#the actors in this series… the amount of talent… incredible

[luminarai]

post episode 3, I’m still firmly, hilariously convinced that armand is lying through his teeth about fucking lestat, which really speaks to assad zaman’s acting talent because that man is so fine, just on a completely superficial level, beyond handsome, can’t fault louis for risking it all and inviting him up to the hotel room, but the entire time that he was going ‘oh yeah I was totally sexy and normal and lestat told me he loved me like all the time and his boring violinist boyfriend was sooo jealous anyway then lestat ghosted all of france it’s a total mystery’ I was instinctively screaming ‘you’re a fucking liar armand’ like tom hopper megaphone yelling at eddie redmayne for lying about his horseback riding abilities, except for tom hopper it was me kicking my feet in delight on my couch and instead of eddie redmayne being able to ride horses it was armand being able to ride lestat

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 琅琊榜/Nirvana in Fire.

Nirvana in Fire is a 2015 historical series best described as either a complicated succession drama set in the premodern Chinese imperial palace, or the story of a man who didn't die a decade ago and has decided to make it everyone else's problem.

And really, I almost feel silly giving my glib little summary, because Nirvana in Fire is so well-known of a property. It's a classic for a reason, and that reason is that it's legitimately very good. This show is what happens when you adapt a solid story, get a bunch of very talented actors, and throw a huge amount of money at it. It's incredibly popular and highly acclaimed, and it earned all of the hype.

Still, while I bet there are few people adjacent to c-drama stuff who've never heard of Nirvana in Fire, I'm sure there are plenty who haven't watched it. After all, it looks like one of those slow, serious shows with a lot of ponderous talking and no joy. If that's the impression you've been given, I could imagine looking at the 54-episode commitment and saying, I don't need that in my life.

I am here to tell you you're wrong. It is a banger of a show. It's tense. It's funny. It's heartbreaking. It’s exceptionally clever. It’s jaw-droppingly stupid. It’s romantic. It’s tragic. It has smart plots and bizarre subplots. And that's not even touching the thing with the yeti.

So in case you're one of those people who's heard of Nirvana in Fire, but has put off watching it for one reason or another, I'm here with five reasons I think you should try it.

1. Epic Shit

Did you like the Lord of the Rings? More specifically, did you really like the second Peter Jackson film? Great, then you're all set for this.

I guess I could have called this Game of Thrones without the dragons, but that's not actually the vibe at all. Game of Thrones is much more sensational and salacious, with all the blood and butts and what-not. The Tolkien comparison is more apt, I think, because Nirvana in Fire is equally about as wholesome as you can get in a property where dudes are still getting stabbed all the time.

This is a show about vengeance. And yeah, justice for the fallen, sure, that's fine too. But mostly it's about a bunch of good people joining forces to make sure the bastards who did wrong pay, with their lives as necesary.

The problem, though, is that these bastards are incredibly powerful, which means that a pure brute-force approach isn't going to work. Accordingly, this quickly becomes a story about the power of smart teamwork to exact retribution on some people who can (and did!) legally get away with murder -- and our heroes are some of the people with their necks most on the line if anything goes wrong.

Don't let the Middle Earth comparison fool you into thinking this is all epic swordfights. It's not. (I mean, for one thing, as well-funded as this project is, it doesn't have Peter Jackson Money.) The vast majority of the tension in the show comes from dialogue and slow, terrible realizations. The fight scenes are almost a relief from the nail-biting intensity of intimate conversations about getting a letter from somebody's ex-wife or returning a book.

All told, the show has that incredible almost-RPG vibe of going through all the little subquests and cutscenes you find along the way to defeat the final boss. The plot carefully unravels a multi-tendriled mystery told to you by people in incredible costumes. It doesn't get much more epic than that.

(Nirvana in Fire is also a cautionary tale about how you should be very careful with who gets invited to your birthday party.)

2. A chronically ill protagonist

Okay, right in the first episode, it is established that the main character has three whole completely different names and an old nickname. I'm going to call him Mei Changsu for the duration of this rec post, but let the record show that I could just have easily gone with one of the other three.

What you learn in that same first episode is that Mei Changsu used to be a palace insider, the cocky son of a noble family, only now nearly everyone he used to know thinks he's dead. Also, he's not far off from being actually dead -- he has an unspecified terminal condition that's mostly managed, provided he stays in his little mountain hideaway with his handsome doctor bestie and doesn't return to his old stomping ground and start kicking over hornets' nests.

So guess what he's about to do.

I have to make a note of how brilliant the casting is here: Hu Ge is an action actor! He is a kickpuncher of a man! And I think it's great that you can sort of see his frustration, as well as Mei Changsu's, at having to spend the whole series wrapped in countless layers of fabric and/or lying in bed while everyone around him gets to be the badass action heroes.

Mei Changsu's not faking it, either -- he's actually dying. He expends his energy where he thinks it's necessary, and sometimes that means he has to spend the following week in bed. He's constantly frustrated with himself for what he can't do anymore. He's racing a clock, and that clock is his own failing body. If he dies, the only hope anyone here has for justice dies with him.

He gets two love interests that the show treats pretty much equally. One's a lady general who wasn't even a love interest in the book. The other's the handsome prince who was initially going to be his textual romantic partner in same book, until the author hopped genres from danmei to general historical drama. I can't even call this a love triangle, because there's no competition. He just gets a wife and a husband -- in that he gets neither, because circumstances and his own illness keep him distant from them. He lies to both of then about his condition (among other things). He wants to be with them both and knows he can't be with either. And they in turn have to learn to accept what of him they can and can't have.

(Also, Nihuang (her) and Jingyan (him) are both incredibly gorgeous, which is exactly what bisexual genius Mei Changsu deserves.)

Obviously this isn't a perfect representation of life with chronic illness, largely because Mei Changsu is an incredily wealthy man who lives in a universe with what's basically magic medicine. However, I've seen the story's treatment of him and his condition resonate with a lot of chronically ill viewers, so even with the fantasy layer on it, there's definitely something there.

