#struggling aspiring actresses: exist

[ivebeentryingtoreadmorecomics]

If I had a dollar for every time a supporting character in a DC comic was a struggling, aspiring actress, I’d be Bruce Wayne's level of rich by now.

I'm not complaining, though. Actors/actresses are OP.

Detective Comics #93 (November, 1944)

[secondhandsorrows]

Keys to Crafting Characters Readers Will Root For (w/ some examples)

As a writer and while making up this blog, I’m quite adamant that characters are just as important (if not more) as plot. In the grand scheme of things, an active, relatable, and engaging main character is crucial for a novel's success. But how exactly do we make a character all these things? There’s many ways, in fact. It is up to us as authors to keep track and manage the developmental arc of our protagonist: primarily, who they are on the inside, and how they grow or change / adapt to the situations or people around them. 

Here are some examples and tips to help you develop a compelling protagonist (or all kinds of characters). Keep in mind these tips are at their most basic, essential level (there’s just so much that can be explored in each one), so I hope to go further into each point sometime in the future. 

~`* They have clear goals and motivations.

First things first: you’d want to clearly define your character's goals and motivations — and the sooner, the better. Proper and well-set goals and motivations provide a sense of direction to the narrative. They should be specific, measurable, and achievable — or perhaps, not achievable, at least to its fullest extent. This would ultimately depend on the type of arc or ending you intend to write for your story, but there should at least be some main goal the character is vying for, and a motivation that dictates how much they want or need it. 

For example: An aspiring actress hoping to make it to the stage and audition for the lead role in her favorite play.  —> Why does she want to be an actress so badly? What does it mean to her to act in her favorite performance? What does she have to prove, to herself or others?

~`* They are flawed, yet relatable:

I’m sure you’ve all heard this before… but I’m still going to reiterate:

Your character should have relatable flaws that readers can sympathize with. It’s no secret that flaws make characters human and relatable. Flawed characters help us remember that nobody’s perfect, and that we’re not alone in our struggles and in our plights (stay back, Mary Sues!). These flaws can be anything, from fears, limitations, biases, misbeliefs, quirks, shortcomings, or behaviors. It’s useful two have at least two: a minor flaw and a major flaw, where the former affects only the only character and nothing else, and the latter hinders the character and affects the plot. 

For example: A highly-knowledgeable yet socially awkward and oblivious professor who can hold a bar of soap better than a conversation.  —> Does this flaw make him out to be charming or weird to others? How can his social-awkwardness affect the plot… does it hinder him from connecting to his students or colleagues? 

~`* They have unique talents or interests.

Sometimes I read a story, and personally I have a hard time connecting with a character if all they care about from beginning to end is what’s happening in the plot. It’s like they exist for the sole purpose of the plot, and are nothing but a shell to see through the events or its challenges. This is understandable, especially when it’s an action-packed story or thriller. 

Personally, I can’t help but wonder what its main character does for fun. What they’re like before the events of the novel. 

I think it can be useful your character skills or interests that set them apart. This not only makes them interesting, but can drive the plot in unexpected ways. *Bonus points if they have a particular skill or hobby that conflicts with the way they present themselves to others, or if they hide it well if they are embarrassed by it or afraid of getting judged. Essentially, this is all to clue-in on the reader to the character’s backstory, their personality. It helps them seem more individualistic, like humans with their own sets of interests or ideas that give them more complexity and uniqueness. This can also be useful in creating parallels or connections to your story’s themes or your character’s arc. 

For example: A brave warrior with an aptitude for gardening and flower arranging.  —> Seems random, right? But what if this warrior had workin in their relative’s flower shop, and has kept the skill alive in their days of battle to see pieces of beauty around them, hope from fear and danger? They might dig graves of their fallen friends and leave behind flowers in remembrance. Just an obscure  example, but see all the possibilities something like this can open up?

~`* They have deep, complex relationships.

Sometimes we can get a better idea of a character when we see them interact with the people around them. It’s like showing vs. telling, where we get a firsthand look at how the main character treats his family members, how he accepts or refuses help from those he’s close with, what he appreciates most about his significant other, how he feels about the annoying neighbor next door. Who’s the one person they most admire and never want to let down? Who’s the one person they despise with all their body and soul? Whether it's friends, family, enemies, or romantic entanglements, complex interactions and relationships add layers to your character and in how they showcase themselves to the world. 

For example: An excellent, compassionate therapist with a strained relationship with his own family member.  —> How does this character feel about this kind of relationship? Does it stem out of shared family troubles, or something deeper? Is there a glimmer of possibility the therapist might reconcile with this relative, or are they dashed because of mutual pride or distrust? 

~`* They often face moral dilemmas.

It’s time to get philosophical. Human nature is full of paradoxes and tough moral questions, and so characters with conflicting qualities can be intriguing and relatable. Introduce moral dilemmas and conflicting values that force your character to make tough choices and confront their conflicting values. Do they have a friend with conflicting beliefs that challenge their own? Are they forced to act a certain way because of external pressures? Are they forced to choose between saving one person while destroying another? 

No matter how serious this dilemma is, you can also add a moment of clarity or self-awareness for your character. This can be a turning point where they acknowledge and confront the conflict within themselves, thus becoming face-to-face with their internal crisis and how they decide to go from there. Do they weigh the pros and cons considerably, do they fumble because they’re hesitant, or do they embrace the new changes? 

Despite conflicting values, make sure your character's behavior is consistent with their established personality. Consistency helps maintain authenticity and keeps the character grounded. 

For example: A scientist torn between protecting humanity and the pressure of making a groundbreaking discovery.  —> How does making this discovery very important to this character? What do they stand to lose… what do they stand to gain? Are they at the risk of becoming something completely opposite of who they were at the beginning of the story, losing their sense of morality or forced to choose a side? 

~`* They show their quirks and habits.

Introduce quirks or habits that make your character memorable. These little details can make the character more relatable and interesting, because just like talents or hobbies, this can also give a clearer sense to the reader of what kind of personality the character has and what they’re like. Not to forget, it also helps them to stand out from other characters on the page, giving them a unique voice with their kind of dialogue, their behaviors, style, and mannerisms.  

For example: A scholar who can focus only if she’s chewing gum or wearing her lucky ring.  —> How might’ve this character started this habit or tradition? Does it actually work? Does it not work, but they still do it anyways because it’s comforting for them? Also, where did they get this quirk from?

~`* They have a backstory.

Most of what we’ve been discussing in this post already leaves some framework for the character’s backstory. It’s important to have a meaningful backstory in mind that influences the character's present actions and explains why they are they way that they are. This adds depth and helps readers understand their fears, desires, and motivations better; not shallow and two-dimensional as cardboard cut-outs. 

Sometimes we don’t get a backstory for our character right away. Backstories takes time to brainstorm and shape — let alone into a complex or compelling one — but its helpful to trust the process. What you can do if you’re still looking for the right one, is to ask yourself questions  on things that matter to you most. This pertains to your story’s themes and other main ideas you may like writing about, such as grief or family matters. It all boils down to who your character is (the present), and where it stemmed from (the past). If we take this a step further: does this backstory guide them or force them to make changes within themselves, thus leading to their changed self at the end of the novel/series (the future)?

For example: A woman with a fear of marriage because she’s seen firsthand its faults, including her own parents’. —> Is her parents’ divorce still something she’s struggling to come to terms with? Is her misbelief equating marriage to constant conflict? Does she have a secret desire to get married, yet it put off by its pressures? Does she make up for this fear by focusing on other matters? Will this fear later be disproven?

~`* They are often vulnerable. 

Every hero needs vulnerabilities. Imperfections. Weaknesses. We’ve talked about strengths and flaws before, but giving them that dent in their armor, any little opening someone or something might get through, leaves a reminder that no one, especially our hero, is invincible. Nobody’s perfect, after all (side-eyeing you, Mary Sues…). Make your characters messy: adding vulnerabilities helps makes them more authentic and genuine, opening up chances for them to learn and evolve as the story moves along. 

It can also add a layer of suspense to the story, especially in conflict and tension. How will the character handle someone breaking their walls down, or a bad experience threatening to make them crumble and fall back to old habits? How do they handle their insecurities? How well do they hide their fears, and will they ever admit them?

For example: An old woman with bad eyesight and lives alone can’t tell that the reluctant robber breaking into her home is not her grandson.  —> This is a fun little example that opens up many possibilities. Her bad eyesight is a physical vulnerability, and so is her soft spot for her supposed grandson. The robber notices this, and he too may have a soft spot for any old woman who treats him kindly. Does he use this to his advantage to rob the house, or does he humor her for a while?

I’d definitely like to expand on these tips sometime. If there’s anything you’d like to share or add, please do so! I’d love to hear y’alls thoughts. Hope this helped!

[hanamukes]

hi,i love your analysis :D

could you expand more on the struggles that uika may have faced be it internal or external

Hello! I'm glad you enjoy my thoughts, that's very kind of you!

Regarding Uika's struggles, I'll admit we don't truly know yet what her struggles are (which is part of why I enjoy picking her apart so much, so I can try to get closer to her truth before the anime airs!) so this will lean more towards assumption... but here's some of the thoughts that I've rolled around in my head!

