not worry so much about Ezekiel doing dangerous things.

Do they swear? Do they remember their first swear word?

Both swear and neither remember when they first did.

What lie do they most frequently remember telling? Does it haunt them?

Isaac’s most common lie is the typical “I’m fine.” a lie that isn’t spoken about except when before the story takes place, is that the Courier was very sick, but Isaac, Courier, and Cass made Ezekiel believe otherwise so that Ezekiel could continue to dream of the amazing man his dad once was. Which that in itself would be haunting, because he’s holding up a dam of terrible things. While Ezekiel would constantly say “No.” to the question, “Did you eat anything you weren’t supposed to?” 9/10, he ate something he wasn’t supposed to. That doesn’t haunt him, but he’ll regret lying when he ends up with intestinal obstruction or food poisoning. 

How do they cope with confusion (seek clarification, pretend they understand, etc)?

As soon as the confusion hits, depending on the scenario and how he’s feeling he might interrupt the conversation to ask for clarification or he’ll tune out what’s being said so that he can think on his thoughts. Isaac will pretend he understands if the conversation isn’t relating to something dire. 

How do they deal with an itch found in a place they can’t quite reach?

Isaac will ask his brother or a friend for help but if he’s alone, he’ll use a stick or his wall. Ezekiel will go up to anyone and ask, but if not, he’ll turn into a yao gui and rub his back on anything. GOTTA GET THAT ITCH.

What color do they think they look best in? Do they actually look best in that color?

Ezekiel likes orange and Isaac likes white. I think they could both pull off black. Anyone can, black is a flattering color but who would want to wear that in the desert sun?

What animal do they fear most?

Ezekiel doesn’t have a lot of fear towards any creature, but I’d say feral ghouls or Deathclaws and Isaac fears spore carriers.

How do they speak? Is what they say usually thought of on the spot, or do they rehearse it in their mind first?

Ezekiel will always say what comes to mind. Isaac will think before he speaks.

What makes their stomach turn?

I’ve got nothing for Ezekiel, but Isaac would barf if he smelled or saw a rotting corpse. 

Are they easily embarrassed?

Ezekiel is fine being quirky but there are some situations that makes him a radstag in flashlight. Isaac feels more shame than embarrassment. 

What embarrasses them?

Ezekiel has been known to wet the bed even into early adulthood. Also, while he is fine playing with kid-oriented items, depending on his current emotion and he’s made fun of, he’ll either respond with embarrassment or anger. Isaac gets second-hand embarrassment from Ezekiel’s behaviors sometimes. He once wet the bed and was caught by Daniel when doing laundry but it was agreed to never be brought up or mentioned again. He mostly feels embarrassment/shame when doing or caught using chems.

What is their favorite number?

Ezekiel’s is the number 6 because Courier Six was his dad. Isaac does not have a favorite number.

If they were asked to explain the difference between romantic and platonic or familial love, how would they do so?

Oh boy. Ezekiel might not be able to tell the difference. He might just say that romantic love makes ‘funny things happen’ so to speak even as an adult. All three might overlap for him. Though I guess it would depend on the person reading since my RP partner did not like when I had Ezekiel be affectionate towards Joshua (Hugging and asking to share a bed) as ‘boys don’t always ask their dads for hugs or to sleep with them, it’s inappropriate’ but if daughters can do that with their mothers, who cares? 

Isaac would go on a long shpeel about the psychology of romantic, platonic, and familial love, I’m too tired to write how he’d explain it.

Why do they get up in the morning?

Ezekiel gets up because it’s a new day and the second he opens his eyes, he’s a ball of energy! Breakfast. Also breakfast. Isaac gets up for the people he loves and for the people who need him.

How does jealousy manifest itself in them (they become possessive, they become aloof, etc)?

Ezekiel gets vocal. He’ll make sure you know that you’re spending too much of his time around his brother or Joshua. Isaac will get quiet. 

How does envy manifest itself in them (they take what they want, they become resentful, etc)?

Ezekiel will take what he wants/intervene. Isaac might get bitter about it, but he’ll remind himself that there are others that are more important or who need it more.

Is sex something that they’re comfortable speaking about? To whom?

Their thoughts on this is pretty similar regardless of age, but speaking from age ranges 18-23, Ezekiel doesn’t really understand it, so he’ll talk to anyone about it. When he does, he’s blunt about it, too which makes for some comedic relief when Joshua is involved in the conversation. Isaac won’t really talk about it if he’s involved. If he does, it’s with Daniel or with whoever he ends up sleeping with. If it’s in a medical context, it doesn’t matter the person. 

What are their thoughts on marriage?

Ezekiel doesn’t have an opinion on marriage, but his brother and godfather would feel as though he isn’t ready for a relationship, yet. Isaac likes when others get married, but he himself does not feel worthy of a steady relationship.

What is their preferred mode of transportation?

Walking.

What causes them to feel dread?

When Ezekiel gets caught doing something he shouldn’t by Joshua. Isaac - when it’s night, his generator dies, and when his radio stops working simultaneously or when Daniel forbade him that one time from studying and working because he nearly worked himself to death.

Would they prefer a lie over an unpleasant truth?

Both would want the truth, but Ezekiel believes in a lie that his brother and mother once told.

Do they usually live up to their own ideals?

Ezekiel believes he’s the best at almost everything and Isaac knows he could do better, but it’s too late.

Who do they most regret meeting?

N/A

Who are they the most glad to have met?

locating Joshua was Ezekiel’s primary goal when running from Goodsprings so I’d imagine that he’d be glad to have found him. Isaac’s could be either Daniel or an unnamed Legion girl.

Do they have a go-to story in conversation? Or a joke?

Ezekiel would try to talk casually about his parents’ death and of the crimes he’s committed. Isaac doesn’t have a go-to.

Could they be considered lazy?

Yes and no. To others, they’d be lazy, but Isaac has depression and insomnia, and Ezekiel’s behavior is similar to a child so he may just be stubborn.

How hard is it for them to shake a sense of guilt?

If the guilt was brought on by Joshua, Ezekiel would need some reassurance directly from him to fix it. Isaac is constantly ridden with guilt.

How do they treat the things their friends come to them excited about? Are they supportive?

Both are supportive!

Do they actively seek romance, or do they wait for it to fall into their lap?

Neither seeks romance. Isaac might look for partners for one night stands, but that’s it.

Do they have a system for remembering names, long lists of numbers, things that need to go in a certain order (like anagrams, putting things to melodies, etc)?

Both are very good at matching names to faces, but Ezekiel uses his fingers to count and sometimes uses melodies. Isaac likes to file things.

What memory do they revisit the most often?

So far that’s been thought of, Ezekiel revisits the death of his parents most often and Isaac revisits the possible events that led up to him becoming a decanus. 

How easy is it for them to ignore flaws in other people?

Ezekiel is willing to forget them if they didn’t directly wrong him. Isaac never forgets, he just chooses to overlook them but still keeping them in mind.

How sensitive are they to their own flaws?

Ezekiel never really recognizes his flaws until they’re pointed out. As he gets older though he does start to acknowledge them more. A scene I’ve thought of is when he’s 22 and still playing with children’s toy soldiers. He plays with them with little enthusiasm, abandoning his amusements not by choice. Isaac is aware of his flaws but doesn’t try to better them, but instead tries to better others. 

How do they feel about children?

Ezekiel at times believes he is a child, and will try to engage with other children. Some find it creepy but those that know him are fine with it because they know he has good intentions. Isaac is passionate about children and will protect them with his life. While escaping the legion, he had recruits younger than him that he helped escape, some ending up being adopted out to Dead Horse, Sorrows, and New Canaanite families. Even in the Legion, Isaac showed all children he came across respect and kindness.

How badly do they want to reach their end goal?

Neither truly has an end goal. Isaac wants to see the Legion end in a way where it’s people can recover as quickly as possible, so by working with the Followers of the Apocalypse, he can help out stragglers. Ezekiel just wants to become someone Joshua can be proud of. Be the son he never had and never expected to have.

If someone asked them to explain their sexuality, how would they do so?

Isaac would say that he used to be attracted to women, but because he spent so much time around women who loved and cherished him for his kindness, he’d find it wrong to date someone who only loved that he was kind to them. He still finds women attractive, just not enough to act on it. As for men, he could tell you who is handsome, but in a platonic way. 

Ezekiel couldn’t tell for the longest time what he was attracted to, but in an alternative story line, when he thought it was women, he ended up finding himself feeling more for a man.

[invertedeidolon]

The Longest Library #6: The Life-Changing Manga of Tidying Up: A Magical Story by Marie Kondo

This is a series in which I attempt to read and review all (or most of) my library of 297 books.