3. Dave

I have already told the story of how Meng Zhi became "Dave," but long story short, he's such a Dave that I legitimately forget his character's real name. He embodies Daveness. He's The Ultimate Dave.

Dave is an excellent fighter, a loyal friend -- and a terrible liar. He's possbly the only straightforward character in the entire show. When he's asked to be duplicitous, he's comically bad at it. Dave will never do a heel turn. I was misled at first by his semi-evil facial hair, but I have seen the error of my ways. Dave is pure lawful good.

And the reason I list Dave as such a selling point is that having a Dave means you always know what's going on. This is because Dave never knows what's going on, and he has no ego about that, so he asks questions, and other characters have to explain to him what just happened, and that is how you figure out what's going on.

It's an incredibly smart move on the drama's part, because some of the (very fun) schemes are so complicated that there's no way for you, the viewer, to understand them just by watching. Without the internal monologues and omniscent narration of a book, the machinations are opaque. You need things explained -- but why would the schemers explain their schemes? Well, Dave needs some exposition, so here you go.

So if you're worried that you might be left feeling stupid by a show where so many sneaky people are hatching so many complex plans, worry not! Like the good man he is, Dave has your back.

4. A Million Amazing Antagonists

If you like bad guys, this is a show for you. This show has brilliant bad guys all the way down. It has bad guys at every turn. It has bad guys for every taste. Welcome to Big Liang's Big Bad Guy Emporium, where we guarantee you'll walk out of here with a bad guy you like, or your money back!

(And yes, this set of pictures is also to say that their costume budget was entirely well-spent.)

Without getting too far into spoilers, I will say that the basic situation underlying the whole series is this: The emperor has done a lot of bad things, and he has enlisted a bunch of people's help in hiding those bad things, so much so that many of those other people have done even more bad things the emperor didn't even know about -- and then everyone has gone to great lengths to cover those up as well. Our protagonists spend the whole series unraveling this colossal shitshow and bringing people to task for their crimes.

So really, if you're going to spend 54 episodes taking down the baddies, they've got to be baddies you love to see taken down. And these are -- in part because all of them have crystal-clear, rock-solid motivations for their actions. Nobody here is a moustache-twirling comic-book-villain baddie. They're all bad for reasons that are very understandable in their individual contexts. And not a single one of them is going to go down without a fight.

5. World's Best Mom

(Sidebar: The fact that four out of five of my reasons to watch the show are individual or groups of characters should be your strongest indicator that this is an intensely character-driven story.)

This is not a Dead Mom Show. Okay, some moms are dead, but mostly this is a Moms Are Alive And Often Cause Problems Show, which is a lot of what makes the palace drama so delicious. But there is one Good Mom who stands out above all the rest: Consort Jing.

Played with perfect grace and devastating politeness by the stunning Liu Mintao, Consort Jing is a skilled doctor and excellent baker who starts the show with a low-level status among the women of the palace. She swallows down all kinds of mistreatment because she's not in a place to oppose it -- and when she can retaliate, it must only be through soft power. She loves her jock son with all her heart, but because of both their relatively poor positions in the hierarchy, she doesn't get to see him all that much. She wants to be an asset to him, while all the time she has to fear becoming a liability.

She is also the smartest person in any room that she's in, unless she's in a room with Mei Changsu, and even then it may be a tie.

There are lots of great characters in the show that I could have highlighted here, and plenty of them are women, but Consort Jing in particular never ceases to impress me. She is trapped in a gilded cage, married to a man who [lengthy list of spoilers that are traumatic to her in particular], and held hostage by how every time she even looks like she's out of line, it puts both her and her boy in danger. She's the most vulnerable of any of our good guys. Kind of like Wang Zhi, she's got to be clever or she's dead.

Consort Jing is not part of Mei Changsu's original plan. She figures out his plan and makes herself part of it -- and entirely remotely, as she and he aren't even in the same room until episode 40 or so. She puts herself in great danger to make sure he succeeds, not because it will necessarily do her any good, but because Jingyan needs him. This woman has been captain of the Mei Changsu/Jingyan ship for like twenty years already.

Oh, and did I mention her outfits?

I love you, Consort Mom.

Are you ready to watch it yet?

Get it on Viki! Get it on YouTube! Get it on YouTube but in a different playlist! (And also maybe get it on Amazon? Not in my region, but maybe in yours.)

I will warn you that it does take off running -- I think I saw someone say it introduces nineteen characters in the first episode? I was worried that I'd be too innundated by situations and flashbacks and names to be able to follow. By the second or third episode, though, I was rolling with it. So if you feel like you're struggling at the beginning, stick with it a bit. See if you don't feel it start to click.

...Man, reading over this post has left me going, oh, but I missed that! and that! and that guy! And yeah, the truth is that there are just so many great things about the show that limiting myself to only five (and being limited to only thirty images) was tough. I'm sure that people reblogging will add their own must-see elements.

Truly, this is a show that deserves its reputation. It may not be for everyone, but if this is the kind of thing that you like, it is a shining example of that thing.

Besides, you have to love a production where everyone was clearly having just a whole lot of fun being big ol' costumed dorks.

[thisautistic]

i willfully acknowledge that i'm a hater right now and that's probably why im gonna post this (average man with pmdd) but! the amount of love war is getting for his portrayal of joke is LOVELY, okay? I LOVE war don't get me wrong that man is an incredible actor.

but yall know there's a REASON that Yin is his screen partner right? like. yin ABSOLUTELY keeps up with war in EVERY ROLE THEY HAVE.

just because an actor has a more understated performance style doesn't mean they're not as good. he SUPPORTS WAR in his roles. the reason war is SO GOOD is because he has a screen partner who allows him to shine.

also the DIFFERENCE between ep 1 and ep 2 jack?! like HOLY FUCK do you think that's easy to do??? well it's not. the fact that he has grown the character the way he has is A MASTERCLASS. please yall gotta start putting more respect on my man's name

and don't even get me STARTED on the other actors in the series.

there's talent all around in this show and we need to celebrate ALL OF IT.