Short answer: external struggles include a physical separation from Sakiko that she had to get a job to overcome, regarding her internal struggles I highly recommend reading the concert intermissions for, because her dialogue in them is very raw and I'm pretty certain the things Doloris has said apply to Uika.

Social class issues. I don't necessarily think anything points to Uika being poor, but I do think there's something to be said about this girl who's a first year like everyone else, and yet she has to work a full time idol job, to the point she leaves class early. To put this in perspective, Taki works part time (at a fairly relaxed minimal wage job) which I interpret to be her way of giving herself things to do, Nyamu streams but we don't know her education history and even then getting job security was her incentive to join Ave Mujica, and the only other character in these bands who works is Sakiko herself. With Uika, yes she aspired to be an idol, but she's pretty clearly exhausted in every shot we've seen of her in Sumimi, which makes me wonder if money could be a stressor for her. I do think this plays more into her psyche itself than the money thing admittedly, but it's worth pointing out. Regardless of that, I do think there is some class differences going on that could bother her; when she met Sakiko, she thought Sakiko wouldn't give her the time of day, which to me implies she's lower class (and thus could potentially have room to feel insecure). From my current understanding, Uika grew up isolated on an island and the only way someone like her would be able to get to Tokyo (and thus reunite with Sakiko) would be to become an idol and get gigs in agencies there. The other girls didn't have to work as hard as she did to reach the same point. Also of course, during Ave Mujica's 2nd concert, Doloris went on a long tangent about class differences and how they trample kind people, who can only smile through such pain. Which to me sounds like she's talking about herself...

Some level of generalized depression... which we don't know the circumstances of currently, but you cannot talk about Uika without discussing Doloris, who is represented by her sorrow. Some Doloris comments that stand out to me: feeling as if her existence is miniscule, feeling like she's not allowed to dream because it's all just unfulfilled delusion, wanting to escape from reality (!!!perhaps Uika wants to escape reality in the form of becoming Doloris), feeling like an empty husk who has no personality of her own (could be characterized by her centering herself around her feelings for Sakiko first and foremost, and how Uika from Sumimi=/Uika Misumi; it's all just a role she's playing to give people the impression she's more of a person than she actually is), wanting to die and be reborn so she can start over with the one she loves most, wanting to be accepted for all of her ugliness, hiding herself behind a mask so much to the point it's become her skin... she has a lot of self-loathing, more so than the other dolls do (though Mortis gives her a run for her money). Given the anime trailers have shown us the dolls as much as the actresses, I do fully expect all of these themes to apply to Uika herself, even if we don't know in what ways currently.

In general, I do get the strong impression that she feels like she doesn't exist unless someone else is looking at her. Which I did talk about in depth in my Uika/Doloris writeup, but it's always worth reiterating.

I've been wondering a lot if she feels some level of abandonment from Sakiko in the time they didn't talk. She was staring at her messages so obsessively, and in the concerts, she talks about a girl she loved so deeply who cast her aside. It got to the point she started to believe that such a dream could only ever be a delusion she had. These themes line up with what little we currently know about Uika's feelings for Sakiko, and her saying in the new trailer that her dream was to be by Sakiko's side forever only further cements this for me. Really, we know so little about Uika except that she loves Sakiko, so for the one she loves most to not "need" her in her life for so long surely has to be a big struggle for her, to put it lightly!

There's definitely more going on with her than mentioned here (I actually have been sorting my thoughts out on the contrast between her and Tomori in hopes of writing a complete essay analyzing them, where I'm sure I'll come up with all sorts of new crazy things), but I hope that put some perspective on her feelings as we currently know them!

[tomorrowedblog]

Friday Releases for October 18

Friday is the busiest day of the week for new releases, so we've decided to collect them all in one place. Friday Releases for October 18 include Anora, Woman of the Hour, Rumours, and more.

Anora

Anora, the new movie from Sean Baker, is out today.

Mikey Madison captivates as Ani, a young sex worker from Brooklyn whose life takes an unexpected turn when she meets and impulsively marries Vanya, the impetuous son of a Russian billionaire. However, when Vanya's parents catch wind of the union, they send their henchmen to annul the marriage, setting off a wild chase through the streets of New York.

Woman of the Hour

Woman of the Hour, the new movie from Anna Kendrick, is out today.

Anna Kendrick stars in her directorial debut, Woman of the Hour – the stranger-than-fiction story of an aspiring actress in 1970s Los Angeles and a serial killer in the midst of a yearslong murder spree, whose lives intersect when they’re cast on an episode of The Dating Game.

Rumours

Rumours, the new movie from Evan Johnson, Galen Johnson, and Guy Maddin, is out today.

In times of global crisis, the brightest and biggest brains of the free world gather to provide leadership.

Bookworm

Bookworm, the new movie from Ant Timpson, is out today.

Mildred, an adventurous 11-year-old, dreams of proving the existence of the mythical Canterbury Panther. Accompanied by her estranged father (Elijah Wood), the mismatched duo navigates the wilderness, magic tricks, and an extraordinary quest.

Exhibiting Forgiveness

Exhibiting Forgiveness, the new movie from Titus Kaphar, is out today.

Tarrell (Holland) is an admired American painter who lives with his wife, singer Aisha (Day), and their young son, Jermaine. Tarrell’s artwork excavates beauty from the anguish of his youth, keeping past wounds at bay. His path to success is derailed by an unexpected visit from his estranged father, La’Ron (Jelks), a conscience-stricken man desperate to reconcile. Tarrell’s mother, Joyce (Ellis-Taylor) a pious woman with a profound and joyful spirituality, hopes that Tarrell can open his heart to forgiveness, giving them all another chance at being a family.

Smile 2

Smile 2, the new movie from Parker Finn, is out today.

About to embark on a new world tour, global pop sensation Skye Riley (Naomi Scott) begins experiencing increasingly terrifying and inexplicable events. Overwhelmed by the escalating horrors and the pressures of fame, Skye is forced to face her dark past to regain control of her life before it spirals out of control.

The Line

The Line, the new movie from Ethan Berger, is out today.

Alex Wolff stars as Tom, a scholarship student desperate to break free from his working-class background who is charmed by the prestigious KNA fraternity’s promises of high social status and alumni connections that open doors. But upon beginning a romance with Annabelle (Halle Bailey), a classmate outside of his social circle, and the manipulative schemes of his fraternity president (Lewis Pullman) unfolding during the hazing of new members, Tom finds himself ensnared in a perilous game of ambition and loyalty.

Goodrich

Goodrich, the new movie from Hallie Meyers-Shyer, is out today.

Andy Goodrich’s (Michael Keaton) life is upended when his wife and mother of their nine-year-old twins enters a 90-day rehab program, leaving him on his own with their young kids. Thrust into the world of modern parenthood, Goodrich leans on his daughter from his first marriage, Grace (Mila Kunis), as he ultimately evolves into the father Grace never had.

Hysteria

Hysteria, the new TV series from Matthew Scott Kane and David A. Goodman, is out today.

When a beloved varsity quarterback disappears during the “Satanic Panic” of the late 1980s, a struggling high school heavy metal band of outcasts realize they can capitalize on the town’s sudden interest in the occult by building a reputation as a Satanic metal band, until a bizarre series of murders, kidnappings, and reported “supernatural activity” triggers a leather-studded witch hunt that leads directly back to them.

Rivals

Rivals, the new TV series from Dominic Treadwell-Collins, Laura Wade, and Elliot Hegarty, is out today.

Based on the celebrated novel by Jilly Cooper, “Rivals” dives into the ruthless world of independent television in 1986 — where it’s every man and woman for themselves.

The Devil’s Hour S2

The second season of The Devil’s Hour, the TV series from Tom Moran, is out today.

The Devil’s Hour season two sees Lucy (Jessica Raine) and Gideon (Peter Capaldi) forming an uneasy alliance in order to prevent a recurring tragedy and hunt down an elusive monster.

Teenage Mutant Ninja Turtles: Mutants Unleashed

Teenage Mutant Ninja Turtles: Mutants Unleashed, the new game from AHEARTFULOFGAMES and Outright Games, is out today.

Join the Turtle brothers straight from the sewers and slide into this new adventure of shell-shocking proportions!

RetroRealms Arcade

RetroRealms Arcade, the new game from WayForward Technologies and Boss Team Games, is out today.

Step into a 16-bit Pixel Art world filled with gory good fun as horror legends Michael Myers and Ash Williams! Slice and shoot your way across multiple levels of terrifying platformer action filled with familiar sights and sounds from the original “Halloween” film and the STARZ television series “Ash vs Evil Dead!” Test your skill, use your weapons, and confront twisted and fiendish versions of iconic characters in two separate games that can be connected for even more fun.

Slipping Away

Slipping Away, the new album from Tim Heidecker, is out today.