Rundown: Chiaki is a twenty something on her own, with a messy apartment that's been attached to a lifetime of failed relationships (although a lot of them seem like unrequited crushes she tried waaaay too hard for). The clutter and the drain it causes literally buries her own dreams and aspirations. Even if you don't intend to use KonMarie's method for things, it's a cute and concise way to see the impact it has when properly applied. Very wholesome, 5/5, would even give to my grandma.

Because of copyright and being respectful to the authors and artists, I'm going to try and keep pictures to a minimum, and do my best to describe things without them. Such is the hazards of reviewing a manga.

First off, before you even open the book, it's got this really nice matte satin finish on it. It's extremely pleasant. I had to just pause and say that for a second.

When I first picked this up in barnes and noble about a year ago, I didn't expect it to be so... I guess rich? There was no part of it that felt wasted or unnecessary. All of it felt good, and if it wasn't good, it was better. The art is pretty simplistic, almost all of it done in the same pen, and if you look close enough it all retains that human element. You can tell a hand did that. But it's still so consistent and, I suppose experienced, that it doesn't become distracting. The characters stay on model and don't look too weird, even when drawn tiny and comedically.

I like how the very first step is deciding that you want to tidy up. Even if the method described is much different than what everybody thinks it is, still coming at it with that same willingness and energy, resolute to do some real work, is necessary. It isn't as frantic and energy consuming as the heavy cleaning most people think of, but instead the method can be emotionally and mentally taxing. It requires that same decision to dedicate yourself to it.

Even though my house isn't as fine tuned as it would be had I used the konmarie method, I still make a point to do small tidying sessions as soon as I see there's a need for it. I come from a hoarder house and so do my partners, so there's an extra motivation to keep the space as far away from that as possible.

That being said, I recognize the main character's exhaustion. The startling mess that comes from such a professional seeming young woman just doesn't really register, she just kind of lives with it 'for the time being' (this is a phrase that pops up later).

As an aside, When she goes to answer the door, there's this curtain she pulls over to kind of hide the rest of the apartment behind her. I have no idea if it's a staple of Japanese apartments (in which case, what a neat idea! Nobody who's just at the door needs to know what my home looks like). If it's just her, deciding that she needs a curtain to hide her embarrassment, however... just damn.

So the reality of needing to tidy up sets in when the neighbor accidentally DOES see what her apartment is like. (He initially came to tell her to please get the garbage off her balcony because it's starting to stink... she kept putting it there, intending to bring it down in the morning, but then forgets). So a valiant? effort is made. But the roadblocks to starting on such a huge mess is apparent. Can't do garbage, there's too much on the balcony already. The sink is so backed up and she can't find the sponge. You kind of move from task to task and can't really find a place to start because you don't know HOW to start. And tackling something that huge in more manageable pieces isn't for everybody. Sometimes you can make messes faster than you can clean them. So it feels like treading water, like you're not getting anywhere. And that's usually where people give up. So she does.

Also, I find it hilarious that she found out about KonMarie while on a search for proof that there's people who are way messier than her.

She was totally expecting a Hoarders type situation. Nope! It's all just you and this tiny fairy woman.

So this being my first exposure to KonMarie, I was actually super invested when she asked this question. I appreciate this question so much. My (literal) garbage television of choice is Hoarders, and usually on that show, if they set goals, it's extremely short term. Mostly because they have only so much time that the workers can be there. Sometimes it's even so small as 'clear this one hallway so that my husband doesn't fall and break his leg and potentially die in his own home'. Meanwhile KonMarie is over here like 'what's your life going to look like after your place is clean'? Which is a very good question to ask, especially if you don't want someone to fall back into old habits. Cleaning is basically making room for yourself and your life, instead of just your stuff.

So, living 'for the time being'. I see this way of living as a form of energy preservation. You don't make the effort to do the 'right' thing, which would be expending the small effort to clear your coffee table so you can have a nice place to eat breakfast tomorrow. That's okay, it's just temporary, right? But then the next day, you go to have breakfast. You see the messy table and immediately deflate. You need to eat standing now because you don't have the time to clear the table AND make breakfast. You don't feel as great as you could be, but that's okay, right?  The trend unfortunately continues. It also spreads to other areas of your life. Unfortunately, by preserving energy by not doing the small tasks, the small tasks become bigger ones. That you no longer have the energy for. Especially now that you're having to SPEND energy working around those large tasks. Doing the small thing in the first place would mean you would RECEIVE energy as a result. Clearing the table the night before means a nice, calm peaceful breakfast, and you get to the rest of your day feeling energized now that you've had that bit of quiet to yourself. If you find yourself avoiding tasks, you might need to do something specifically to restore yourself. That's what self care is about in the context of maintaining your space.

“Nine out of ten items demoted to loungewear...are never worn!”

So, I have this talent for knowing where everything is in the house at all times and remembering what I have (a Forbidden Skill that comes from living with hoarders and also a shitty birthgiver who would arbitrarily throw stuff away). And I know exactly which pieces of clothing she's talking about. The huge pair of pj pants that I barely use unless it's abnormally cold. The various camisole tops with the missing underwire that I don't wear because the straps are synthetic and melted at the ends so it makes this unfortunate stabby bit. Yeah. I should get rid of those. Tshirts and shorts are better off as loungewear because that's what I use them for apart from exercising.

"Besides, why would you wear joyless clothes inside when you would never wear them outside? Your time at home should be special too."

This is something I've come to appreciate during quarantine. I feel TONS better when I'm wearing something nice, even inside. I get more work done and I feel more professional when I actually 'get dressed' instead of trying to work in my nightgown. Even putting on an apron makes housework feel more purposeful. (I'm going to take this to the next level and eventually make my own apron)

This is what I mean by it becoming draining over time. Even a good day is hampered by coming home to a cluttered area. Even having one space to sit that looks nice helps. (for context, Chiaki only just tidied her clothes, but nothing else yet, so she had an amazing day, feeling great in clothes that made her feel great, and then came home to this.)

"Books that haven't been moved in a while are dormant, so it's hard to judge whether to keep or discard them."

I appreciate this humanizing element of objects. I feel like a lot of us are taught early on to stop caring so much about our belongings, especially when they're no longer age appropriate, and we're pressured by peers and parents to 'let go'. When I give any object in my home a character or spirit, I find I take much better care of it. It's also partially the basis of my teddy bear medical project (the stuffed animal is essentially an emotional mirror, and taking care of the bear helps it echo back a need to care for yourself). Also interesting, to quote from wikipedia: "Kondo says that her method is partly inspired by the Shinto religion. Cleaning and organizing things properly can be a spiritual practice in Shintoism, which is concerned with the energy or divine spirit of things (kami) and the right way to live (kannagara)"

Also on the subject of books, I readily agree that #thelongestlibrary is a way for me to avoid immediately throwing away books. But now that I can make regular content out of them, they all have a purpose now, don't they?

This bastard. No matter how many times I purge my writing stash, one of these always shows up. Why is it sticky??????

"That's right. Things that are kept 'just because' are stored 'just because', and accumulate 'just because'."

This is true. However, I'm in a weird place because of my skills and profession. Can KonMarie please come validate my decision to keep crafting supplies and surplus packaging???

"Instead of buying storage goods to make do, wait until you've completely finished and look for ones you really like" "You mean don't buy things 'Just because!' "

I don't know how many times I've seen a messy house with a stack of brand new storage bins, never used, or storage bins overstuffed and sometimes broken. Something I forgot to mention that is a huge part of the KonMarie method, is organizing by category, and not by room. You get ALL of one object in the house, and put it in a pile in the middle of the floor, so you can see just how much you have (clothes, books, cosmetics, etc.) If you clean by room, you may have gotten all the clothes in the bedroom put away nicely, but they there's still dirty laundry, and also the workout clothes in the living room, and some in the bathroom, and it all doesn't fit and has to go in a storage container or gets stuffed in a weird place and you never see it again! So don't get storage. If it doesn't fit in your house, that means it likely doesn't fit in your current life. And either the object has to go, or your life needs to change.

"Wait, it's not the things I'm discarding, but the things I'm keeping that are in this room!"

This is a principle that I think didn't really occur to me, or a lot of people. Getting rid of excess stuff is important, yes, but making sure what you're keeping is meaningful is equally and sometimes even more important. It's something that could be applied to all areas of your life.

"Your home is linked to your body. If it isn't comfortable to live in, you'll feel exhausted, just like I did."

KonMarie puts so much love into her method. If you've never seen her show, I highly recommend it. It isn't like Hoarders at all. It's like the difference between American Gordon Ramsey and The Great British Bakeoff. Even if the families depicted are a little tense, it's clear they still love each other deeply and just need to be guided into making their home a place where that love can happen unimpeded.

If you've never gotten into KonMarie, I'd say this is a stellar first exposure. I love the hell out of this tiny, thoughtful woman.

Have a couple of bonus faces because the artist is a gem.