[spirit-meets-the-b0ne]

House of the Dragon was built to fail

Which the greatest shame of that is, I truly believe they got an incredible cast of talented actors, it's distressing to see them largely wasted. I've been an HBO fan (in a Stockholm kind of way) for the better part of two decades and even some of their usual pitfalls were accelerated here. While it's easy to just blame Ryan (5 spits for an enemy Condall) it still feels like there's more than just writing or directing so this post won't focus as much on the characterization follies but more on the story's infrastructure. While budgetary concerns with a show like this are obvious considering the dragons cost a great deal of time and money it is odd to me that this is a series rather than a mini-series. By that I mean, HBO for most of their big productions had seasons ranging from 10-15 episodes (Sopranos S1 13 episodes, True Blood S1 12 episodes, The Wire S1 13 episodes, etc) so this is exceptionally short of a season for House of the Dragon. Game of Thrones original run was largely a 10 episode format until the later seasons which were also notably shit.

This structure was never designed to give the characters or an audience time to breathe. While this is something that is continually brought up across the cinema/film community these days it seems especially important here. It also seems very easy for an audience to decide against investing time and energy into a series that only holds you for 8 weeks and then takes another 2-3 years of production. As most of the audience knows, it isn't like there is a shortage of materials for the show to incorporate. It's an active choice to not dive more into the lives and circumstances of these character and their relationships. Now, I'm not expecting Lost 2.0 where every character will get an episodic focal point and backstory. Still, you have plenty of non-dragon riding characters whom you could spend time with that don't require maxing out your VFX budget for. Because as of right now from the posts I've been seeing it's clear that most of the general audience at this point is more invested in the dragons than any human character in the show save for some Stans. I can't say I blame them. Most every character at this point is barely tolerable or straight up deeply unlikeable. That's a failure of the writers and directors explicitly. I think the actors are genuinely doing the best they could with the material they're given.

It's frustrating because while I was expecting this show to disappoint (both because of GoT's outcome and HBO's late game losing streak shout out to True Blood for getting so bad I never watched the final episodes) this production is hitting that wall way sooner than expected. If there was another 2-4 episodes to actually develop the characters and their relationships (even with piss poor writing) it might have helped tremendously but this structure is going to leave an audience wanting more and not in a good way. If there is a season 3 I can't imagine in 2 years that a lot of the current viewership would return. So even the "fix it" episode rewrites fans make don't seem like enough, to me you genuinely need more material, more for an audience to invest in or feel a part of. If this season was even 10 episodes there would have been so much room for improvement. The Last of Us was able to deliver a satisfying plot and character arcs with 9 episodes and there's a huge difference with the way that was received by audiences vs. HotD. The obvious difference is the amount of time they needed to tell that story vs. the amount of time you rightly needed to tell this one, which is case in point why HotD needed more time. So, while a short season can deliver satisfaction in some cases, I don’t believe as a rule it should all be common place to condense stories and characters. Especially considering HotD's compression is coming largely at the expense of the women in the show (Rhaena, Jeyne Arryn, Helaena, Nettles, Rhaenrya and Alicent's respective character assassination, etc). That's to say even if these character plots deviate from the canon they have the room to grow and develop a character completely to an audience. If you're going to change a character from the source material at least make them a well-developed different person.

[morkitten]

KAMEN RIDER MEGAPOST

I've been deep in the Kamen Rider hole after taking a blind chance on it about a year ago and it's been one of the most rewarding discoveries I've had, so I'm doing a megapost where I try to convey what's so interesting and unique about this series that you can literally just start anywhere. There's a Kamen Rider series for everyone, and I hope to convince you of it and point to where you can give it a try for yourself. Click on the read more to see more!

WHAT IS KAMEN RIDER?

Kamen Rider is a superhero that rides a motorcycle who's often bug-themed, but not always. The Kamen Rider franchise started in 1971 and, with the exception of a few periods of dry spells, keeps making new yearly series to this day. It's part of Japan's many, many decades old craft of special effects-focused TV shows and movies, called "Tokusatsu" (literally, "special filming"). It was conceived and spearheaded by Shotaro Ishinomori, an incredibly famous mangaka in Japan, responsible for not only Kamen Rider, but also Super Sentai, Cyborg 009, Zubat, Kikaider, and many other TV series and mangas. The amount of works he has produced in manga and TV is incredibly huge, and his works have been incredibly influential to Japanese culture as a whole. Kamen Rider can be argued that is his biggest, most important contribution.

A consistent theme in early Kamen Rider series is that he's a lonesome, grieving hero, in which his sadness fuels his righteous anger at the evils that he's fighting against. He's been transformed into a monster against his will, and now must fight against the very forces that created him. In every Kamen Rider series, the power that the protagonist wields is the same power that fuels the evil forces he fights against. In a way, you can see it as a metaphor for Kamen Rider's production itself: It must use the evil power of mass media to carry its anti-authoritarian messages that go against the very forces that even allow it to exist. It's the tale of every artist trying to create something earnest and culturally and artistically enriching in the cynical mass media space.

WHY WATCH KAMEN RIDER?

I was never really sold on Kamen Rider at first. I remember watching a bit of Kamen Rider Black when I was very young, so I was always nostalgically curious about it. But whenever I saw the newer Kamen Rider stuff pop up on Twitter or whatever, I had always dismissed it as "eh, whatever bug bit you I guess made you interested in that". Something about the super toyetic costume designs and super fake CG just never really inspired my attention, and it was easy to dismiss it as something for kids, something in that same place in my mind as "what shonenheads are into". I guess what I mean is that I saw newer Kamen Rider as "low art". It's easy to categorize it as such, people in silly suits selling toys, doing really silly comedy, with silly CG. I've seen Power Rangers before, it's just that. It has to be cynical!