[themovieblogonline]

Jackpot! Review: Awkwafina and John Cena Deserve Better

Jackpot!, directed by Paul Feig and written by Rob Yescombe, promised to be a rollercoaster of laughter and thrills with its unique premise and an ensemble cast featuring Awkwafina, John Cena, and Simu Liu. However, what could have been a clever, genre-bending action-comedy turned out to be a messy and often confusing film that falls flat on multiple fronts. The film's storyline revolves around Katie (Awkwafina), a struggling actress in California in the year 2030 who wins the lottery. The twist? A bizarre law permits anyone with a losing ticket to legally murder her before sundown to claim her winnings. Enter Noel (John Cena), an amateur lottery protection agent, who offers to keep her alive until sunset in exchange for a share of her winnings. Alongside them is Louis Lewis (Simu Liu), whose character is so underdeveloped that his motivations remain a mystery throughout the film, and Shadi (Ayden Mayeri), who serves more as comic relief than a fully-fledged character. https://www.youtube.com/watch?v=IW7pIYtpp50 First and foremost, the concept of the film is undeniably intriguing. The idea of a high-stakes survival scenario with a ticking clock is ripe for tension and dark humor. Unfortunately, the execution of this premise is lackluster. Feig's direction seems torn between crafting an intense action movie and a laugh-out-loud comedy, resulting in a tonal mishmash that fails to deliver on either front. Awkwafina, usually a reliable source of humor and charisma, seems miscast as Katie. Her performance oscillates awkwardly between genuine fear and over-the-top slapstick, making it hard to invest in her character's plight. While Awkwafina's comedic talents are evident in other roles, here she appears constrained by a script that doesn't know whether to take itself seriously or not. John Cena as Noel, the bumbling yet well-meaning lottery protection agent, provides some of the film's few highlights. Cena's natural comedic timing and physicality lend themselves well to the action-comedy genre. However, even his performance is marred by poorly written dialogue and inconsistent character development. One moment he's a competent protector, the next he's making inexplicable decisions that defy logic. This naturally leaves the audience bewildered rather than amused. Simu Liu's character, Louis Lewis, is perhaps the most egregious example of wasted potential in Jackpot!. Liu, fresh off his success in Shang-Chi and the Legend of the Ten Rings, is reduced to a character whose backstory and motivations are never fully explored. Is he a friend, a foe, or something in between? The film never quite decides, leaving Liu with little to work with and audiences feeling short-changed. Ayden Mayeri as Shadi brings some levity to the film, but her role is so minor and peripheral that she barely registers amidst the chaos. Her character seems to exist solely for comic relief, which might have been more effective if the rest of the film were not already struggling under the weight of its own comedic aspirations. The action sequences, a staple of any action-comedy, are another area where Jackpot! disappoints. Rather than being thrilling or innovative, they are pedestrian and unimaginatively choreographed. The chase scenes lack urgency and the fight scenes lack creativity. Plus, the special effects are surprisingly subpar for a film set in the near future. Moreover, the film's attempt to blend social commentary with its outlandish premise falls flat. A society obsessed with wealth and willing to commit murder for financial gain is heavily criticized for its lack of subtlety. Instead of provoking thought, it feels like a clumsy afterthought tacked on to justify the film's high-concept plot. The pacing of Jackpot! is another significant issue. In the middle, several scenes drag in the film and could have been trimmed or omitted altogether. Instead of building tension and excitement as the sun sets and Katie's deadline looms, the film meanders aimlessly. It loses whatever momentum it managed to build in its opening act. The cinematography and production design also fail to impress. For a film set in 2030, there's very little that feels futuristic or visually striking. The bland aesthetic choices do nothing to enhance the storytelling. It only serves to underscore the film's overall lack of imagination. In terms of humor, Jackpot! is a mixed bag. There are a few genuinely funny moments, largely thanks to Cena's comedic chops. These jokes and clichés overshadow sadly. The film tries too hard to be funny, and in doing so, it often misses the mark. Overall: Jackpot! is a film that squanders its intriguing premise and talented cast with poor execution and a confused tone. While there are a few redeeming qualities, such as John Cena's performance, they are not enough to save the film from its myriad shortcomings. Read the full article

[cinema-hallucinations]

Prompt: Assume that all characters in Pokemon are actually actors, with personality and ability that may be wildly different from their on-screen personas. From that premise, devise a concept for a metanarrative movie about the behind-the-scene romances, dramas and/or shenanigans between these actors, the crew and/or the studio management of the series as it otherwise exists in our universe.

Title: Pokéstars

Tagline: Lights, Camera, Evolution!

Logline: Delve into the chaotic world behind the scenes of the beloved Pokémon franchise, where passionate actors (both human and Pokémon), ruthless producers, and ambitious agents collide in a hilarious and heartwarming story about the struggle for fame, friendship, and the true meaning of being a Pokéstar.

Characters:

Ash Ketchum (Actor): An enthusiastic but slightly naive newcomer to the Pokéstar scene, determined to prove his talent despite his lack of experience.

Pikachu (Voice Actor): Ash's snarky and sarcastic best friend, secretly harboring a dream of a solo acting career.

Giovanni (Studio Executive): A ruthless and profit-driven head of the Pokémon Studios, obsessed with ratings and merchandising opportunities.

Misty (Actress): A talented but insecure actress struggling to break out of her "cute girl" roles and be taken seriously.

Brock (Chef and Aspiring Director): A passionate culinary artist forced to work on set as a chef, dreaming of directing a groundbreaking Pokémon film.

Meowth (Actor and Agent): A sleazy but surprisingly competent agent, using his cunning to benefit himself and his quirky clientele.

Jessie and James (Actresses): A washed-up acting duo desperate for a comeback, willing to resort to wacky schemes to land themselves in the spotlight.

Plot:

The film follows Ash Ketchum, a fresh-faced trainer from Pallet Town, as he lands his first major role in the Pokémon League Championship series. His enthusiasm clashes with the jaded veterans - a cynical Pikachu, a disillusioned Misty, and a flamboyant Meowth who acts as his agent.

Behind the Poké Ball:

We see the glamorous surface of Pokéstar productions - the dazzling special effects, the rigorous fight choreography (both human and Pokémon), and the intense pressure to maintain the illusion for the devoted audiences. However, beneath the surface lies a world of chaos, fueled by competitive actors, demanding directors, and a studio obsessed with profit margins.

Romance and Rivalries:

Ash develops a crush on Misty, who sees him as a naive newbie. Meanwhile, Pikachu hatches a secret plan to launch a solo acting career with Meowth's help. Brock, frustrated by his culinary duties, anonymously submits a script for a heartwarming Pokémon film that sparks a bidding war between studios.

The Stakes:

Giovanni decides to revamp the League Championship series with a controversial "Battle Royale" format, pitting all the major trainers and their Pokémon against each other. The actors are divided, some fearing injury and others relishing the increased drama. As filming begins, tensions rise between Ash and a rival trainer, leading to a near-disastrous on-set brawl.

Climax and Resolution:

During the climax, the "Battle Royale" sequence descends into chaos. Ash and Misty have a heart-to-heart, realizing their feelings for each other. Pikachu's solo career ambitions are exposed, leading to a hilarious on-air confrontation with Ash.

Unexpected Heroes:

Brock's script becomes a surprise hit, forcing Giovanni to acknowledge artistry over profit. The film ends with a heartwarming performance by the entire cast, celebrating the spirit of teamwork and friendship that lies at the heart of the Pokémon world.

Themes:

Finding joy and passion within the industry

The importance of teamwork and collaboration

Maintaining artistic integrity in a commercial world

The power of storytelling to transcend reality

[celebmania01]

Breaking Stereotypes: Saniya Iyappan's Strong Stand for Women's Empowerment

Saniya Iyappan, the talented actress from the South Indian film industry, is not just known for her acting skills and dance prowess but also for her strong stand for women's empowerment. In an industry that has been traditionally male-dominated, Saniya has been vocal about breaking stereotypes and advocating for gender equality. In this article, we explore Saniya Iyappan's unwavering support for women's empowerment and the impact she has made in challenging societal norms.

Championing Gender Equality

Saniya Iyappan is a strong advocate for gender equality and has consistently voiced her support for women's rights. She believes in dismantling stereotypes that limit women's potential and hinders their progress. Through her public statements and social media presence, she encourages women to break free from societal expectations and pursue their dreams, irrespective of gender barriers. Saniya's commitment to gender equality serves as an inspiration for women across all walks of life.

Promoting Body Positivity

In an industry that often places undue emphasis on unrealistic beauty standards, Saniya Iyappan has been a vocal advocate for body positivity. She firmly believes that beauty comes in all shapes, sizes, and forms, and rejects the notion that one has to conform to a certain idealized image. Saniya promotes self-love, acceptance, and embracing one's unique individuality. Her positive messaging resonates with many women who have struggled with body image issues and empowers them to embrace their bodies just as they are.

Supporting Women in the Entertainment Industry

Beyond her personal advocacy, Saniya Iyappan actively supports and uplifts women in the entertainment industry. She recognizes the gender disparities that exist and is committed to creating opportunities for other talented women. In interviews and social media interactions, she acknowledges the contributions of her fellow female actors, directors, and technicians, breaking the notion that women are in competition with each other. By promoting collaboration and solidarity, Saniya creates a supportive environment for women to thrive in the industry.

Inspiring Young Girls

Saniya Iyappan's strong stand for women's empowerment has made her an inspiration for young girls all over. She serves as a role model for those who aspire to break free from societal norms and pursue their passion, irrespective of gender expectations. Through her success and advocacy, she shows young girls that they are capable of achieving anything they set their minds to.