*don’t be suspicious, don’t be suspicious*

I’ve already lost count of my books. 6 down, 200 something to go.

[ralph-n-fiennes]

RALPH FIENNES LOOSENS UP - GQ MAGAZINE

Well, loose for Ralph Fiennes, anyway. The actor and director lives a life of high culture like practically no one else alive. Lately, he's been making us laugh, too.

Ralph Fiennes seems both parodically English and consummately European, the way classical music isn't bound by borders, either. In addition to all measure of British, he has played, to my count: Austrian, Irish, French, German, Hungarian, Russian, and unspecified Balkan—as well as American (both WASP and serial-killer varieties), and Snake. He appears to carry with him, among many other charms, a cache of words, phrases, and proper pronunciations of non-English languages, like a deep pocketful of pre-Eurozone coins. It is very fun to listen to him talk in movies—and in person in London, as I did, for a few hours in late January.

I say all this to help explain why Fiennes registers to many interested in his life and career as one of our ultimate cosmopolitans. He is, just to list some of his culture bona fides, one of the living actors most associated with Shakespeare. He has said that he and his six siblings grew up listening to vinyl recordings of poetry recitations. He has often acted in films based on the acclaimed novels of major-prize-winning authors. He has said the talent he would most like to have is playing the violin. He has said that when he travels for a film, he always does so with the complete Beethoven piano sonatas, a “talisman” and “safety net for when one is feeling a bit bruised or battered.” He has described the greatest love of his life as “having a transforming encounter with a Work of Art, either as a listener, viewer, reader, spectator, or participant.” He is fluent in painting styles and the names of museum directors and the great theaters of both the East and the West. He is fluent in ballet now, too, since he's just directed a movie about the Soviet dancer Rudolf Nureyev. He enjoys hopping on the Eurostar to Paris from his home in London. He enjoys short flights to European capitals. He enjoys picking up his rental car in Umbria so that he may drive—the only time he drives—to his “tiny farmhouse” in the Italian countryside, where he goes “to read.” He has said his idea of perfect happiness is “swimming naked in the sea.” He has said that when and where he was happiest in his life was “swimming in Voidokilia Bay in the southern Peloponnese.” While we were together, he sounded most like Ralph Fiennes when he said European-sounding nouns, like “Peugeot” and “Tchaikovsky” and “salade niçoise.” He pronounced the little tail thing on the c, and, as a Fiennes character might direct him to, he pronounced it trippingly.

This cosmopolitanism seems to have sort of become the point about Ralph Fiennes in recent years. Wes Anderson may have been the first to recognize a new use for this caricature: that in the post-heartthrob Fiennes, a filmmaker could mine middle-life pathos, as well as levity and humor; that if a character were to possess an arch knowingness about the fact that he was being played by Ralph Fiennes, it might be really, really fun to watch.

Actually, maybe credit belongs to Martin McDonagh and In Bruges. The joke there was that Fiennes—the very high culture of his cells—could play the antithesis of so many counts and kings: an irritable East End gangster with a Shakespearean facility with fucking fuck fucks. Maybe that was the pivot?

Or, scratch that, too—perhaps it started earlier, with his first nose-less “Avada Kedavra!” in a Harry Potter movie. Maybe that was when we felt the options expand.

Regardless, there's been a slow shift, iterative at first, and then all at once wholly present, in a new series of roles for Fiennes over the past decade or so. There would always be the bedrock of English/European-set drama (Schindler's List, The English Patient, The Constant Gardener, The End of the Affair, Sunshine, just to name some acclaimed heavies), but there was space now for a fresh kind of on-screen presence. You get the Oscar-nominated talent and the self-awareness, too.

Take Luca Guadagnino's A Bigger Splash, for example, where Fiennes plays a motor-mouthing cocktail of taste and devil-may-care that could be reduced to something like: Ralph Fiennes type—but with all of the shirt buttons unbuttoned. Ralph Fiennes type—but with a Jagger falsetto and breezy linen. There's a scene in which Fiennes's Harry Hawkes leads his compatriots to a no-tourists dinner spot on a secluded hillside on an Italian island, doling out por favores and grazies as he gracefully inserts himself into the hospitable hands of the locals. I remember thinking in the theater, or on the plane, or wherever: This. This is what you get when you strip off the uniform of haughty propriety, but still have all the knowingness—all the language and command and wisdom amassed from a lifetime of moving fluidly across European borders. The result is very funny and very cool.

When we met in January, Fiennes had just finished a 76-show run of Antony and Cleopatra at the National Theatre in London. He'd spent the previous day—his one and only day off between the play and a new film shoot—reading books and responding to e-mails. (He'd been journaling when I first approached our table.) Fiennes still had his beard from the play, but it would be gone by that evening. He made reference to “what little hair I have left” on top, a style that changes often. The fixtures of his face were plenty there, though. The prominent nose and brow. The sticky-outy canines. The sensitive pale eyes, ticklish to the light—ever-present in the heroes and the villains alike, the same pair on Count Almásy as on Voldemort. The eyes were so familiar. As was the voice. His voice sounded exactly like Ralph Fiennes.

Sometimes actors make choices to pivot their careers. Other times those choices—those theories about their work, the sort of I've just laid out above—are more arbitrary, connecting unrelated opportunities in an effort to make sense of them, the way we trace weird animals out of the stars. Fiennes has said that, at times in his career, he felt people presuming that he only did a certain kind of dramatic role. I asked him if the run of films including In Bruges and The Grand Budapest Hotel and A Bigger Splash felt like a pivot.

“It did feel like that,” he said. “I cannot tell you how thrilled I was when Wes asked me to be in the film. And when Martin McDonagh approached me to be a kind of London gang boss. Which is not my obvious casting bracket.… And then Luca came to me with that great part, and it felt exciting to me, that ‘Oh, great, I'm not being seen as, I don't know, English intellectual or sort of cool, crisp bad guy.…’ The thing that people were responding to was the comedic, or the humorous, that was clearly in Wes's script, and Martin's, and in A Bigger Splash, and also the wonderful scene I was asked to do in the Coen brothers' film [Hail, Caesar!].” (Would that i' t'were so simple...)

I told him I'd been wondering how active he was in the pursuit of that pivot, since it's difficult to know how much an actor's hands are on the wheel.

“I think it's a very valid question. And I think sometimes actors are absolutely going: I want to do this and this.And other times it comes to you. All the stuff I've loved doing most has come to me. Sent to me.”

In the case of A Bigger Splash, Luca Guadagnino, who'd made it “an aim” of his to work with Fiennes ever since seeing Schindler's List and Quiz Show, told me he knew the actor for Harry “had to be somebody who could carry a complete buffoonish, clownish character combined with melancholy—and there was no doubt Ralph was the right person for that.” At the time, Fiennes had done The Grand Budapest Hotel, Guadagnino continued, and a trailer had just come out: “And I saw him briefly in a pink tie, being suave and swarthy in that little clip, and it was, ‘See, he's perfect.’ He's not only a master of shades of brooding-ness and melancholy, but he can also bring a levity and a capacity of likability that is really unique.” That well-worn heavy, and the new light. Perfect.

Fiennes is a voracious reader, and many of the films he's best known for have been adapted from the works of renowned authors. Michael Ondaatje. Graham Greene. Peter Carey. Shakespeare and Dickens. Even with the more genre-y, it's the best of the genre: Ian Fleming, John le Carré. I asked him if there was any intentionality to those clusters, to working with material from notable novelists.

“I know, I've been asked that before,” he said, seeming to consider it fresh. “But I think I'm responding to the film. And I've been happy to do things that are not based on a book, like In Bruges or The Grand Budapest Hotel.”

I asked if “his people” know what he's going to go for at this stage.

“I believe they know what I respond to,” he said. “But I'm actually not a good reader of film scripts. I'd rather read… I mean, I think I try the patience of the people who represent me.” He laughed knowingly. “If there's a book to read, and they're both sitting there…I'll go to the book, I'll read the script later.… If a certain amount of pressure is put on me, I'll go, Sorry, sorry, I'm doing it.”

I asked Tony Revolori, who played Fiennes's teenage co-lead in The Grand Budapest Hotel, if he remembered what Fiennes was reading on set. “A book of Shakespeare's sonnets,” naturally. Revolori said that Fiennes taught him “the proper way” to read those sonnets and then presented him with a “beautifully designed book” of those poems at the end of the shoot. On set, there were discussions of diction with director Wes Anderson. Tongue twisters were introduced. She stood upon the balustraded balcony inimicably mimicking him hiccuping while amicably welcoming him in. “Tongue-twister battles” ensued. (I would be disingenuous if I described any of this as being shocking.)

From a distance, it is hard to see Fiennes's life as anything but full and packed wall-to-wall with high culture. I asked if he, as a Known Culture Person with a love of things like theater and opera and classical music and art, worried there was something “slipping” in culture?