I had never done such a big 180 before. Yes, Kamen Rider is "for the kids" (with some exceptions), yes it has a ton of silliness to it, but there's also a lot of good cinematography, fantastic stunts, and really great, serious drama. Kamen Rider is seen as a cultural institution in Japan for all those reasons. It's a way to keep a lot of theater traditions alive in a modern space, a way to have many young, extremely talented actors have a big break, a way to keep tokusatsu traditions and craft (analog special effects, stuntmen, martial arts actors) alive, employed, and continuously evolving, to create something that bridges the gap across all generations in Japan.

It's difficult to explain, but Kamen Rider has the important positive qualities of extremely good older television like Star Trek and Columbo. A TV show that doesn't want to aspire to be a hollywood movie like Netflix series cheaply try to do, but that sees the value of theater and theater skills in television.

Another thing to note is that because Kamen Rider is such a huge cultural institution, if you enjoy anime and japanese video games, there's so so much about what you love on your favorite anime and games that are directly inspired by Kamen Rider. Every japanese action game you've enjoyed? Ninja Gaiden, Shinobi, Devil May Cry, Viewtiful Joe, Hagane, Bayonetta, they -all- have an incredibly huge amount of Kamen Rider in them. Nearly everything Gainax, Hideaki Anno and Studio Trigger made. Pokémon, Digimon, Dragon Ball, One Piece, Yu-Gi-Oh (especially on the superb monster designs), Taiyo Matsumoto, every japanese character that has ever stricken a dab. It's not just references, there are fundamental things about pretty much all of these games, mangas and animes I've listed that are directly attributed to Kamen Rider. So if you enjoy anything I've listed, you ought to give it a try.

OKAY, WHERE TO START?

One of the greatest things about Kamen Rider is that since every series is its own closed continuity (there are crossover movies but they largely don't matter), you can pretty much start anywhere you'd like. Of course, with this many ice cream flavors, one can't help but become paralyzed by the abundance of choice, even though, and I can't emphasize this enough, every Kamen Rider series I've watched so far have all been pretty good to fantastic. I'm sure there's a couple of stinkers I've avoided, but a hitrate like this feels miraculous, I don't understand how does Kamen Rider from so many different eras can keep such a consistent quality even when they can feel so different from one another and be spearheaded by such different creators. You can maybe look them all up and decide what theme you're most attracted by, or, I can maybe help you and tell you about the ones I've watched!

So, here's a list of the Kamen Riders I've watched, with short descriptions of each of them and what makes them appealing, and a mini-list of recommended episodes to sample, in case you're still not sure whether to jump in:

SHOWA ERA (1971 - 1994)

KAMEN RIDER (1971)

The original, and also the least I've watched so far, haven't even gotten to 10 episodes yet. It famously started with an incredibly small budget and it's magical to see what tricks the production employed in order to make it work and be exciting and fun while spending as little money as possible. The stunts are very dangerous but very cool to see. A long, very episode-by-episode affair, but if you get excited on cheap sets and cheap cinema tricks and special effects used very cleverly, this is going to light you up like a christmas tree. It also employs some thriller-inspired cinematography that is very exciting. The writing doesn't offer much substance, but it has this quality where it really believes in itself and in the ideals that Kamen Rider is supposed to represent that is very easy to feel wrapped up in. Might bore you if you're not already sold on the appeal of old tokusatsu.

RECOMMENDED EPISODES TO SAMPLE: Episode 6: The Grim Reaper Chameleon! Episode 7: The Grim Reaper Chameleon Showdown: Old World's Fair

KAMEN RIDER AMAZON (1974)

It's basically just the 1971 Kamen Rider but the main character is Tarzan. It runs only half as long as other Kamen Rider series so if you wanna do a whole Showa-era KR series quickly, it's a very solid recommendation. It's very violent for a children's show, with Amazon often slicing and mauling his monster opponents in bloody messes, and it looks really sick. The suits and special effects are better than how the original Kamen Rider starts off, but it still has that appeal of being old and budgeted for a TV show, which in this case is a huge positive, imo. Also again, the writing isn't much to write about, so don't expect big narrative payoffs or anything like that, you really have to enjoy it on an episode-by-episode basis, which is fine, because the monsters and special effects are extremely cool, the characters are charismatic, and the little episodic plots are fun.

RECOMMENDED EPISODES TO SAMPLE: Episode 4: Run! The Raging Jungler! Episode 11: The Golden Snail is the Grim Reaper's Envoy!? Episode 16: Garanda's Tokyo Sea of Flames Operation Episode 17: Mt.Fuji Big Explosion?! The Tokyo Fry Pan Operation

KAMEN RIDER BLACK (1987)

This was supposed to be a revival of Kamen Rider into public interest after being dormant for a while, so it also feels like a retelling of the first Kamen Rider in a sense, has a lot of common elements, but with slick 80s production and sensibilities all over. If you love how 80s action, sci-fi and thriller movies look like, you'll love the cinematography and production of Kamen Rider Black. It's edgier, sleeker, and even scarier, borrowing a lot of horror/thriller elements that were in vogue at the time, while still being a hopeful, heroic and uplifting presence for children. Has an overarching plot that develops over time but it's, again, really about enjoying it on an episode-by-episode basis, as the overarching plot develops veeeery slowly and in very small portions. I supremely love how this series looks, I love the special effects, I love the suits, and it has my favorite transformation sequence.

RECOMMENDED EPISODES TO SAMPLE: Episode 1: Black!! Transformation Episode 2: Monster Party Episode 18: Sword Saint Bilgenia Episode 20: Rider's Grave Episode 23: Marumo's Magic Power Episode 24: College Girl's Nightmare

SHIN KAMEN RIDER PROLOGUE (1992) (MOVIE)

This doesn't have anything to do with the Anno movie, the Shin here is written differently. A movie that celebrates the series' 20th anniversary that tells its own story with its own Kamen Rider, so it feels like a "reboot" or "re-interpretation" of Kamen Rider. It's darker and scarier, with a Kamen Rider that looks much more like a monster than an armored hero, and leans more into the horror side of Kamen Rider, being more adult-focused. Very violent and very cool.