Challenges and Pushback

While Saniya's advocacy for women's empowerment has received widespread acclaim, it has also faced some resistance and backlash. Some critics argue that discussions around women's empowerment often exclude other marginalized genders and fail to address intersectional issues. It is important to acknowledge and address these concerns to ensure a more inclusive and comprehensive approach to gender equality.

Conclusion

Saniya Iyappan's strong stand for women's empowerment is commendable. Through her advocacy, she challenges societal stereotypes, promotes body positivity, supports women in the entertainment industry, and inspires young girls to reach for their dreams. Saniya's efforts contribute to the broader movement for gender equality and empower women to break free from the limitations imposed on them. Her influence extends beyond the realm of entertainment and serves as a catalyst for social change.

Sources:

https://www.onmanorama.com/entertainment/entertainment-news/2021/01/17/saniya-iyappan-mollywood-actors-fandom-journey.html

https://timesofindia.indiatimes.com/entertainment/malayalam/movies/news/saniya-iyappan-talks-about-her-passion-for-social-media/articleshow/88232607.cms

[ogradyfilm]

Recently Viewed: From the End of the World

[The following review contains MINOR SPOILERS; YOU HAVE BEEN WARNED!]

The opening scene of Kaz I Kiriya’s From the End of the World—an ambitious, audacious sci-fi epic that evokes equal parts The Wizard of Oz, Inception, and 12 Monkeys—immediately establishes its haunting atmosphere. The setting is feudal Japan—probably the Sengoku Era, judging by the war-torn landscape, though the exact time period remains ambiguous. A young, newly orphaned peasant girl creeps through dense foliage, evading the barbaric soldiers that wiped out her entire village. High-contrast black-and-white cinematography reduces the world to a sea of eerie, expressionistic shadows, as thick and dark as smoke or oil. The only color is red—from splashes of blood to the garb of the hooded samurai commanding the indiscriminate slaughter—and even that is dull and washed-out.

Suddenly, the story leaps forward to the year 2030, where we’re introduced to Hana, a high school senior struggling to financially support herself following the recent death of her grandmother. With graduation looming, she’s sick of people asking about her plans for the future; she already works multiple jobs just to cover the bills and put food on the table. Personal goals and aspirations are luxuries that she simply cannot afford; right now, merely surviving day-to-day takes priority. Here, too, the visual style elegantly externalizes our protagonist’s internal conflict. Long, continuous takes convey the relentlessness of the hardships that she must face on a regular basis; the camera, meanwhile, is often positioned uncomfortably close to the characters, with lenses that warp and distort both their features and the space surrounding them, communicating a sense of claustrophobia and entrapment.

Gradually, the connection between these two seemingly unrelated narrative threads becomes clear: the “flashbacks” represent Hana’s dreams—which are, she soon discovers, actually manifestations of mankind’s collective unconscious. With the aid of a mysterious government agency, she learns to enter and influence this alternate plane of existence—an ability that allows her to literally rewrite history and defy destiny. The editing (which is reminiscent of Satoshi Kon’s Perfect Blue, Millennium Actress, and Paprika) brilliantly reflects this supernatural twist: every cut blurs the boundary between fantasy and reality, seamlessly transitioning from past to present and back again—thus creating the illusion of unbroken action that transcends linear chronology.

Although it’s obviously a technical marvel, the film’s central theme is what truly lingered in my memory as the end credits rolled. Contrary to its bleak subject matter—Hana, a steadfast cynic, genuinely believes that her mission to prevent the apocalypse is futile—From the End of the World is ultimately anti-nihilistic and anti-fatalistic. Sure, life is full of pain, suffering, and misfortune—but that, the movie argues, is no excuse for apathy, pessimism, and defeatism. Indeed, it should be a call to action: it’s up to each of us to care enough—about our planet, our fellow humans, and ourselves—to build a better tomorrow.

[articleverse]

Bonjourpeople's Exclusive Interviews: Hollywood's A-Listers Speak Out

Lights, camera, action! Hollywood, the land of dreams and stardom, has been a captivating realm that continues to allure movie and pop culture enthusiasts. Behind the glitz and glamour lies a world of A-listers, the crème de la crème of the entertainment industry. In this exclusive series, Bonjourpeople delves deep into the lives of these iconic stars to bring you their untold stories. From heartwarming anecdotes to unexpected challenges, get ready to be enthralled by the candid revelations of Hollywood's finest.

1. The Journey to Stardom: From Humble Beginnings to Shining Success

The path to stardom is rarely a smooth one. It's often peppered with struggles, dedication, and undying passion. For Hollywood's A-listers, this journey was no different. Take, for instance, the remarkable story of Emma Thompson, the award-winning actress. Her tale begins in a small town where she passionately pursued her acting dreams despite facing numerous rejections. Emma's perseverance paid off when she landed a breakthrough role that propelled her to stardom. Such inspiring tales of determination and grit are common among Hollywood's brightest stars.

Similarly, the journey of Matthew McConaughey, known for his versatile performances, was a rollercoaster ride of ups and downs. From auditions in cramped apartments to finally winning an Oscar, Matthew's story exemplifies the resilience required to make it big in Tinseltown. These tales of struggle-turned-success not only motivate aspiring actors but also teach valuable life lessons about the importance of chasing one's dreams against all odds.

2. Hollywood's A-Listers: Beyond the Silver Screen

For many fans, Hollywood A-listers are enigmatic figures that only exist on the silver screen. However, behind the on-screen personas are real people with multifaceted personalities. Kristen Bell, renowned for her roles in both comedy and drama, is an ardent environmentalist who actively works to combat climate change. While entertaining millions, Kristen advocates for a greener and healthier planet, setting an example for her admirers.

Likewise, Ryan Reynolds, known for his charismatic wit, is a philanthropist at heart. His dedication to various charitable causes, including children's hospitals and disaster relief organizations, makes him more than just a charming actor. These revelations showcase that Hollywood's elite are not just entertainers but individuals who use their platform to make a positive impact on society.

3. Navigating Fame and Maintaining Privacy

Fame can be a double-edged sword. While it bestows recognition and adoration, it also robs celebrities of their privacy. Hollywood's A-listers often find themselves hounded by paparazzi and media attention, making it challenging to lead a normal life. However, stars like Jennifer Lawrence have managed to strike a balance between fame and seclusion.

Jennifer's refusal to conform to the stereotypical celebrity image and her candidness about her struggles with fame have won her even more admiration from fans. She emphasizes that it is essential to find moments of privacy amidst the glitz of Hollywood. Her stance has ignited discussions about the importance of respecting celebrities' personal boundaries.

4. Hollywood's A-Listers and the Digital Age

With the advent of social media and the digital age, Hollywood's A-listers face a new set of challenges. From instant judgments on their appearances to dealing with trolls, celebrities have had to adapt to the ever-evolving landscape of the internet. However, some stars, like Chris Evans, have mastered the art of using social media for positive engagement.

Chris's advocacy for various social causes, along with his humorous and down-to-earth approach, has earned him a massive following online. He skillfully navigates the digital realm, utilizing it as a powerful tool to connect with fans, address social issues, and promote his projects.

Stay tuned for more captivating insights into the lives of Hollywood's A-listers as Bonjourpeople's exclusive interviews continue to uncover the secrets and stories of these iconic stars.

That concludes the first heading of this article. Let's continue with the next four paragraphs under the next heading.

5. Redefining Beauty Standards: Empowerment in Hollywood

In an industry often obsessed with appearances, Hollywood's A-listers have been at the forefront of challenging conventional beauty standards. Emma Stone, an Oscar-winning actress, has been vocal about the importance of embracing individuality and self-confidence. Her refusal to conform to societal norms has inspired countless fans to feel comfortable in their own skin.

Similarly, Chadwick Boseman, known for his iconic role as Black Panther, has left a lasting impact on empowering black actors and filmmakers. He believed in the significance of representation on screen and used his fame to advocate for a more inclusive and diverse Hollywood. These trailblazers have shown that true beauty lies in embracing uniqueness and celebrating diversity.

6. Behind the Scenes: The Unsung Heroes of Hollywood

While the spotlight shines brightly on Hollywood's A-listers, there are countless individuals working behind the scenes, ensuring the magic of cinema comes to life. From directors to costume designers, the contributions of these unsung heroes are immeasurable. Take, for instance, the acclaimed director Christopher Nolan, whose innovative storytelling and visual mastery have redefined filmmaking.

Moreover, the brilliant costume designer, Sandy Powell, has won multiple Oscars for her exceptional work in bringing characters to life through wardrobe. The dedication and creativity of these talented artists contribute significantly to the success of the movies we love.

7. Evolving Artistry: Hollywood's A-Listers as Creative Visionaries

Beyond their acting prowess, many Hollywood A-listers have ventured into other creative realms, proving their versatility as artists. Donald Glover, also known as Childish Gambino, has excelled not only as an actor but also as a rapper, singer, and writer. His ability to seamlessly transition between various art forms showcases his multifaceted talent.

Additionally, Lady Gaga's evolution from a pop icon to an acclaimed actress has been nothing short of remarkable. Her performance in "A Star is Born" earned her critical acclaim, solidifying her position as a creative visionary. These celebrities redefine the boundaries of artistry and inspire others to explore their passions fearlessly.