“I think, 'cause the National is fresh, I can talk about that with a bit more—I can know my thoughts more about the National more than…”

“Than all of culture, like I'm asking you?” I said.

He laughed. “It may be nostalgia, it may be how I'm choosing to remember, but you felt that within the National Theatre—and certainly at Stratford it is the case—they have to function as the company. I think it's probably impossible to do that now because of the way the entertainment business works, and the way actors need to be a part of—the pay is not high—so you have to make money on television or doing voice-overs. But maybe I have a romantic sense of the company.”

Fiennes's first big break came in 1988, in Stratford, with the Royal Shakespeare Company, the company of companies. “I wanted to be an actor because I was excited by Shakespeare. It was thrilling and moving. I don't know, I had a quite naive infatuation with Shakespeare. I thought, What a wonderful thing to be in the Royal Shakespeare Company, or the National—and I didn't really think about films, because that seemed like another world.”

Shakespeare led to his first films, which led to a meeting with Spielberg and a role as an Austrian Nazi. In 1993, he was nominated for his first Oscar and embarked on the 25-year movie career that's followed. “If he picks the right roles and doesn't forget the theater,” Spielberg said of Fiennes at the time, unwittingly providing a useful blueprint, “I think he can eventually be Alec Guinness or Laurence Olivier.”

Fiennes didn't forget the theater, and he returns to Shakespeare frequently. The plays were his first love. And despite all forces pushing younger actors toward other kinds of work, he finds that that same infatuation endures with a new generation. “Even just walking back from our last-night Saturday, across the bridge to a party we were having [to celebrate the end of the production], one of the younger female members of the cast, a tiny part, but a lovely presence…she was saying, ‘I just wanted to do Shakespeare. I just love it. I just…’ And she expressed what I had felt. I was so touched, actually, because she said it with such ‘I just love Shakespeare.’ ”

“I know the film asks questions; I don't know that it answers them. I don't know that a film should answer. I like films that provoke me to think.”

Walking back across the bridge. I love that. Every actor, unknown and galactically famous, leveled out, in it together, the intimacy with one another, and with the city where they performed each night. It was fun to get a glimpse of Fiennes in London. It'd almost be a shame to encounter him anywhere else. We walked around Covent Garden for a bit, and he pointed out the grand theaters of the West End. That's where Eliza Doolittle sells flowers in the beginning of Pygmalion. That was Dickens's office. Fantastic. He delineated the precise border of the City of London, pointing at “that church-y thing over there,” a critical marker. We ended up facing the National Theatre—across the very bridge he'd mentioned—and it was sort of like being Ouija-ed by a drunk back to his favorite bar. The theater felt like home position, like all wanderings might wind up back there. Fiennes has lived and worked mostly in London all his career. I asked him if he ever thinks about elsewhere.

“I love London. I think London is a great city. I think it's got fantastic things. I don't know, I guess I've thought about elsewhere but haven't done it, because if it's working, why fix it?” he said. “I'm at a funny time, and I keep wanting to make a shift in the way I, where I live or how I live. I live in London, I've lived in London all my adult life, I live in the East End Shoreditch area, before it became über-hip, I bought a place in 2000. I've got a very lovely place in New York, which I love going to. But most of the work I get tends to be based out of here. And the theater work… I keep going back, because I miss it, I miss that thing.”

Fiennes has the rest of the year “chalked up” already. Five new films: a Kingsman prequel, a new Bond (“I'm waiting to get a Bond script; I'm hoping for a sexy location”), and three-ish other interesting-sounding dramas. Plus the release of The White Crow—Fiennes's third film as director—about a young Rudolf Nureyev, the famed Soviet dancer, and his defection from the USSR to France in 1961.

The White Crow features several scenes that capture those “transforming encounters with a Work of Art” Fiennes has described as the loves of his life. In one flashback, a young Nureyev—born on a trans-Siberian train to poor parents—is taken by his mother to the theater. We don't see what's transpiring onstage, only what's transpiring across his face. We see it happen again when Nureyev, older now and in training in Leningrad, stands before the Rembrandts at the Hermitage Museum. And then, once again, when he wakes up early one morning, to make sure he's the first person at the Louvre, so he can have Géricault's The Raft of the Medusa all to himself.

Again and again and again—“transforming encounters with a Work of Art.”

I read Fiennes's words back to him.

He laughed in recognition. “Yeah, okay. I'd forgotten that.”

I asked him about those scenes in the film.

“Those scenes,” he said, “the one in the Louvre and the one in the Hermitage, with the Rembrandt, those were the scenes that really moved me. Because the engagement with the Rembrandt… I thought The Prodigal Son, looking at it, when we shot that, I was so emotional, I wasn't crying, but on the inside… Those were holy days for me.”

I told Fiennes I knew he'd answered this question after directing his first two films, but I wondered if the answer had evolved during his third: Among the directors he'd worked with, had he cobbled together bits from one or another to help inform him, or was he standing on his own now?

“I don't know that I'm consciously taking from the films I've been in, in terms of visuals, in terms of cinematography,” he said. “But I certainly, in terms of ways of working…I'm often interested in Spielberg, whose energy, vocal… He's not a quiet sort of monosyllabic, quiet-voiced director. He's just direct. ‘Just go here.’ ‘Just put this lens on.’ ‘Come sit down.’ ‘Do it quickly.’ Very clever. Totally positive. And you can feel it. I remember the set, people loved it, because there was a sense of momentum. I think generally actors and crew love it when they feel this forward momentum and, along with it, good work.”

“Deliberate intention,” I said.

“Deliberate intention,” he said. “Wavering, wavering on the set is…” He chuckled darkly. “Too much wavering is worrying. And, like, Anthony Minghella [during The English Patient] was brilliant with actors. A gentle provocation towards looking for something other… It was in my lack of experience that I thought he was wanting me to ‘hit it,’ to ‘nail it.’ But I think actually, quite rightly, he's looking for ‘What else is there that I can get that this actor can own so that they're not contriving something to satisfy me?’ ”

“The pleasure is that I see a French film and meditate on what it, being an Englishman, what it says to me...it offers up new provocations, and also confirms common identity of being a human being.”

After lunch, we walked a short distance to the Royal Opera House, where Nureyev had danced and where a large black-and-white portrait of him hangs in the wings, hovering above the dancers as they step onto the stage. The Royal Opera House is also where Fiennes took ballet lessons of his own—eight or nine, he says—with a dancer in the Royal Ballet named Bennet Gartside, in preparation to play the legendary Soviet ballet teacher Alexander Pushkin. Once, and only once, in my presence, Fiennes did that incredibly weird thing where an actor transforms his head and face and body into another human being in a flash, a total magic trick, while showing me the way Pushkin did something or other.

The White Crow centers on the 1961 trip to Paris by the Kirov—the famed Leningrad ballet company. Nureyev is played by the Russian dancer Oleg Ivenko, who leaps and spins throughout as tightly as the threads of a screw. The film builds to a masterfully suspenseful climax at Le Bourget Airport in Paris, where Nureyev has to choose between defecting to the West or being sent back to the Soviet Union to face some unknown—but likely terrible—fate.

“It's not an easy decision as he sits there in the room. We've seen the love of the mother, we've seen the support of Pushkin, and we've seen those friends—it's not just the oppressive evil empire, it wasn't stifling,” Fiennes said. “When we shot Leningrad, the Soviet scenes, I wanted it quite classically framed, and ever so slightly, we bring the color up. We don't want to confirm the cliché of the gray Soviet world. And when I tried to look at color stills of the Soviet era, they're quite hard to find, but when you find them—bang!—I mean everyone, the women, the red, red being the political color, but red is everywhere. But it pops! And we see so many black-and-whites, it's so weird what this very basic visual thing does. Yeah, I just…it's complicated.… I know the film asks questions; I don't know that it answers them. I don't know that a film should answer. I like films that provoke me to think.”

When I met Fiennes in London in late January, politics was on the surface. Theresa May's Brexit plan had just been rejected by Parliament. And Fiennes had recently given a little-seen speech at the European Film Awards, in which he had spoken about film's role in Europe, and Europe's present relationship to Britain. The speech was economically rendered, but urgent and unequivocal in its diagnosis of political crisis in Europe and the U.K., and of film's role as a remedy:

In anticipation of this occasion…I couldn't help but reflect on what it is to consider oneself European. Is it an instinct? A feeling of belonging? Can I be English and European? Emphatically: Yes. That is my feeling in my gut.

There is arguably a crisis in Europe, and our feeling of family, of connection, of shared history, shared wounds, this feeling is being threatened by a discourse of division. A tribal and reactionary vocabulary is among us. It is depressing and distressing to witness the debate in my own country about who we are in relation to Europe. In England now, there is only the noise of division.