KAMEN RIDER ZO (1993) (MOVIE)

This was supposed to be a full-fledged Kamen Rider series but the 80s bubble popped and they decided to shift production into a short movie instead. Might be a good introduction point, since it's a short 1-hour watch, and has a ton of really great special effects. Everything that is great about Black's cinematography, propwork and special effects apply here, except since it's just one movie, they're really throwing everything they've got into it

HEISEI AND REIWA ERAS (2000-Present)

Kamen Rider went dormant in the 90s until it was revived back into its TV format by Kamen Rider Kuuga, which was a major success. Since then, there's been yearly new Kamen Rider series on Japanese television, non-stop.

The difference between the Kamen Rider of old (Showa era) and the Kamen Rider series past this revival (Heisei, Reiwa) is that newer Kamen Rider series, despite also being monster-of-the-week romps, tend to have a more complex overarching plot which they tend to lean more into, and less of dangerous stunts and practical effects. Episodes also tend to be two-parters, so maybe calling them monster-of-the-week is innacurate, it's more like monster-of-every-two-weeks. This shift is fine because their reliance on denser plots with a much larger supporting cast of characters, more than makes up for it. It feels less that they're stretching episodes into two-parters and more like they're filling these episodes with so much other stuff that making them 2-parters makes sense.

Also, to note, as modern Kamen Rider goes on, there's more reliance on CGI, but all the monsters (and Kamen Riders) are practical suits and there's still plenty of practical effects, so don't let the super artificial candy-colored videogamey CGI effects trick you into thinking that that's all there is to modern KR.

KAMEN RIDER KIVA (2008)

Kiva is the only "Heisei phase 1" series I've watched so far (early to late 2000s), and I absolutely love it, one of my favorite Kamen Riders. It's considered to be a bit of a black sheep of Heisei phase 1 Kamen Riders but I think fans severely overlook and misjudge Kiva. Kamen Rider Kiva is vampire-themed and is about this shut-in, extremely shy boy who, mysteriously, is also the heroic Kiva, that springs into action whenever Fangires (vampire monsters) are about to kill humans. However, it also takes place 20 years before, in the 1980s, where Fangires are also attacking, but there's no Kiva around to stop them. Instead, humans have created a secret vampire-hunting association and are developing their own technology to stop them. What's the connection between the characters from each time era? Mysteries...!! It has a large cast of characters and incredible soap opera drama and romance that'll keep you heavily invested in all of its twists and turns. It's a very narrative affair which makes it difficult to recommend episodes out of order since it can be confusing to catch things out of context. The fact that it takes place both in the 2000s and in the 80s means every episode has both an A-plot and a B-plot, which avoids the pitfall of some modern Kamen Riders of two-parters that don't have enough going on, because Kiva is absolutely overstuffed with great characters and narratives. The drama is great, the romance is great, the comedy is superb, and the fights are awesome too. I really can't recommend it enough.

RECOMMENDED EPISODES TO SAMPLE: Episode 1: Fate: Wake Up! and Episode 2: Suite: Father and Son Violin (2-parter) Episode 17: Lesson: My Way and Episode 18: Quartet: Listen to Your Heart's Voice (2-parter) (I have trouble recommending more episodes out of order because this series is very narratively-involved!)

KAMEN RIDER W (2009)

W is a very well-received and loved series, and it's easy to see why. It's one of those things that if you watch it you immediately go "oh, if I watched this as a kid I would be so so into it". It has fun, charismatic characters that you want to see every week, simple to understand and easy to like. It's detective-themed and the Kamen Rider is actually comprised of a fusion of two people - Shotaro, who wants to be a tough, hard-boiled detective but is unintentionally kind of stupid and goofy and isn't seen very seriously by people around him, but has a heart of gold, and Phillip, who is an androgynous autistic introvert that basically has the entirety of Google inside his mind, and uses this to help find information to solve cases. Together they transform into Kamen Rider W (W as in "double", get it?), with each controlling a literal half of the suit (right and left), that they can switch properties of and create different combinations. They're great characters but who really steals the show is the comedy relief sidekick, Akiko. She's an immensely funny actress and character.

RECOMMENDED EPISODES TO SAMPLE: Episodes 1 and 2: W Search Episodes 9 and 10: S Terror Episodes 23 and 24: L on the Lips Episodes 25 and 26: P's Game

KAMEN RIDER OOO (2010)

OOO is another extremely beloved Kamen Rider series, and the one I actually started with. Its themes are "desire" and "currency", and the evils and necessities of living in a world that depends on them. The main character is a lovable homeless hippie (Eiji) who's egged on by his extremely androgynous edgy greedy demon boyfriend (Ankh) to collect "medals", because said demons are greedy for them and require them for power. These medals also allow Eiji to transform into Kamen Rider OOO (pronounced "Os" or "Osu"), and different medals can be slot into his transformation belt to create different combinations. Other demons, that are not Eiji's demon babygirl, want to use humans' desires as piggy banks to generate more medals for their own greed, at the cost of these humans' lives. Eiji needs to stop them and collect all the medals before they do. Again, easy to enjoy, easy to see why it's beloved. Filled with a light-hearted fun energy that you can feel as soon as you watch the ska-inspired opening. There's a small stretch of it that feels a bit by-the-numbers, but the drama ramps up and pays off immensely well as it goes on. An extremely fujoshi Kamen Rider series.