8. Impactful Philanthropy: Giving Back to Society

Hollywood's A-listers have consistently shown their commitment to giving back to society through philanthropic endeavors. Angelina Jolie, a prominent actress and UNHCR Goodwill Ambassador, has dedicated herself to humanitarian causes around the world. Her advocacy for refugees and vulnerable communities has earned her widespread respect.

Likewise, Leonardo DiCaprio's passion for environmental conservation has led him to establish the Leonardo DiCaprio Foundation, which focuses on protecting wildlife and combating climate change. These philanthropic efforts exemplify the power of influence that celebrities possess to make the world a better place.

Stay tuned for more exclusive insights into the philanthropic endeavors of Hollywood's A-listers in the upcoming sections.

[jacquelinemerritt]

Horror Media Reviews: The Exorcist (1973)

Originally posted September 21st, 2016

A memorable film that often works against its own strengths.

This review is part of a weekly series of pieces on classic horror films. See them all here!

What exactly can be expected of a film that is popularly conceived of as the greatest horror film of all time?1

My expectations for great films in any genre tend to be pretty high, and I tend to hold horror to an even higher standard, because unlike in other genres, a single formal element falling out of place can ruin the entire experience.

There are few formal elements that feel out of place in The Exorcist. It’s a tightly directed and structured thriller that shows characters who slowly descend into desperation within a plot that still maintains a breakneck pace.2 It’s also a very personal film, focusing very carefully on the internal lives of two characters who both are forced to come to terms with the existence of supernatural forces that they had ceased believing in.

Yet The Exorcist doesn’t aspire to anything beyond this personal tale. It has themes relating to the loss and renewal of faith, but it never attempts to say anything about faith beyond claiming that it is still necessary in the modern world. What’s more, the vulgarity of the possession is tonally dissonant from the grounded storytelling of the majority of the film, and distracts from the most compelling parts of the narrative for the sake of superficial “shock value.”

The Exorcist’s plot follows the two separate stories that join in the third act: that of Chris MacNeil (Ellen Burstyn), an actress shooting a film in Georgetown, and that of Father Karras, a psychiatrist and priest who is struggling with his continued faith. Chris’s daughter, Regan (Linda Blair), begins behaving strangely, and after a team of doctors fail to find an explanation for Regan’s increasingly violent and deranged actions, Chris calls on Father Karras to perform an exorcism as a last-ditch attempt to cure her daughter.

Narratively,3 the film seeds the importance of the priesthood and existence of the supernatural by opening with a sequence in Iraq wherein Father Merrin (Max von Sydow) discovers the carving of a demon’s head at an archeological dig site, whose full size statue appears as a silhouette during the exorcism.

This heavy handed seeding could put the film in a position where we are given information that would make Chris’s exhaustion of scientific explanations and potential cure seem truly unreasonable, but Ellen Burstyn saves the film from that pitfall through her naturalistic performance. She’s a very ordinary woman who is deeply concerned about her daughter, and when it is finally clear to her that the only explanation for Regan’s behavior is demonic possession, it causes her to break down in tears as she asks Father Karras how she might get an exorcism for her daughter.

Karras is a man who has grown to doubt the existence of the supernatural, however. He openly questions his faith in God when having dinner with another priest, and he is further shaken by the loss of his mother, who dies alone in a mental hospital. Karras’ guilt over not being with his mother as she passed wracks him, and visions of his mother calling to him from a train station he cannot reach fill his dreams every night, pushing him deeper into a state of guilt and depression.

Karras’ encounter with the demon that possesses Regan is colored entirely by his guilt. The demon even channels the spirit of his dead mother to taunt him further, showing Karras an image of his mother sitting on Regan’s bed as it begs with his mother’s voice to know why he left her alone. Yet this taunting, combined with the death of Father Merrin, leads Karras to embrace his guilt, driving him to take the demon into himself and destroy it by taking his own life. The way you feel about this final act of his will vary a bit, depending on how you feel about suicidal self-sacrifice, but it’s framed as an incredibly heroic act, simultaneously freeing Regan and proving the strength of Karras’ faith.

While the progression of these characters’ stories is handled beautifully, the progression of Regan’s possession is handled with far less care and nuance. Almost all of the blame for this can be laid at the feet of William Friedkin, the film’s director, as he chose to emphasize the impossibility and unnatural nature of the possessed Regan through over-the-top visual effects. When Regan spider-walks down a staircase in an instant and begin spewing blood from her mouth, it’s very clear that what’s going on cannot be scientifically explained, which cuts against the film’s otherwise successful attempts to make Regan’s possession plausible as a neurological disorder (the same issue is present in the scene where her bed shakes violently and the scene where she flings herself up down her bed violently).

Regan’s possession is also tonally at odds with the careful, and often quiet tone much of the film takes. When the demon begins to show its personality through Regan by shouting “Let Jesus fuck you,” and “Your mother sucks cocks in hell,” the desired effect seems to be the shock of the juxtaposition of such vulgar language with an innocent girl who obviously would never say those things. Perhaps such a juxtaposition has lost its shock value now thanks to the clear vulgarity of young teenagers we’re aware of thanks to the freedom of the internet, but I would argue that it’s also ineffective because the combined juxtaposition of the demon’s separate voice with the vulgar language means that we know very clearly that the thing speaking through Regan’s mouth is not actually Regan.

Still, none of these flaws can undermine how phenomenal the exorcism sequence is. Thanks to the early seeding of the supernatural, the film has built up our anticipation for this sequence in a way that makes it feel inevitable without undermining that character work that makes it a fundamentally desperate act. The scene also would not be as strong without Max von Sydow, whose presence dominates the sequence (he is likely the only actor in the film capable of matching Mercedes McCambridge, the voice of the demon, in projection and vocal strength). The film may have no grand thematic aspirations, but this sequence feels grand. Holy, even. The might, intangible though it might be, of God, is very present throughout this sequence, and it is that might and Karras’ sacrifice that finally bring Regan peace.

Rating: 4/5

The Exorcist can be streamed on Netflix and rented via Amazon and Google Play.

1My source here is a poll taken on HitFix, though metrics on this kind of thing obviously vary from place to place (it’s only the #8 rated horror film on IMDb, for example).

2I’d argue that the spider-walk scene is the only moment of descent that feels forced, as nothing that strange happens to Regan until much later in the film.

3Meta-textually this is seeded as well, given the title of the film (as well as its current ubiquity in popular culture).

Critical Eye Criticism is the work of Jacqueline Merritt, a trans woman, filmmaker, and critic. You can support her continued film criticism addiction on Patreon.

[arts-dance]

World Theatre Day 🎭 March 27 🎭 History, Theme, Significance and Quotes

All the world is a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts.' This famous quote by William Shakespeare holds true, especially today. March 27 is celebrated all over the world as 'World Theatre Day.' Before everybody got accustomed to films, watching different kinds of drama was the prime form of entertainment. Drama and theatre is the medium that is the reflection of our society. In various languages, it depicts the cultures and traditions that exist all around the world. Therefore, a day is dedicated to not only celebrate it but preserve it as well and not let it die down as it is still very much enjoyed by people everywhere. History This day was initiated back in 1962. The International Theatre Institute (ITI) commemorates the beautiful art home in ITI centres and theatre communities around the globe. The first international message on World Theatre Day was written by a French poet and playwriter named Jean Cocteau. The first ITI conference was held in Helsinki in Finland, the second one being in Vienna.

Significance The aim and significance are simple. This is an art form that tells a story to the audience in a personal manner as it develops right in front of you. On this day, people are made aware of the medium as well as the efforts and contributions of renowned theatre artists. Even today, lots of actors and actresses in Bollywood come from a theatre background that gives them an edge. Governments of various countries try to come up with activities to promote this art form. ​ Theme There is no specific theme every year. On this day, a famous or actress is chosen to send a message about theatre's glorious history as well as it being a beacon of peace in today's world. This year, this message was delivered by actress Helen Mirren.

Here it is: “This has been such a very difficult time for live performance and many artists, technicians and craftsmen and women have struggled in a profession that is already fraught with insecurity. Maybe that always present insecurity has made them more able to survive this pandemic with wit and courage. Their imagination has already translated itself, in these new circumstances, into inventive, entertaining, and moving ways to communicate, thanks of course in large part to the internet. Human beings have told each other stories for as long as they have been on the planet. The beautiful culture of theatre will live for as long as we stay here. The creative urge of writers, designers, dancers, singers, actors, musicians, directors, will never be suffocated and in the very near future will flourish again with a new energy and a new understanding of the world we all share. I can’t wait!” 🎭

Quotes

Here are some quotes by famous theatre artists around the world to celebrate the day.

“Theatre is a sacred space for actors. You are responsible; you are in the driving seat.” – Greta Scacchi

“I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.” ― Oscar Wilde

“I believe that in a great city, or even in a small city or a village, a great theatre is the outward and visible sign of an inward and probable culture.” – Laurence Olivier

"Actors are all about entrances, but writers are all about exits."- Vincent H O'Neil

“A theatre is certainly a place for learning about the brevity of human glory: oh all those wonderful glittering absolutely vanished pantomime.” –Iris Murdoch

“Great theatre is about challenging how we think and encouraging us to fantasize about a world we aspire to.” – Willem Dafoe

“With theatre, you have to be ready for anything.” – Willem Dafoe

“Theatre is a series of insurmountable obstacles on the road to imminent disaster.” – Tom Stoppard

“All the world’s a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts.” –William Shakespeare

[oh-sewing-circle]

"Anita Berber was born into a middle-class family with artistic leanings. Her father, Felix, was First Violinist of the Municipal Orchestra, and her mother Lucie was a dancer and aspiring actress. After her parents’ divorce, Berber lived with her grandmother. In 1913, she attended a modern dance school where she learned rhythmic gymnastics. She later studied traditional ballet in Berlin.