But film, filmmaking, the expression within a film, can be a window for us to see another human being, another human experience, and we can celebrate our differences of language, culture, custom, and our common humanity at the same time. But the act of seeing, seeing another, seeing through the lens, carries in it, I believe, the vital act of bearing witness. Perhaps if we truly bear witness, there can be a true connection, and a better understanding.… Our films can be songs, crossing borders and languages with melodies and harmonies in the form of light and sound and narrative patterns.

We discussed the speech, and his intentions with it. I asked him how much some of the ideas in The White Crow—the way ballet could move across borders, like the films he describes—were on his mind when he delivered the speech.

“I just had an instinct, that I wanted to say how much, how important I felt the community of filmmakers are, and given what this was, I would really be meaning European filmmakers, at the time when my own country is divided about what it means to be linked to Europe,” he said. “Not that countries have to make films that express [exclusively] their culture.… The pleasure is that I see a French film and meditate on what it, being an Englishman, what it says to me…it offers up new provocations, and also confirms common identity of being a human being. And I do feel, I suppose it links what I hope is identifiable in the film: [that he is] being moved and therefore changed by exposure to a work of art. It's a dialogue.”

There are the works of art in The White Crow, I said, and also the cities themselves. Before Nureyev sees the performances or the paintings, he's walking about first Leningrad and then Paris, experiencing that new feeling of somewhere else, letting it in. Fiennes doesn't shy away from his comparable feelings for Russia. The feelings you discover when a place becomes for you the people who live there and not just the political systems that dominate headlines.

“I've formed over the years a handful of friendships in Russia, a handful who are very important to me, and I love going there. And I'm aware of the… I mean the authoritarian nature of their regime that's in control of mostly all the press, and the creep of censorship and control, is very disturbing. But when I'm there, I sort of: There's life going on. I see amazing theater plays, and I have friendships with people.… What interested me was the common humanity underneath the ideological, political fisticuffs.”

I said that hearing about his friends in Russia reminded me of the same dynamic in the United States, the dissonance between the noise of American politics and the lives of most Americans, how most people have nothing to do with the political headlines, how most people are trying to do their best, to generally be kind to their neighbors.

“That's it. Exactly. Exactly. I'm sure that, you know… I mean, nothing that I read about Republican politics makes me think I would ever be sympathetic…but I'm sure that I could go to a Republican community in America and be welcomed, and looked after, and treated with extraordinary generosity and decency and kindness, and those people might go support a Republican candidate the next day.”

That continued exchange between human beings, whether ultimately fruitless or not, seems critical to Fiennes. And art continues to be one of the pre-eminent currencies of at least the exchange of culture.

“Ballet, not being connected to any spoken language, is an extraordinary communicator.… And as an audience member, whether it's a film, or a ballet, or a play, it feels so important to me that we have the privilege of being exposed to these things.... This is the one area, cultural interaction…where we can talk to each other. So when that's impacted, it seems serious.”

We discussed performers and companies struggling to get visas.

“I'm not saying that they're not coming anymore, but it is a challenge that you have to get a visa to go to Russia. And it's funny, isn't it, that I think the cultural interchange, interaction, exhibitions, theater, ballet, coming, that is where we can be like—”

Fiennes threaded his fingers together, hopefully, like hands in prayer.

Daniel Riley is GQ's features editor.

A version of this story originally appeared in the April 2019 issue with the title "Ralph Fiennes Loosens Up."

PRODUCTION CREDITS: Photographs by Scandebergs Styled by Jon Tietz Grooming by Ciona Johnson-King Set design by Zach Apo-Tsang at Magnet Agency Produced by Samira Anderson/Mai Productions

Huge thanks to the amazing @tessa-quayle for helping me out with this impossible-to-open article

[katiewattsart]

29/10/19 : TEDDY BOYS. HAUL GIRLS. #1

What are they? 

Teddy Boy: (in the 1950s) a young man of a subculture characterised by a style of dress based on Edwardian fashion (typically with drainpipe trousers, bootlace tie, and hair slicked up in a quiff) and a liking for rock-and-roll music.

Haul Girl: A girl or women who makes a haul video.

The revolution will not be televised. 

The tv shows you what it wants to show you.

Television tells us what the people who run the TV stations want us to know. But social media today sometimes provides an alternative.

Subculture - Under/Beneath 

We are looking today at youth and subcultures… their historicity and their contexts, and where we are with what might be called subcultures and youth cultures today.

GUIDE TO THE CULTS

A genuine piece from the mirror in the 1980s.

Sex Pistols : This is one of the most infamous moments on television. Today it seems tame, but in 1976 this was enough to get the presenter fired.

Like Duchamp's 'ready mades' - manufactured objects which qualified as art because he chose to call them such, the most unremarkable and inappropriate items - a pin, a plastic clothes peg, a television component, a razor blade, a tampon - could be brought within the province of punk (un)fashion...

Dick Hebdige - Subculture: The Meaning of Style

Hebdige’s book has long been consider the authorative text on subculture.

In the book he discusses the ready made aesthetics of punk. Punk was the first reaction to the developing politics of Thatcher and Reagan… here a refusal to take part in business as normal led to music that sounded amateur and fresh… the opposite of the progressive rock that had dominated the mid 1970s and early 80′s. 

Vivienne Westwood

Objects borrowed from the most sordid of contexts found a place in punks' ensembles; lavatory chains were draped in graceful arcs across chests in plastic bin liners. Safety pins were taken out of their domestic 'utility' context and worn as gruesome ornaments through the cheek, ear or lip...fragments of school uniform (white bri-nylon shirts, school ties) were symbolically defiled (the shirts covered in graffiti, or fake blood; the ties left undone) and juxtaposed against leather drains or shocking pink mohair tops.

Jamie Red and others made zines that could be assembled in this same way, collaging and making work that felt it could have been made in the house, and often was.

Subcultures

Subcultures are tribal, bringing people together to form loose relations outside of the mainstream.

Different subcultures:

Even subcultures have subcultures… specific types of goth (steampunk, lolita) rude boys, K Pop sub genres, grunge punk rock etc

Once about a specific youth culture movement based around the disco music of the 1970s, clubbing subculture developed into rave culture in the late 80s and 90s, and has become a mainstream movement in the last few years. 

Fiorucci Made Me Hardcore, Mark Leckey, 1999

“Something as trite and throwaway and exploitative as a jeans manufacturer can be taken by a group of people and made into something totemic, and powerful, and life-affirming.”

Subcultures are about a sense of belonging, often to people who feel excluded or disenfranchised from the mainstream.

Cosplay - form of subculture 

The Joker and Harlequin are both characters who live for misrule, and both of them come from characters in the commedia dell’arte.

Harlequin relates directly to Harley Quinn… the Lord of Misrule was the peasant who was given the task of making sure that Xmas revellers got very drunk and very naughty.

The World Turned Upside Down

These characters link back to the ideas of the carnival, a time when the world was turned upside down. Christmas was initialy this kind of festival. People didn’t know if they would make it through the winter, so they made merry whilst they could. In the carnival Kings become Jokers, Jokers became kings. 

Carnival extracts all individuals from non-carnival life, non-carnival states and because there are no hierarchical positions during carnival, ideologies which manifest the mind of individuals cannot exist.

...And finally in a few relatively rare instances, we find an extreme form of revelry in which the participants play-act at being precisely the opposite of what they really are; men act as women, women as men, kings as beggars, servants as masters, acolytes as bishops. In such situations of true orgy, normal life is played in  all manners of sins such as incest, adultery, transvestitism, sacri- lege, and lese-majeste treated as the order of the day...

Edmund R. Leach, Rethinking Anthropology

In Rabelais and His World (1965), Mikhail Bakhtin likens the carnivalesque to the type of activity that often takes place in the carnivals of popular culture. In the carnival, according to Bakhtin, social hierarchies of everyday life—their etiquettes, and normal structures—are turned on their head.

Court jesters become kings, kings become beggars; opposites are mingled (fact and fantasy, heaven and hell).

Drag Cultures

Much in the same way that Madonna, undeniable icon though she is, in no way invented voguing, neither did the queens on RuPaul’s Drag Race invent the concept of "shade", "realness" or any of the other essential sayings liberally adopted wholesale by the internet. But what the show has done is continually provide a potted queer history. Whether it’s through highlighting ball culture, trans activism, gender fluidity, or queens like the legendary Lady Bunny; or simply by allowing the contestants to talk about their lived experience, the show has put an all too rare slice of gay and trans history in American (and the world’s) living rooms and laptops.

Drag Race has brought a subculture into the mainstream. It has brought secret languages into modern parlay.