RECOMMENDED EPISODES TO SAMPLE: Episode 1: Medals, Underwear and a Mysterious Arm Episode 2: Desire, Popsicles and Presents (2-parter with Episode 1) Episode 13: A Siamese Cat, Stress and the Genius Surgeon Episode 14: Pride, Surgery, and a Secret (2-parter with Episode 13)

KAMEN RIDER FOURZE (2011)

Fourze is written by Kazuki Nakashima, the Studio Trigger writer responsible for stuff like Gurren Lagann, Kill la Kill and Brand New Animal, so that may be something that's either going to extremely excite you, or make you very wary of it. I personally feel he's not a very good writer, but that's okay, because the rest of the production is fantastic, and I still enjoyed Fourze a good amount! The main character is an extremely likeable and charismatic school delinquent that wants to befriend the entire school and creates his own Kamen Rider school club after being bestowed with the Kamen Rider Fourze technology thanks to, uh, a portal that sends him to a space base on the moon? So it's a half-and-half school theme and space theme Kamen Rider. The school club has a large cast of characters but the show doesn't really know what to do with them unless the episodes focus on a specific club member. Fourze really, really drags in the middle (this is when the problem of two-parters feeling stretched out when the writing isn't very strong hits hardest), but as it crescendos to its finale it gets -very- good again. This might be the weakest Kamen Rider out of the ones I've watched, imo, but still, I think there's quite a lot to enjoy here.

RECOMMENDED EPISODES TO SAMPLE: Episodes 1 and 2 (Youthful Transformation and Space Superiority) (2-parter) Episodes 5 and 6 (Friendship, Inside and Outside and Electric Shock, Steadily) (2-parter) Episodes 13 and 14 (School Refusal and Stinger Onslaught) (2-parter)

KAMEN RIDER AMAZONS (2016) (WEB SERIES)

Wait, didn't I review this one before?! No, no, this is AMAZONS, plural! It doesn't actually have that much in common with the original Amazon, being very much its own thing, and what it borrows from Amazon is mostly just to help frame this series as a more adult, violent affair, since Amazon, despite it being very much for kids, was back then known as "the violent Kamen Rider". It's also an Amazon Prime-exclusive series, so they did it for Branding, too. A very dramatic, violent, adult Kamen Rider show that's spearheaded by my favorite Kamen Rider director, Hidenori Ishida. He's a supremely good director that brings his A-game to this series. It follows an extermination team that hunts terrifying man-eating monsters called Amazons. There's two Kamen Riders, Alpha and Omega, that are also Amazons but they largely fight against other Amazons. Alpha is set on killing every Amazon, while Omega has just awakened into an Amazon and a Kamen Rider himself, and has to decide what he wants to do and who and what to fight for. At least this is the premise of Season 1, Season 2 I will not spoil but it is the production going "oh, Amazon season 1 did well enough for us to do whatever we want, and we'll do exactly that". It's the most well-equipped artists in tokusatsu breaking off their shackles and doing a dramatic magnum opus. It's dark, edgy, but also earnest and sentimental. It's my absolute favorite Kamen Rider show. Also, the fact that the monsters are called "Amazons" is used for extremely pointed stabs at Amazon (company), which is hilarious.

This series is completely narratively-driven, so I can't recommend episodes out of order! Watch the whole thing!

KAMEN RIDER ZERO-ONE (2019)

Robot-themed! Zero-One takes place in a future where robots and humans live together, like Megaman or Astro Boy. It's about the struggle of humans and robots to live in harmony with one another, and it develops those themes and its world extremely well. The main character (Aruto) is very goofy and wants to be a manzai comedian but his lame puns always bomb. He is, however, also the heir of a massive company that builds all the robot people! Aruto is suddenly, unexpectedly, thrown into the company as its President after his grandfather dies. This responsibility is too much for him, but he decides to take on the mantle as he wants to bring a smile to people's faces, and that he legitimately cares about robots, as he was raised and saved by one as a kid. With this in mind, he takes on his grandfather's KAMEN RIDER ZERO-ONE technology and uses it to attempt to stop a terrorist robot faction (METSUBOUJINRAI.NET) that's bent on killing all humans, and corrupting other robots for that goal. All while also trying to advocate for a harmonious relationship between humans and robots. This is honestly fantastic, and may seem super goofy at first but gets very complex as it goes on. Very great balance of lighthearted comedy and serious drama, and another one of my absolute favorite Kamen Rider series, right up there with Kiva and Amazons.

RECOMMENDED EPISODES TO SAMPLE: Episode 1: I'm the President and a Kamen Rider Episode 2: Is AI an Enemy? Ally? Episode 5: His Passionate Manga Path Episode 6: I Want to Hear Your Voice (2-parter with episode 5)

KAMEN RIDER GEATS (2022)

Battle-royale themed Kamen Rider, with a lot of inspiration on korean dramas and reality shows. It definitely feels inspired by, say, Squid Game. Gods select people to compete in a Kamen Rider battle royale, and the winner of the final round gets to remake the world in whatever way they see fit. The production is a bit cheap after the last two KRs before Geats underperformed, and they had to scale the production down. The fact that the series tries to convey the excitement of extremely high stakes so often only for those stakes to completely deflate thanks to how the premise works, creates a situation where you don't know what to care because anything can get undone and completely changed so often anyway. Near the end the series gets particularly bad with this. Still, it has some good characters, some nice drama and some fun comedy, so it's not bad, but definitely on my lower tier of KRs alonside Fourze. Again: No KR I've watched was bad! So, even the ones that might sound that I'm down on them I still very much enjoyed.

(Too narratively-driven to recommend episodes out of order! Try the first couple of episodes!)

SHIN KAMEN RIDER (2023) (MOVIE)

Hideaki Anno's film! Hideaki Anno is a huge Kamen Rider fan and it really shows throughout the movie, with a lot of pulls from the Kamen Rider manga specifically, while also being nostalgic for a lot of the original Kamen Rider TV show from 71. Still, it ends up feeling less like "a Kamen Rider movie" and more like "an Anno movie" with a Kamen Rider-theming to it. It doesn't put its focus on the stunts and the fight choreography that you'd see in other Kamen Rider productions, but more on Anno's style of cinematography, his sense of timing, special effects and animation. It also retreads several of the themes and elements that he's drawn from before, a lot of Evangelion is in this. It's good, I like it!