Germany from the end of World War I until the rise of the Nazi party in 1933 was a time of both economic instability as well as artistic creativity. The art world embraced Expressionism, and the cabaret scene exploded with risque performances thanks to a loosening of censorship laws. By the age of 20, Berber was performing nude in many of these cabarets.

In 1919, Berber married the wealthy screenwriter Eberhard von Nathusius. They divorced after she fell in love with a lesbian bar owner, Susi Wanowski, who became her manager as well as her lover.

Besides dancing in cabarets, Berber also made more than a dozen appearances in film, including a role in the 1919 silent film Different From the Others. This film is often considered the first sympathetic portrayal of homosexuality on screen. The movie was a direct challenge to Germany’s laws against homosexuality, and the Nazis later banned it.

Berber’s bisexuality and her overall defiance of traditional gender norms were often the subject of the tabloids. Berber reportedly had a brief liaison with a young Marlene Dietrich, the Hollywood star known for her sexy androgynous style.

In 1922, Berber married the dancer Sebastian Droste and the two of them created a book of poetry and photography titled Dances of Vice, Horror and Ecstasy, which they also performed in various nightclubs. They both struggled with alcohol and drug addiction, most notably cocaine, and their performances and poetry often included references to drugs.

Berber and Droste’s performances continued to shock and outrage the public. She was jailed for several weeks after personally offending the king of Yugoslavia with a nude dance performance. As a result they were both banned from performing in European venues for several years. Reports of scandalous behavior followed Berber wherever she went. She was often seen around town with her pet monkey draped around her neck. There were reports that she visited restaurants naked but for a sable coat. After Droste was jailed for fraud (he also stole Berber’s furs and jewelry), Berber met and married American dancer Henri Chatin-Hoffman in 1924, two weeks after they met.

In 1928, Berber collapsed during a performance at a Beirut nightclub. A few months later she died from tuberculosis, most likely the result of years of drug abuse. Following her death, an unflattering and largely fabricated biography emerged, which shaped Berber’s legacy for decades. More recently she’s been seen in a new light, thanks to LGBTQ+ and feminist studies. Berber was an early performance artist at a time when that label didn’t even exist.

[cc-tinslebee]

Okay, so, about a month ago, my brain just conjured up probably the most random au possible: Legally Blonde Adam Banks/banksway au.

Believe me, it's as chaotic as it sounds, but lowkey, I'm kind of in love with it.

Adam never joins the Ducks because there aren't any Ducks to join. Bombay never had to do community service with District Five so there was no one to realise that Adam was on the wrong team all along. He continues to play for the Hawks and, eventually, the Eden Hall Warriors, never getting the chance to become the well-rounded individual we know him as because he's never known anything other than his rich privilege and the "win at all costs" mentality. He ends up going to college on a hockey scholarship and not straight to the NHL or the AHL (shocking, I know). While he's unsure of his major and where his life is heading, he finds solace in the fraternity he joins, which, by some sheer twist of fate, Jesse and Guy have also miraculously joined.

And his life is perfect for a while. He's the star player on yet another school's hockey team, all of his fraternity brothers adore him (though, it took a bit for Jesse to warm up to him), and his secret, not-really-official thing with his former teammate is going swimmingly. (Not to slander my boy, but I was picturing Larson for the role of Warner, purely because the alternative seems to be Rick Riley and that's kind of an unsettling image-- though, maybe that's the point?)

But then his secret boyfriend breaks up with him because, with his high aspirations in life, he needs to be "more serious." And dating Adam Banks, a guy in a stereotypical fraternity who only really knows hockey, in 2001 isn't exactly the white-picket-fence life he's looking for if he's going to be a politician.

And since this non-Duck Adam clearly doesn't have the braincells that canon Adam does, in his devastation, he decides it's a brilliant idea to prove that he is serious by applying to Harvard Law. His parents try to talk him out of it, since they want him to pursue his dreams of hockey, but being a lawyer is a respectable career so they can't exactly argue with him.

He gets accepted thanks to Jesse, Guy, and the rest of his fraternity helping him study for the LSAT and keeping him on track. He's trying his darndest when he gets to Harvard, but (despite his struggle not being as significant as Elle Woods'), not a lot of people take him seriously as an aspiring lawyer, considering him a meathead jock who only got in because of daddy's money.

And that's about the time he meets Linda, who he vaguely remembers from his time at Eden Hall. What he doesn't remember is her being so competitive, because she's deliberately beating him at every turn, just trying (and kind of succeeding) at making him look like a fool. To make matters worse, all of the sudden, she's engaged to his ex-boyfriend, who is very adamant about never telling anyone that he and Adam were more than friends (because, you know, early 2000s homophobia and such).

But things get a little brighter for Adam when he meets Charlie, an undergrad teacher's assistant who gives him all sorts of advice about surviving the school. He introduces him to Professor Bombay, who Charlie claims is the only reason he survived his first year and quickly becomes Adam's favourite teacher, and Charlie's childhood friend Connie, who aspires to be a state senator one day. Charlie's charismatic and even if he's not the most well-liked person at Harvard, Adam feels a weight lifted off his shoulders once he becomes friends with him and Connie. Things become a little easier.

Just before he and Charlie start getting really close, Adam meets Casey at a local diner on a day he's feeling particularly upset and alone, and the two start bonding almost immediately. (He bullshits his way into scaring an ex-husband of hers with legal repercussions he has no idea about and she basically adopts him in return.) It takes him an embarrassing amount of time to realise that it's not just a coincidence that Casey and Charlie share the same last name, which results in poor Adam feeling extremely embarrassed for not connecting the dots sooner while Charlie's having the time of his life teasing him for it. Eventually, when the dust of that settles, Charlie and Adam join forces to set Casey and Bombay up, their schemes borderline ridiculous at times, but they'rere not exactly failing.

And after realising he isn't the Warriors moron she thought he was for going on five years, Linda starts warming up to Adam, which is surprisingly nice? She figures out on her own that there used to be something between him and her fiancé, and is more understanding of Adam than she is mad. Linda actually spills to him the lengths Adam's ex had to go through to actually get into Harvard, aligning more with the rumours about Adam's acceptance being bought than having the aptitude for the law that Linda and Adam share. (This may be me saying Linda and Adam friendship rights, what of it-- /lh)

To make things all the better, Bombay chooses Adam, Linda, Connie, Charlie, and Adam's ex to be on his legal team for a murder case he's responsible for (and while he knows about Adam and Charlie's ploys to hook him up with Charlie's mom, they're his favourites, so he doesn't say anything).

And this is just so much better than anything he had before. After all the initial unpleasantness, Linda and Connie become some of the most genuine friends he's ever had. He misses Guy and Jesse, of course, and he'd never take them for granted, but back when he was with them at the fraternity, a part of him was still being as superficial as he had been in middle and high school. Being authentic for once in his life is liberating.

And Charlie's just about the most considerate person Adam's ever met. Adam doesn't even mind when Charlie teases him over his absurd and juvenile insults because he's just this source of light for Adam, supporting him and always pushing him to be the best version of himself. His ex hardly even exists when Charlie's around because his energy is just so contagious that Adam starts falling for him long before he even realises it. (And when Jesse and Guy come to visit, there's a moment where it all clicks and the four of them realise their history together, however brief. I strongly maintain that they'd be that Starkid meme: "Fucking Hawks? We hated you guys!" "We hated ourselves!" But it does make Adam realise how much better off he would've been if he had Charlie and his team when he was little instead of the Hawks, and it just further makes him understand that people like Larson and Rick Riley just aren't worth it.)

But there's also another revelation Adam goes through. Between helping Casey, his rigorous studies, and his position working with/for Bombay, something just clicks for Adam. He likes being able to help people, fighting for the good guys who may not have the resources they need to be properly defended. Practicing law calls to him in the same way hockey did; it's the feeling of knowing this is what he's meant to do. He still loves hockey, he always will, but it helps him finally grasp that there's a world for him outside of it; when hockey ends for him, there's something equally as rewarding that he can pursue, which was something he never thought he would have.

I haven't a single coherent thought about this au past that point except for these little inklings of an ending--

There's absolutely no SA scene like the movie had; Bombay's just Adam and Charlie's favourite teacher and those are his boys, so he's going to make sure they succeed as if his life depends on it.

With that said, Bombay believes in them both enough to let them finish the case because with their joined determination/stubbornness (and Adam's in with the defendant), Adam and Charlie are a force to be reckoned with and he knows it.

After a handful of comedic failures, they do end up succeeding at their attempts to set Casey and Bombay up, and they start living together sometime during the kids' Junior year :) (All I'm asking is for one (1) story with a Casey/Gordon endgame-- I just think they're neat--)

Linda dumps her fiancé (as she should) and goes on to live her best wlw life as a successful lawyer. (If I'm not mistaken, Linda's actress actually is a lawyer, which is a pretty cool fun fact!!)