From RuPaul raising a pair of opera glasses to say archly, “I can’t wait to see how this pans out”, to season four queen Latrice Royale’s “the shaaaaade of it all”, social media’s gif game has been vastly bolstered by nine seasons of this show. A gif reaction needs to encapsulate maximum emotion, drama, and appearance – and the queens on Drag Race have all three in spades. Tumblr couldn’t create gifs fast enough in the early seasons, and the joy of so many strong characters, and sound-bites, means that there is a reaction for absolutely every occasion. Season 6 winner Bianca Del Rio named one of her world tours after her own much-gif’d catchphrase, “Not today Satan”.

Memes and online culture have helped the show become part of the everyday.

Historically, "sissy" has been used as an insult against feminine-seeming men. Ru-Paul’s Drag Race not only reclaims the word – “now sissy that walk” is the phrase said at the top of each catwalk, usually preceding a demonstration of almost gob-smacking creativity – but shows that adopting a truly feminine character requires massive amounts of charisma and self-confidence. The show is wildly popular with women, not simply because of the incredible looks and transformations served by each queen, but because it is a celebration of feminine mystique in all its forms.

It has helped reclaim a sense of agency in an era of toxic masculinity.

The little show that could has turned into a global behemoth, with tours around the world each year, and an annual convention in Los Angeles. Last year, a second US convention launched in New York, while London hosted the first European edition, DragWorld UK, which saw a number of the show’s queens and RuPaul’s right-hand judge, Michelle Visage, holding court. And as fabulous, glamorous and downright funny as the queens are, the real joy came from seeing the response of teenagers to meeting their idols. RuPaul and Visage are giving hope to lost kids around the world, whatever their gender, ethnic background or sexuality. By sharing their stories, the Drag Race contestants are giving comfort and inspiration to viewers, as well as swathes of entertainment.

The show has brought disenfranchised, often hidden cultures into the open. And given people something that not only entertains, but also empowers.

The difference between Drag Race US and Drag Race UK summed up in one perfect tweet…

With RuPaul’s Drag Race UK finally airing on both sides of the Atlantic Ocean, it’s got fans realising just how different the two editions of the show are… International fans were subjected to the colourful world of British slang and swear words, leaving dozens bemused about what exactly the UK queens are actually saying…. But in a viral tweet shared by one of the British queens, it’s managed to capture the crucial difference between the US and UK versions of Drag Race.

Sum Ting Wong shared a screenshot of a Facebook post that so beautifully sums up the two shows:

Pink News JOSH MILTON OCTOBER 8, 2019

Drag is culturally derived, and finds its forms based on local customs. In the UK drag has a relationship to Vaudeville and play, which means it does something different to the american show. It is less about the act of putting on a show, and more about the comedic, slightly catty relations that we have come to associate with saturday evening tv here in the UK.

But that doesn’t mean it is mean in itself… it still brings a subculture to a mainstream audience. Remember, if I talked about this with you in the 1990s, I would face prosecution under Section 28

"shall not intentionally promote homosexuality or publish material with the intention of promoting homosexuality" or "promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship".

New Subcultures

‘It's hard not to be struck by the sensation that, emos and metalheads aside, what you might call the 20th-century idea of a youth subculture is now just outmoded. The internet doesn't spawn mass movements, bonded together by a shared taste in music, fashion and ownership of subcultural capital: it spawns brief, microcosmic ones.

In fact, the closest thing to the old model of a subculture I've come across is Helena and the haul girls. Their videos are about conspicuous consumption: a public display of their good taste, carefully assembled with precise attention to detail. When you put it like that they sound remarkably like mods.’

Alexis Petridis 

Marie Antoinette, 2006 (Sofia Copolla) 

[thelowlysatsuma]

Ramble in whatever form you choose. I won’t be able to be active all the time so if you want to be able to do it whenever you want I’d say text posts but I’ll also try to occasionally ask you about them so there’s some variety

!!! okay! well i think i’ll choose a couple from the list that i haven’t made many posts about before (aka no ts or go) and ramble on here!

oof under the cut bc idk how long this will get

steven universe

oh hon don’t even get me STARTED on su like that shit? that shit is so good? okay first of all i love the cast so much? gosh they’re just all so sweet and cool and sometimes they collab w/ thomas sanders and i love rebecca sugar and im gonna cry they’re so sweet im so soft

okay SECONDLY the show itself oof

okay okay im just? god im so soft?? like the music is so good, i can (and do) watch it w/ my parents, GOD do i wanna cosplay pearl’s new outfit (and rainbow 2.0, if i can pull it off), im in love with the concept and all the fusions and the story and the worldbuilding and god, this made me realize my utter love and adoration of COLOURS like they’re so PRETTY im in LOVE oh my gOD and just

god it has such a good message and such a good plot and such good characters i wanna be steven’s friend i wanna be all of their friends oh man i just can’t wait until my baby cousins are old enough for me to show this to them because i’m going to enjoy that experience so much

ducktales

oh jfc where the fuck do i even start with ducktales okay david tennant as scrooge mcduck makes my fucking life literally he’sthe best goddamn charaacter in the show – well, best besides the triplets (my BOYS), webby (!!! my KID), f e n t o n (god i love that nerd), mark beaks (what an asshole), mrs beakley (i wanna be her when i grow up), launchpad (!!! he!!), and so many others??? this is like serious every character in the show erasure but hot damn duck tales says gay rights and it does so in style (oh yeah also i love lena della donald oh webby’s new friend whose name i forget uhhh herules oh the inventor guy fenton’s boss that dipshit love him uhhh gandra dee who’s voiced by jameela jamil if im not mistaken??????) and yeah it’s a hilarious show but it’s also just a really good one for me to watch whenever i start to like. feel empty inside?? but then like i’ll put on ducktales and i’ll feel better

gravity falls

this show. this show RUINED ME. i started watching it like four years late (aka last year lmao) but GOD, im so in love with it. def another one i wanna show my cousins.

like?? just??? the ciphers and mysteries appeal so much to me and my love of mystery and crime novels, the characters are all amazing, alex hirsch himself is just such a g?? and like. it’s so good. it hurts me so much but then it’s all okay in the end and it’s just. it’s so good.

yeah i sobbed my eyes out when i watched that series finale.

camp camp, which somehow i forgot on my other list

god, is this show hilarious. like, fuck is it funny. it’s so good. it’s so fucking good. i was a little shocked when i saw the first episode but i’m so into it now, and i’m so attatched to all the characters bc they’re just dumbasses trying their best (or worst, in a few cases) and i love them for it. that’s peak fool energy right there and it speaks to me

orphan black

okay okay okay veering now into a much darker type of television, orphan black is??? phenominal???

okay so my best friend @fuck-me-gently-with-a-slurpee got me into it when i was like 14 or 15 i think and i honestly cannot thank her enough because this show is incredible. the plot’s super engaging, i literally cannot say anything about it without giving away spoilers, and the main character has quite possibly the best actor i’ve ever seen playing her

like. you think thomas sanders is good? he ain’t got SHIT on tatianna maslany

mythbusters

you guys. you guys. mythbusters was my childhood. like seriously, i watched that show religiously.

it’s what first got me into science, and it’s what kept me interested in explosions. it’s light and funny and ridiculous and scientifically accurate in the dumbest ways possible. i swear to god the main cast nearly dies once an episode

these guys are my idols. like, i seriously cannot overstate how much i love the mythbusters. adam and jamie, tori, kari, and grant.

when i was a kid, i wanted to be a mythbuster when i grew up, and god damnit, i still do. they mean that much to me

bill nye

fun fact! i actually had no fuckin clue who bill nye was until seventh grade, when i had to watch an episode of his show for homework because i missed a day of class. it was the episode on static electricity, and i remember sitting at my dining room table in the dim winter afternoon light, squinting at my computer, and thinking “what the FUCK am i WATCHING?”

needless to say, i’ve seen more since then, but that initial what the fuckery is still present and i love it.

not only is bill nye the science guy a flippin fantstic show, but bill nye himself? the coolest guy alive. god, i love him. what a g.

various comedians including but not limited to john mulaney,john oliver, and hasan minhaj

okay, as a gay, i am legally required to love john mulaney, but seriously that guy is so. fuckin. funny that i can’t help myself. his timing is priceless, the way he moves onstage is hysterical, just. god i love his stuff.

literally his comedic timing and style is half the reason people find me funny. i just phrase my sentences the way he would because, you know, i’m good at stealing things, and people laugh, and i go “hey. that actually worked”. and then i keep doing it

next, john oliver. okay, so while i don’t watch his show religiously, i do watch it when my parents do every now and again, and fuck is his stuff funny. like. just. shit.

finally, hasan minhaj’s patriot act is just. one of my favourite current events comedy shows out there. it’s in a similar vein to john oliver’s stuff, just more international, and shit, is he good at what he does. i lvoe it.

hoodwinked the movie (i am dead serious)

okay, while i haven’t seen it in over four years, this is still my favourite movie of all time. it also has one of my favourite villain songs of all times, and some of the best character exchanges just. ever. especially with wolf and twitchy