KAMEN RIDER GOTCHARD (2023)

Currently ongoing! Very Y2K nostalgic, with a Kamen Rider suit that has that Y2K aqua color to it, and is themed around... Pokemon cards? There are these creatures called Chemys, that are contained inside alchemical cards that have been let loose and need to be captured again, or at least kept away from the villains. The main character is this super earnest, almost helplessly naively optimistic schoolboy called Ichinose that has been unexpectedly thrown into the secret world of alchemy and given the power to become Kamen Rider Gotchard, as a powerful benevolent alchemist dies in his arms. As a promise to him, he vows to find the Chemys. Ichinose also believes that they're extremely good-natured beings that are only corrupted by human malice, and really believes in the friendship of Chemys and humans, while other alchemists feel Ichinose's ideas of Chemys are too naive and soft-hearted. It's, uh, I don't know what to think of it, honestly! The first couple of episodes really did not sold me on it, but it gets better and better as it goes on, though, it's also, like, a lot of Big Important things keep happening in rapid-fire in a way that I can't tell whether the show has a higher plan for all of it or if it's just throwing things for easy hype. Nearly every episode there's a new Kamen Rider transformation, it's kind of insane. Still, this is preferrable than the stretches of not much happening that plague some other KR seasons. I've been enjoying it a good amount, honestly!

RECOMMENDED EPISODES TO SAMPLE: Episode 5: Burn! Fight! Wrestler G! Episode 7: Goodbye, Saboneedle

And those are all the Kamen Riders I've watched! Something else that can help you decide on which series to try out, is that the NHK made a public popularity poll of Kamen Rider series, with the results being found here! From here, you can tell which KRs are most beloved and well-remembered in Japan, and use that as a guidance for yourself, if you'd like. But again, I must emphasize, you can really start most anywhere, so feel free to do exactly that!

[findafight]

you're so right. i will never understand the hold rockstar eddie has on ppl. his character immediately becomes insufferable if he's super famous and successful, esp in no upside down aus where he never experiences some form of ego death/being forced to reassess his own bullshit. not to mention he is just not someone who would become uber famous like he does not have the personality to either pull it off or handle it well if he miraculously did imo. steve really screams child star to me tho in an au. plus his entire character arc kind of speaks to him being able to handle fame (ie the fact that steve is a v reflective, adaptive character that was capable of actually changing and improving his behavior even w/o knowing about the upside down originally) and knowing/learning who he should be surrounding himself w. like i firmly believe steve could actually handle being famous in a way eddie could not.

I do enjoy rockstar eddie to a point? it depends I think. Rockstar/musician aus are popular in fandoms of all sorts an I like them sorta...hit or miss? haha.

But you're right that it's become...idk over saturated? And yeah absolutely Eddie's ego death and the shattering of the Munson Docterine is kind of pivotal for his character growth. Like I know the duffers don't think Eddie's problem is that he's stuck in highschool clique mode (They seem to think his flaw is that he's a coward...which is a different meta but his reactions are reasonable to the situations he's thrown in), because they only think "jocks" are the problem there, but he is. Him realizing that actually Steve is pretty cool is the stepping stone to him not hating jocks on principal, and broadening and nuancing his view of people outside his assumptions on who are "Proper" nerds. No- upside down aus, regardless of any other trope in them, often fall flat for me in that aspect, yet always make sure to remind us Steve was a bit of a stuck up dick in highschool (until the beginning of grade 11) and it's tiring to nt see Eddie allowed to be wrong and have that moment of self-betterment.

And yeah, I can maybe see eddie becoming semi-famous session musician (not a musician that is a session musician AND recording/performing artist by themself like Glen Campbell or Marvin Gaye) through a series of events like. Playing one of his hyper specific songs at a small gig, someone in desperate need of a guitarist is there and sees he is incredibly talented as a guitarist, asks him to help as a session musician in like two days, he plays, someone at the studio is like hey. wanna be on-call for us? and eddies like sure. ok. So sometimes he's on hit records but they aren't his. royalties are decent from the amount of work he's done. He's a pinch hitter guitarist, and he's good, so he gets a rep in the industry for that. He doesn't seem like the kind of person that could thrive in the high pressure, has major deadlines, environment that being a famous musician woudl be. I mean a lot of rockstars aren't either and it's not healthy for them? I can see Eddie crashing and burning, which I know a lot of fics cover but I also find it super depressing haha. He would probably be too standoffish and anti-authority and possibly refuse outside input for stuff, so he'd be off putting in the industry. not that musicians are always pleasant to work with but i think you get it.

Child star Steve would be so neat tbh. Look I love famous athlete Steve. but also the allure of him being famous young... Maybe as a little piano prodigy? (I love piano prodigy steve hehe) or an actor? like canon era he could have been a Mousketeer! Maybe he did a couple movies (what if he was in a few cult-classic scifi movies...that the party just so happen to love....but don't pay attention to the name of the child actor in...or maybe he used a stage name?) And then him fading away and living his life a little bit, before he decides to come back into the limelight?

I think that often we forget that Steve's "come-to-jesus" moment happened without the upside down. He talked shit, got hit, and then decided that he owed Jonathan (and Nancy) an apology. No one made him help clean up the grafitti! He had no idea there were monsters he just had a shit 48 hours where he went off the handle and then decided he had been an ass and to fix himself. When he was 16! He'd have made these changes to himself without the Upsidedown. Somehow the party knew his full name, and I love the hc that he won a major game/championship for Hawkins as a junior/sophomore so was a minor town celebrity. These lend to Steve being able to handle the pressure without too major a fallout or a long-term downward spiral of self destruction.