Adam and Linda's ex gets the Warner ending because, man, screw that guy /lh (rip to Larson if this is him, I'm sure you'll get a nice endgame in some other universe, king)

Honorary mention for Connie, who was going long distance with Guy this entire time to everyone but Jesse's shock, and they get their Game Changers endgame of State Senator Connie Moreau and stay-at-home dad Guy Germaine with their seven -- sorry, three -- children :)

Adam's an absolute bundle of nerves after graduation, which definitely concerns Charlie. So, when he asks if he's okay, Adam starts nervously monologuing about their time together until he runs out of breath. He ends it by proposing to him, and Charlie smiles so surely at him when he says yes. They both become damn good public defenders and stay engaged until the point they can legally get married, but they're practically husbands long before that happens.

Also, if I did my math right (which I should’ve, it’s my entire basis for my Share Your Address series), the Ducks’ would have the same graduating class year as Elle Woods anyway (2004), which is pretty neat!

Thank you once again for listening to me ramble :)

[tumblezwei]

Why Kyoko Mogami is the GOAT

And why y’all are SLEEPING ON HER

Spoilers for Skip Beat, but honestly idk how much of the story I’m gonna get into for this since I’m flying by the seat of my pants. Still, read at your own risk.

Also this is LONG lmao

Kyoko Mogami is a 16 year old middle school drop-out that works two jobs day and night in order to pay rent for the Tokyo apartment that she lives in all by herself 6 days out of the week. Going into the first chapter, there are three things immediately clear about her. 

1. She’s cheerful, kind, and also kind of batshit insane. From the first moment we meet her, her personality is throwing itself at our faces and refusing to calm down. (apologies for the bad quality images, I work with what I have)

2. She loves Sho Fuwa, her childhood friend and rising rock-star that asked Kyoko to come with him to Tokyo after middle school graduation to support his career

3. Nothing matters to her as long as Sho is happy. Sure, she laments that her love for girly dresses, cosmetics, and fairy tale princesses will never amount to anything since all of her money is going toward paying the rent on her and Sho’s apartment, but that’s fine. As long as her precious Sho is happy, so is she. 

And, as you’d expect, things go to shit pretty quickly afterwards. During one her off days from her night job, Kyoko decides to visit Sho at his recording studio with dinner. After sneaking in past the hoards of squealing teenage girls waiting outside to catch a glimpse of him, she overhears him talking to his manager. 

“I’m the heir to a prominent Japanese inn, do you think I’ve ever cooked or cleaned all by myself?” She hears. 

“That’s awful,” the manager replies, “you make it sound as if you brought her just to be your maid.”

“She’s basically been my maid since I was a kid, or else I wouldn’t have brought her along with me. It’s not like I forced her, I asked her a question and gave her the choice. It’s only natural that she’d work her butt off to support me.” 

And he just keeps going. Once he’s made enough to live independently, he’ll send her back. How dare his parents try to set him up with a plain-looking girl like her. She doesn’t even wear make-up! 

As images of flash in Kyoko’s mind of standing in front of make-up stores with no money to buy anything, she takes Sho’s words just as well as one might expect. By unleashing the box of tucked away emotions she’s held in her chest and swearing to take revenge on Sho for using her and throwing her away like this.

. I failed to mention this at the start, but the beginning of the chapter introduces us to the most important piece of symbolism in Kyoko’s character development: Pandora’s box. 

For Kyoko’s entire life, she’s held this box inside herself. In myth, once this box was opened, all of the evil of the world is unleashed, never to be put back inside. So for Kyoko, the metaphor is quite apt. Hearing Sho’s words unlocks the box and unleashes a kind of anger that not even Kyoko knew she was capable of, a kind of determination and vengeance that has her dyeing her hair and staking outside of a talent manager’s house for days on end to whittle down his willpower and give her a chance to audition at Sho’s rival talent agency, LME. Every time she hears his name, or sees his picture, she’s filled with myopic sense of rage that no one can calm her down from. 

Her sole mission in life is to get revenge on Sho Fuwa, a sentiment that finds her at odds with LME’s top actor, Ren Tsuruga, who sees her one-sided quest for vengeance as an insult to people who truly love acting. But as if Kyoko cares, she needs to get revenge! 

I’m gonna drop the pseudo-narration for a bit because I actually need to skip over a fair bit of plot to get to what I think makes Kyoko incredibly compelling, outside of being the funniest female character in existence. We’re going to jump forward in time to Kyoko’s first acting gig. Well, not so much an gig as much as it is a competition. She’s been tasked to play the role of a dignified inn keeper that’s serving tea to the main male character. After having broken her ankle and been challenged by the real lead actress, this is her first shot to prove she has the talent to make it in the acting industry. So in order to immerse herself in the role, she utilizes her experience of being trained by Sho’s mother to take care of the inn that his family owned. It’s here that we finally understand that Kyoko giving up her life back home for Sho wasn’t just a spur of the moment decision brought about by infatuation. It was something she’d been doing for her entire life. Everything she knows how to do, every skill she’s obtained, has been because of Sho. And this is the moment that she realizes that fact too. (the first image is from after the scene is done, wherein Kyoko cannot snap herself out of her character due to the lessons she was taught as a child, despite her sitting position making her broken ankle unbearably painful). 

Even her righteous fury at being left in the dust is focused solely on Sho fucking Fuwa. Is there anything that she has than can be attributed to her own success? Does she have any skills that can’t be traced back to trying to make Sho happy? Who is Kyoko Mogami? Is she worth anything without Sho? 

And I want to make this clear right now, because I know the term “shoujo” makes people hesitate. THIS is what Skip Beat is about. Kyoko’s journey to find out who she is, and with every new role she takes on and with every experience she gains, she becomes just a little closer to finding out who she is and what she wants for herself. 

We watch as her love for acting slowly eclipses her thirst for revenge. A few arcs after this moment, she is contacted about a job to act in a music PV with none other than Sho himself. In the beginning, she accepts the job in order to prove to Sho that she’s climbing the ladder and catching up to him, but her performance suffers whenever she thinks about her revenge. And what saves her isn’t even putting aside her revenge, but prioritizing her own feelings above it. She wants to act! She wants to put on a good performance! So she needs to put aside those feelings of anger and draw from her past experiences to create a character that leaves Sho in the dust. 

I’m gonna bet y’all are wondering about the romance, though. Because this is a shoujo, and of course it has romance. But hey, guess what? That romance is equally compelling and is an integral part to Kyoko’s character too. In the first....5 or so arcs, Ren Tsuruga ‘s relationship with Kyoko crawls it’s way out of the it’s rocky beginnings, and he slowly becomes a mentor figure to Kyoko. He’s her superior in acting, and she looks to him often for support and guidance when she’s struggling to perform a role or having difficulty with her fellow actors. To Kyoko, Ren is the goal, his level of acting is what she aspires to be, so she can stand on equal footing with him. Before there’s even a whiff of romance between them, there develops a solid bond of trust and support. And once the romance starts. Hoo boy. 

To fully understand why it’s taken 12 years irl for a confession scene to finally take place, we need to bring back the metaphor of Pandora’s box. Because not everything escaped Pandora’s box when it was opened. Pandora was able to shut the box just in time for one thing to stay locked inside: hope. In the myth, this is a good thing, while negative and vile emotions run free, hope still exists within people to become better. But for Kyoko, the box isn’t a safe place, it’s a repressed place. She spent her entire life locking away the negative emotions she felt, placing a smile on her face and hoping for Sho’s happiness. And when those emotions are set lose, she locks the box back up, sealing something else inside. Her hope, her confidence in anything having to do with love. 

It’s not just that Kyoko isn’t in love anymore, she feels as if she can’t be in love anymore, that she’s entirely incapable of it. The idea of falling in love with someone else terrifies her. What if she goes back to the way she was before? An empty shell that exists for other people and not herself. The box has been sealed tightly again, and by God this time she’s not going to let anything open it. And like, I don’t want to spoil much in this, as contradictory as that sounds. Because the scene where she realizes she loves Ren? One of the best fucking scenes in any romance manga ever. 

And. God. I haven’t even touched on her mom. Kyoko’s desire for love, that became so warped under Sho and so desolate after his betrayal, can all stem back to Saena Mogami. A woman who, no matter what Kyoko did, rejected any affection that her child tried to give, and gave none in return. “Even a mother can hate her own child.” We get bits and pieces of what Kyoko’s mother was like, and the environment that a very young Kyoko was raised in before her mother left her in the care of Sho’s parents. And eventually we realize that Kyoko isn’t afraid of her love being rejected twice, but a third time. 

Like, y’all, I’m not good at these kind of essays. I keep wanting to go off on tangents, nothing is ever focused, I spend to much time just reading the manga instead of writing this fucking post. But please believe me when I tell you that Kyoko Mogamis character development is like none other. She’s truly at the top of her genre and it’s an actual crime that she’s so underrated. 