...god, i love twitchy. also the goat. i’m probably gonna be the goat when i grow up, let’s be honest

one day at a time

i just.

there’s so much to say about odaat. like. it’s so funny. it makes me nearly cry every episode (and makes my mother actually cry every episode). the characters, god, the characters

like. alex is such a cute dumb kid (who’s smarter than he looks), penelope is so salty constantly and i love her but she’s genuinely so cool and such a good mom and i cry??? elena is so amazing like god she’s such a fuckin nerd but she’s also so salty (takes after her mom) and is literally the best????

and then there’s abuelita, whom i adore. like, god, rita moreno is SO cool and SUCH a great actress and has SUCH an amazing sense of comedic timing and GOD, i LOVE HER

can’t forget about syd and doc berkowitz, which like. okay first off the good doc. just. god i love the doc. he’s so sweet and such a genuinely good dude and he’s a bit of a coward at heart but that’s okay because he genuinely cares and does his best and god he’s just such an amazing character im !!!!! and then syd is such a dork and i love them and elena and god, it made me so happy to see not only an actual enby character on a big sitcom, but also just?? like??? it’s not forced but it’s still there??? like there’s one episode where one of the plots is just syd and elena trying to figure out what elena should call them, since neither of them are comfy using “girlfriend” for syd since they’re not a girl, and they finally agree on “significant other” and schneider imMEDIATELY says “dont you mean, SYDnificant other?” and then they use that for the REST OF THE SHOW IT”S SO CUTE OKAY

and finally, schneider. he might be my favourite character in the entire show (which is a damn hard list to pick from!!!), but he’s just. he’s so sweet, he and penelope have one of the absolute best male/female friendships i’ve ever seen (which! never! turns! romantic! ever!!!), he’s actually got surprising depths but he’s also like such a nice goofball that when they get revealed, it hurts, and he’s just this canadian dumbass (heyyyyy repreSENT) with the worst goddamn canadian accent sometimes and he’s a hipster and The Dumb Friend and the weird uncle all rolled into one and GOD, i love him so much

the good place and brooklyn 99

okay, i love these two both so, so much, but i’m lumping them together because a) they’re both mike schur shows with a similar sense of humour, that say gay rights, and with characters who’d definitely love each other if they met and b) my hand is getting tired from all this typing but i still have so much  love to go around!!!!

okay so so SO! they’re both so good. they’re so fucking funny and amazing and i was immediately hooked on both of their pilots. their characters are all so genuine and flawed and fucking hysterical to watch, and the ships and friendships are all so amazing and pure and good and soft and they have their problems and they WORK THEM OUT HEALTHILY AND IT MAKES ME SO HAPPY OKAY!!!

god, i literally cannot overstate how much i adore these two shows. mike schur, you’re a wonderful, wonderful dude. thank you so much

many musicals (top faves include BOM, hamilton, legally blonde, chicago, matilda, and more!)

i’m putting the musicals together because while i do adore each and every one of them individually, i also just have great big deep-seated love of the art of musical theatre itself in general, ya feel?

like, as someone who’s been both performing and viewing them from a very young age, the sheer sense of utter joy they bring is almost unparalleled

not to be That Bitch who quotes musicals, but “and that hop in our hearts as the overture starts lets us know how lucky we are” might be the closest i’ve ever gotten to finding words to fit the feeling when the lights go down and the show begins. it’s simply phenomenal

the others series by anne bishop

okay, OKAY, if you haven’t read this series (first book called written in red – they have terrible titles but god, they’re worth it), then what are you doing with your life? like, not only is there the perfect logicality au to them (just sayin’), but god, it’s such an incredible series

the worldbbuilding is so cool and the characters are all great and god the ships are the damn hill i die on it’s got literally such a good “sort of enemies mostly just dislike each other to reluctant acquaintances to friends to lovers” ship and it deals with some serious issues rlly well and it’s got baby puppies!!!

like, they’re wolf puppies, but still, they are b a b e y

and finally (for now, at least), the mysterious benedict society, by trenton lee stewart

this book series was my childhood. i mean, there are so many other books i could be talking about right now that i utterly adore (the artemis fowl series springs to mind), but gosh, MBS just brings me such absolute joy to read that i just had to have it on here.

i’m not thinking straight at this point in the evening, but i just wanna say that i will never, not ever forget about reynie. about kate. about sticky. about constance. about rhonda and number two and milligan and miss perumal and my absolute son sq pedalian and, of course, i will never, never forget about mr benedict

it’s bright, and it’s bittersweet, and it’s beautiful.

and it’s good. simply, utterly, wonderfully good.

thank you for the ask, anon.

thank you.

[jseindenmark]

Another Cold in Denmark

Between the KCRW radio race, writing this blog, talking to my inspiring new international friends, I’ve found little time left to study—the whole reason I came here! So when I get back into my room, I don’t sleep. I do my grammar exercises and I read my Danish texts. Needless to say, it’s impossible to maintain those priorities indefinitely.

Thursday morning, I woke up two hours before breakfast to finish the reading I was unable to get through the night before and I found “nostril gremlins” had made their way into my nose. (“Nostril gremlins” is a trademark phrase borrowed from Maria). As the gremlins grew in strength and numbers, I found my own strength depleting. They were taking over! “They’re going to think you’re some sort of sickie person,” my mom laughed over a recent Skype call, referring to the year before when I had my two ear infections.

But I’m not the only one who’s sick. Kosta, a young Serbian gentleman who sits across from me in class, struggled with his own “nostril gremlins” the following day.

A few days before I left California, my father bought me some Claritin D for my trip. It’s impossible to even get some Ibuprofen in Denmark without a prescription, so I brought my own, as well as some Claritin, just in case. Man, has it been a lifesaver! Between that and some marathon power naps (Unfortunately, I had to skip some afternoon lectures), I can safely report that I’m on the mend. I’ve shared some of my Claritin with Kosta and I think it’s working for him as well.

This is a pattern I tend to repeat over and over again. I try and experience everything I can and figure I’ll sleep once these opportunities are no longer available to me. I approached my studies at UCLA with the same philosophy, taking 20-24 units a quarter. It costed the same no matter how many classes I took, so I took as much as I could get away with. I wanted to learn as much as I could, but that often came at the cost of my own rest. My body is refusing to put up with such treatment here in Askov, so okay. I hear you body. I will try and be more mindful of your rest.

Last night we had an open-mic night, and Bridget took the reins and became our fearless leader. Not only does she speak a multitude of languages, but she also plays guitar, sings and writes her own music. I tried to get a song together, but the nostril-gremlins still had control over my brain function. I could not keep up with even the simplest chord changes. I also just don’t play guitar as well as I play my sweet ukulele. So Bridget played the easy chord progression to The Cranberries’ Zombie and the two of us sang the song together. As many of you who have karaoke’d with me know, I’m quite loud when I get into the chorus of that song. Undskyld!

Bridget also performed a Lithuanian number with all the Lithuanians at the højskole, as well as two more pieces she did on her own. Watching her, I was reminded of myself at her age—but then I needed to correct myself. Sure I might have shared a similar hunger for life, but I wasn’t nearly as accomplished nor confident. I had that fire though, a fire that has lied dormant in me even though it was always my favorite attribute. Somehow seeing it active in Bridget has awoken it in me again. That alone would have made this trip worthwhile.

I have yet to write about Felix—mostly because I’m unsure that I could accurately describe him. At first he seems to be a young soft spoken German, a quiet observer sitting in the corner, but his comedic timing is almost wicked. Several times he’s brought us to tears in laughter with only three or four soft words. His humor is simultaneously sincere and biting, and maybe it’s that unique mixture that has us clutching at our ribs minutes after he spoke.

Don’t get me wrong, time spent in conversation with Felix is never time wasted. He gives a great deal of thought to his opinions before he shares them, which isn’t always the case with the many colorful characters here at the højskole. I collapsed on the sofa next to him a few nights ago, when I was still in my sinus haze. Felix and I began to share some of our favorite quotes with each other, and he began to talk about the strengths and weaknesses of different languages. “We have so many words in German. There’s several different ways that you can say the exact same thing, but Swedish is much more streamlined. Without all those extra words, I find it easier to express myself emotionally. It forces you to be much more direct.” I’ve been thinking about that conversation for days now. Felix has a way of sharing an observation and it will stick with you long after he’s said it.

I’m writing this on the bus to Aarhus, to ARoS, the Museum of Modern Art. Lena and Martina are sitting to my left, the lovely two ladies from Bulgaria. Frida is asleep in the seat to my right. She’s a strong force from Sweden. I’m feeling quite hyggelig (cozy) amongst these lovely people.

Til næste gang, vi ses.

[arecomicsevengood]

A YEAR OF READING ACKNOWLEDGED MASTERPIECES #3: E.C. SEGAR’S POPEYE

So, while the original idea behind this series was for me to read an acclaimed comic I expect I’ll like but had not yet actually read, or to read something I’d read a little of but not its entirety, covering E.C. Segar’s Popeye is something of a cheat. When Fantagraphics began their reprint series, a roommate had the first volume, of what would eventually be six, and I read that; I later ordered my own copy of volume 3, and I own a copy of The Smithsonian Collection Of Newspaper Comics, which reprints the “Plunder Island” series of Sunday strips covered in volume 4. I enjoyed all of it, but didn’t feel a pressing need to acquire more, and now Volumes 4 and 5 are out of print and command high prices on the secondary market. This motivated me to get a copy of the still-available volume 6, which might seem less appealing because it’s the last stuff Segar did before he died, and health issues led there to be periods of time where the strip was entrusted to his assistants, in sequences not included.

The editors say those strips aren’t good, I’ll take their word for it. Other people have tried to sell other Popeye product, and I’m sure some of it is quite good: There are some people who take pains to point out that the Segar comic strips are not similar to the Fleischer brothers cartoons, but I’m sure those cartoons are good fun, I generally like the stuff that studio produced. I have seen the 1980 Robert Altman movie, starring Robin Williams and Shelley Duvall, with a screenplay by Jules Feiffer and songs by Harry Nilsson, which is a notorious flop, but with some admirers: Still, it’s a slog, which the comic strip never is. IDW’s comic strip reprint line put out books collection the late eighties/early nineties run of former underground cartoonist Bobby London, what I’ve read of that stuff (just previews online) is unfunny garbage. I think they also were behind reprints of comic books by Bud Sagendorf, and a revival written by Roger Langridge, neither of which I’ve read, though Langridge’s work is always ok; good enough for me to think it’s good, not compelling or transcendent enough for me to spend money on it. It’s all work done by those who have rights to the license, which makes me view it as essentially merchandise, like a pinball game or something. The Segar stuff is where it all comes from.

While other masterpieces of the first half of the twentieth century comics page, like George Herriman’s Krazy Kat or Winsor McKay’s Little Nemo are definitely acquired tastes, Popeye was not only popular enough to make its creator a rich man back in the day, it remains functional as populist entertainment today. I feel pretty “what’s not to like?” about it, and would recommend it to whoever. It’s funny, the characters are good, there’s adventures. The humor is three quarters sitcom style character work and one quarter the sort of silliness that verges on absurdism.

This light touch separates it from the first half of the twentieth century’s “adventure strips” that didn’t age as well, despite having well-done art that would influence generations of superhero artists. Segar’s art isn’t particularly impressive, but every strip tells a joke or two, and even if you don’t laugh at every joke, you’ll appreciate its readability, especially if you’ve ever tried to read a Roy Crane comic, or even Chester Gould’s Dick Tracy. I don’t want to praise E.C. Segar by merely listing works his comics read better than, but it really is notable how many people today are basically trying to do what he did, but are failing at least in part due to not understanding that’s what they’re trying to do. If you want to do a comedic adventure story that becomes popular enough for you to be financially successful, it might be worth reading a volume of Popeye and observing its rhythms. When I was reviewing Perdy a few weeks ago, I was thinking “This basically just wants to be a R-rated Popeye.” I recently found 3/4 of the issues of the Troy Nixey-drawn comic Vinegar Teeth for a quarter each; despite that comic’s high-concept pitch involving Lovecraftian monsters, it would probably have been better if it thought of itself as being a descendant of Popeye, rather than something that could be adapted into a movie. I’ll just phrase it in the format of a popular Twitter meme: Some of you have never read Popeye, and it shows.

Lesson number one, which just sort of emerges naturally from the format of the daily strip, is you’ve got to make jokes, and they can’t just be the same one, over and over again. To that end, you need a cast of characters, who each have their own bit, and who play off each other in various ways. It is easy to see why people don’t do this: Large ensembles grow organically, and most people start telling a story with either a central character or something precisely in mind they want to chronicle. The comic strip, with its long runs originating from a practitioner’s ability to tell a joke, can be a bit freer to stumble onto something that works, without even necessarily having a title character to return to.  The collections might be named after Popeye, but the comic strip being collected in these books was called Thimble Theater, which ran for a decade before Popeye showed up and circulation sky-rocketed. For a while, I think the consensus on the early stuff was it was pretty boring and hard to read before Popeye came in and livened the whole thing up, but recently there was a reprint of this earlier material, and I know the dude who reviewed it for The Comics Journal liked it, though I’m sure it’s easy to find someone at The Comics Journal who will like an old comic strip even if it’s bad. Either way, modern cartoonists don’t have Segar’s luxury, or having their work run for a half-disinterested audience until something clicks so much word spreads.

The gag-a-day pace, built around getting into new situations and adventures, itself creates a pressure to be inventive today’s graphic novelists can’t really match. After Popeye is established as a good character, prone to getting into scrapes, Segar can show us the comedy of him caring for a baby. He can also introduce Popeye’s dad, Poopdeck Pappy, that this character looks basically exactly like Popeye but is a piece of shit is a funny idea that would not occur in the early days of planning a project.

One reason why you wouldn’t necessarily do such a design choice is because, if you’re thinking of different media as a way to success, having characters with the exact same silhouette runs counter to the generally accepted rules of animation. Thimble Theatre, as per its name, is based on theater staging, rather than the more expressionist angles of film: We’re looking at characters from the side, usually seeing whoever’s talking in the same panel unless one of them is out of the room. These characters tend to have the same height, basically. Someone once said that looking at Popeye, printed six strips to a page, is kind of like looking at a page of sheet music. It’s not a particularly visually dynamic strip, the amount of black and white on a page is close to unvarying.

This is why I don’t believe in prescriptivism, or a suggestion of rules: I’m pretty sure that Popeye works because it’s not working super-hard to be visually interesting. This would be the number two lesson of what there is to learn from Popeye. I think this transparency in style is what allows this comedy/adventure hybrid to work, though I know others would blanch at this. It’s going for a big audience, and while I think this visual approach serves that end, I know why others, especially those who’ve been struck by later superhero comics or manga, would see visual excitement as the best way to achieve that goal. The audience that read newspaper comics wasn’t necessarily adept at following visual storytelling, and the sort of relationship that newspaper strips could have with a wider readership is not going to be achievable now. The folks that ride for Segar these days are mostly alt-comics people, like Sammy Harkham or Kevin Huizenga, who aren’t attempting the sort of popular entertainment extravaganzas he trafficked in.

Reading Popeye feels like reading, basically, which is a nice, contemplative experience, that not all comics can capture. I read a few pages of it before bed. Obviously, this pace is not how people consumed it in its heyday, but the pace people took it in at, a strip a day, is even more deliberate and steady, and I think, was crucial to its popularity. For a comic to be popular, it has to have characters that are interesting, obviously; there is probably no better way for an audience to build a relationship with fictional characters than over extended periods of time. This speed corresponds to the pace it was created at, one that now seems insanely luxurious to anyone whose workflow is dictated by the internet’s demand for content. It’s a total crowdpleaser, but it existed at a time where crowds could slowly gather. Popeye’s a popular entertainment from an era of reading, listening to the radio, going to plays or movies. It holds up, owing to a basic pleasantness we can understand as low stakes, and that’s helped along by the restraint of the art. It’s telling a story. It’s not a farce, crowded with visual jokes, and it’s not dictated by characters’ emoting either. I love a visually expressive art style, but here it’s important that the visuals remain “on-model,” reinforcing the stability of the characterizations. This sort of thing is also evident in Chris Onstad’s Achewood, which I would argue is the preeminent 21st century character-driven comic strip, with an audience that feels relatively “wide” rather than pointedly “niche.”

Lesson number three to how to make a popular comic is the thought I find myself thinking all the time, which is “Everyone needs to chill out.” The number one impediment to making entertainment that just quietly works is the desire to stand out and make a name for yourself as quickly as possible. This is similar to how the number one impediment to a peaceful and contented life is the demands of a failing capitalism where we are all competing for a shrinking pile of resources. To read these books now is a luxury, an indulgence, and while I don’t much go in for those, reading older comic strips carries with it this sort of nostalgic appeal for an era where it didn’t feel like everything was screaming at you for your attention all the time. As broad as Popeye is, it now possesses a certain dignity, owing to this dislocation in time from its origin. I don’t know if this felt like a feature at the time. I do think that if you are an artist that wants to be successful now, you should do what you can for the sort of circumstances that allow for genuine, long-lasting success to build, which involves a certain degree of permission to fail. Mainstream comics companies, with their mentality of “we’re going to print hundreds of comics a month, in hopes some find a niche large enough to be briefly profitable we can then try to milk for their last dollar and they quickly become exhausted,” act against this. As in a garden, there needs to be space for things to take root and grow.