I HAVEN’T EVEN TALKED ABOUT KANAE, THE WEISS TO HER RUBY, THE TSUNDERE TO HER GENKI

Before Kyoko gets even a single arc with Ren, she gets two with Kanae. The first with Kanae as a central figure, and the second where Kanae is her support. She’s the one that gives Kyoko the eureka moment she needs to pull of her performance with Sho. They are one of the most developed and deep friendships in shoujo that I’ve ever seen AND Y’ALL NEED TO STOP SLEEPING ON IT. LOOK AT THESE TWO

And don’t take this poorly assembled post at face value, I’ve left out a lot of shit. Starting with how fucking funny this manga is. Kyoko’s special talent for her LME audition is peeling vegetables, there’s a running gag where Ren asks for her advice while she’s in a giant chicken costume, unaware that it’s her, the president of LME is an eccentric millionaire that likes to dress up in different themed costumes every day and loves throwing extravagant parties, Kyoko’s hobby is making voodoo dolls and talks to a miniature Ren doll whenever she needs encouragement or advice. 

And it’s all packaged alongside some of the most compelling character development I’ve ever seen (for both Kyoko and Ren), and some absolutely heartbreaking drama. You will never know true pain until “I don’t have a daughter.”

Read this, ya’ll. You won’t regret it. 

[chrfaith]

template credit: X

*waves* bonjour & bon jovi everyone! i'm really stoked to be here, as i've been eyeing the premise of this group for quite some time, and finally found the courage to bring a muse in! and what a messy lovely muse she is. no but seriously i have a soft spot for her and am super excited to write her with you all! so if you'd like to read more about this rebel with a cause who's still struggling with loving herself in some complex ways, pls do click the cut below for some quick info and important links that will delve more into detail! as always, if any plots interest you, or if you'd just like to plot something based on chemistry / muse personality, feel free to ♡ this post, and i'll im you to chat! ( oriewortireo unfortunately i'm a boomer trapped in a 23 yo's body who doesn't use discord 🤡 )

tw: child abuse / abandonment, drug & alcohol use

so faith's full biography can be found here, you can view some stats over here, and finally, there's some wanted plots on this page right here! below is a slightly condensed version of her backstory so you can get the gist of everything! :)

faith had a very abusive upbringing at the hands of her mother, who was a rather famous actress who'd made the transition from thailand to south korea, and become a huge star in their film and drama industry.

despite the woman's fame and success, she had a horrible reputation among her peers due to the underhanded and downright cruel things she'd do to others in the profession to get herself ahead.

after faith's father was discovered having an affair with the family's maid, he left the home behind as well as his daughter. faith's mother's anger only got more intense, at having her perfect family image destroyed in the public eye.

her daughter bore the brunt of this anger, of course, as she was the only target the woman had left. she'd found a way to blame faith for the separation and eventual divorce, as it seemed to easiest way for someone so vitriolic to deal with rejection.

faith eventually came to believe the vile things her mother told her, developing an unhealthy dislike for herself and an appetite for self destruction as she entered her teens and began attending hannam.

she'd go to parties she was too young for; drinking, inhaling or swallowing any hallucinogen anyone would offer her, just wanting to feel anything but her mother's tight, painful grip on her wrist. wanting to hear something other than morbid threats, teardowns and insults was essentially the only thing keeping her going. chasing the next high to cope with the crushing lows.

on one particular weekend, she and a couple of friends from hannam high school snuck into a nightclub. after some illegitimately attained cocktails and a dare, the group took over the dj booth while the dj was in the bathroom.

this was the night faith fell in love with the idea of being a dj. the crowd, the music; sounds filling her ears besides her mother's shrill voice? it was the escapism she'd always been searching for.

it was through her journey to learn the craft that she met the person who'd have a huge impact on her life, for better and for worse.

he was the lead singer of a fairly popular band, even though faith wasn't overly familiar. he seemed sweet and nice; like another escape to her. he was helpful with her musical aspirations, making her feel like she really mattered. she eventually was even able to book paid jobs at clubs thanks to his influence.

and there were a couple of happy years out of it, during which faith thought she'd finally found a light beacon in the storm she'd been navigating since she was a child. the only thing that seemed strange was his insistence on keeping things a secret.

there turned out to be a reason for it; he had a penchant for keeping a whole slew of girls in the wings to satiate his desires. one of them happened to be an actress, and things had gone public on a gossip news site; this is precisely where faith had the privilege of learning the news.

after breaking things off, it was all faith could do to pour herself into her deejaying and become a fvcking badass who put herself first (sometimes). she became something of a local celebrity in seoul on the club circuit, and even took to making original music rather than just remixing the works of others.

her diligence earned her some local airplay on a small electronica radio station, and hearing her own original song emanating from an actual, real radio station was the most awash in true confidence she'd ever felt.

sadly just moments later, she had the wind knocked out of her when she stumbled upon another song while changing the dials; one by her ex's band. the song was very clearly about her, with the euphemistic title 'i had faith', and it was full of intimate references to her and the things they did together. it also contained allusions to some of the darkest secrets she'd told him, and taunts about how he'd made her everything she is. she was disgusted.

it destroyed faith and rebuilt her at the same time. she decided she now existed solely to prove that she could achieve any and everything on her own; that she didn't need some fuckboy's influence to see her dreams come true.

she now has a pretty nice apartment, not too far from her old stomping grounds at hannam high school. she still struggles with believing she deserves love, or anything, really but she's a great deal closer to that goal than she was at the start!

[themovieblogonline]

Jackpot! Review: Awkwafina and John Cena Deserve Better

Jackpot!, directed by Paul Feig and written by Rob Yescombe, promised to be a rollercoaster of laughter and thrills with its unique premise and an ensemble cast featuring Awkwafina, John Cena, and Simu Liu. However, what could have been a clever, genre-bending action-comedy turned out to be a messy and often confusing film that falls flat on multiple fronts. The film's storyline revolves around Katie (Awkwafina), a struggling actress in California in the year 2030 who wins the lottery. The twist? A bizarre law permits anyone with a losing ticket to legally murder her before sundown to claim her winnings. Enter Noel (John Cena), an amateur lottery protection agent, who offers to keep her alive until sunset in exchange for a share of her winnings. Alongside them is Louis Lewis (Simu Liu), whose character is so underdeveloped that his motivations remain a mystery throughout the film, and Shadi (Ayden Mayeri), who serves more as comic relief than a fully-fledged character. https://www.youtube.com/watch?v=IW7pIYtpp50 First and foremost, the concept of the film is undeniably intriguing. The idea of a high-stakes survival scenario with a ticking clock is ripe for tension and dark humor. Unfortunately, the execution of this premise is lackluster. Feig's direction seems torn between crafting an intense action movie and a laugh-out-loud comedy, resulting in a tonal mishmash that fails to deliver on either front. Awkwafina, usually a reliable source of humor and charisma, seems miscast as Katie. Her performance oscillates awkwardly between genuine fear and over-the-top slapstick, making it hard to invest in her character's plight. While Awkwafina's comedic talents are evident in other roles, here she appears constrained by a script that doesn't know whether to take itself seriously or not. John Cena as Noel, the bumbling yet well-meaning lottery protection agent, provides some of the film's few highlights. Cena's natural comedic timing and physicality lend themselves well to the action-comedy genre. However, even his performance is marred by poorly written dialogue and inconsistent character development. One moment he's a competent protector, the next he's making inexplicable decisions that defy logic. This naturally leaves the audience bewildered rather than amused. Simu Liu's character, Louis Lewis, is perhaps the most egregious example of wasted potential in Jackpot!. Liu, fresh off his success in Shang-Chi and the Legend of the Ten Rings, is reduced to a character whose backstory and motivations are never fully explored. Is he a friend, a foe, or something in between? The film never quite decides, leaving Liu with little to work with and audiences feeling short-changed. Ayden Mayeri as Shadi brings some levity to the film, but her role is so minor and peripheral that she barely registers amidst the chaos. Her character seems to exist solely for comic relief, which might have been more effective if the rest of the film were not already struggling under the weight of its own comedic aspirations. The action sequences, a staple of any action-comedy, are another area where Jackpot! disappoints. Rather than being thrilling or innovative, they are pedestrian and unimaginatively choreographed. The chase scenes lack urgency and the fight scenes lack creativity. Plus, the special effects are surprisingly subpar for a film set in the near future. Moreover, the film's attempt to blend social commentary with its outlandish premise falls flat. A society obsessed with wealth and willing to commit murder for financial gain is heavily criticized for its lack of subtlety. Instead of provoking thought, it feels like a clumsy afterthought tacked on to justify the film's high-concept plot. The pacing of Jackpot! is another significant issue. In the middle, several scenes drag in the film and could have been trimmed or omitted altogether. Instead of building tension and excitement as the sun sets and Katie's deadline looms, the film meanders aimlessly. It loses whatever momentum it managed to build in its opening act. The cinematography and production design also fail to impress. For a film set in 2030, there's very little that feels futuristic or visually striking. The bland aesthetic choices do nothing to enhance the storytelling. It only serves to underscore the film's overall lack of imagination. In terms of humor, Jackpot! is a mixed bag. There are a few genuinely funny moments, largely thanks to Cena's comedic chops. These jokes and clichés overshadow sadly. The film tries too hard to be funny, and in doing so, it often misses the mark. Overall: Jackpot! is a film that squanders its intriguing premise and talented cast with poor execution and a confused tone. While there are a few redeeming qualities, such as John Cena's performance, they are not enough to save the film from its myriad shortcomings. Read the full article