Except (okay operating as like a post-canon thing, because I love canon-divergent aus more than no-upside down aus but could still work?) now he's battle scarred and obviously not the rosy-cheeked boy he was when he was a tween. I'm thinking maybe he goes back in '89? give some time to heal from the upside down and Robin is moving for Uni, he's obviously going with her, so he figures acting would beat dead-end minimum wage jobs. Or at least spice things up in between shifts. Maybe he starts with theatre, and decides to see if there's some screen auditions he could do. Maybe he still has people in the industry who remember working with him (he's a good team player and a natural leader) and they help in slip back in. He does some bit parts, a few semi-recurring characters. Maybe he's even on an episode of Law and Order, and people go hey! That guy who's crying over his dead girlfriend (he's a red herring) is the kid from that 70's scifi movie!

Eventually someone actually offers him a role without him auditioning, and it's a bigger part, a side character but one with lines and even a semi decent arc in a b-list movie. he's a good fit. Charming and handsome, plus there are some intense scenes and on set Steve's proved himself capable of handling most things and supportive of coworkers (actors and crew alike.) Except there's a shirtless scene. While his scarring isn't extensive, it's definitely noticeable and not as easy to cover up as the faint discolouration around his neck. it's hard to explain, and usually movies want flawless skin. He tells them this. They still want him.

So he takes the role. And he has a blast on set. He loves working as a team, and even though days are long, he feels everything sort of...coming together. A feeling that this is what he wants to do. that he was right to get back into acting even though he started so young because of his parents.

He makes lasting friendships with nearly everyone he meets on the set. There's a few child actors, and he tries to give them tips and pointers, and be a role model or support for them. he knows what it's like to be little and surrounded by adults a lot of the time, and feeling pressure to be perfect. (They think he's actually the coolest, even if he's also kinda a doofus.) (there's probably a scene where he picks up on of the kids, and then the rest of them on set want piggy back rides too...)

It's considered his comeback role, despite being a few years after he actually came back. The pressures of fame come back again, but he's older now, and he's killed monsters. He has Robin beside him. A few paps don't scare him. Everything he has to hide (besides his bisexuality...and maybe his shitty relationship with his parents) is covered up by the government anyways. He gets bigger parts, and gets an even bigger rep for being a delightful (if viciously sarcastic) and supportive co-worker, especially if there's kids on set. (child stars of the nineties will look back on working with steve and think he was one of the few adults to get it. to understand how big your emotions are as a kid and how most grown ups [often even/especially their parents] didn't let them actually feel what the were feeling, instead wanting them to be acting all the time, instead of only in front of the camera. How he told them to never let anyone do anything they weren't comfortable with, no matter who it was. How he'd stick up for them, no matter what, and would ask how they were doing throughout shooting. They'll look back on being on set with Steve and remember how even if he called them little shits when they tried to prank him or were goofing off, he said it with a wink and a smile.)

I'd say, (please forgive me) he sort of becomes a (90's era) Tom Cruise kind of actor (before he went on oprah and went viral for jumping on the couch and then only did action movies after that) (also steve doesn't become the face of a cult) Like he does action flicks, but can definitely pull his weight as a dramatic actor. (I realize that I already have a movie star steve au but thats a different era I can have overlapping headcanons for the aus!!) His cute heart-shaped smile and amazing hair entrances audiences. He can make emphatic speeches about justice and also carry at least two children out of a burning building. He has range.

idk steve going from child actor to highschool athlete to monster killer to broke thespian to movie star again entices me!!!

[piggledy-higgledy]

As anyone who’s been looking at my page semi-frequently will have noticed, I am a big Richard Armitage fan. Mostly in love with his portrayal of Gisborne in BBC’s Robin Hood, but I also enjoy most of his other work and consider him a very talented actor (and a very sweet person from what we can tell.)

There has been a lot of furore lately about his latest project, “Obsession” (a series unfortunately promoted as an erotic thriller by Netflix), which is a remake of 1992 film “Damage” (with Jeremy Irons and Juliette Binoche) and based on the book by Josephine Hart. He portrays William Farrow, a married, middle aged, successful surgeon, who has an affair with his son’s fiancé, Anna (Charlie Murphy) -an affair so obsessive that it costs him everything: his career, his family, his son’s life, even his own self (more on that later.) The series features a lot of sex scenes, very light BDSM elements, and a LOT of nudity from RA on a level most fans never thought we’d see (RA being famously private and modest.) The fandom has been divided over this, with some looking forward to it and some being sure it’s not for them at all. From what I can tell (and I might be wrong) most people were put off by either the copious amounts of sex (and the trailer leaned very heavily on that) or the unsavoury morals of the main characters. Which is fair, if it’s not your cup of tea, don’t watch it.

I *did* watch it, and because opinions have been so strong, I wanted to share my thoughts. No disrespect if you prefer to pass. I hope it might be helpful for anyone on the fence and still making up their mind whether to watch or not. Happy to chat more about it if anyone likes! There WILL be spoilers.

Before watching it

I have personally felt very intrigued about this series and I was excited about watching it. Not so much because of the nudity or explicit scenes -or, rather, because of them, but not in the way you might think. Richard Armitage has played very, very few roles where he was primarily the romantic lead, and none later in his career. He tends to be cast in active roles, a lot of dark, violent characters, tense action. When there is romance it’s not the main aspect being explored. And he has NEVER (with the notable exception of Between the Sheets, which was so early in his career I doubt he necessarily had much choice to turn down work) done anything close to this level of sexual screen time. Why now? What made this different? I really wanted to know.

There was another reason I really wanted to watch Obsession. What Richard Armitage does best, in my opinion, is give characters depth (even characters that were clearly not written that way *cough* *Guy* *cough*). He is an incredibly detailed actor and uses his face and eyes to a stunning degree to convey things that go far beyond the dialogue. He has spoken about how he creates complete backstories for all his characters. This project is literally made for his type of acting. There is hardly any action, and leagues of unspoken material. RA called it “one of the most fulfilling pieces of work he’s ever done”. I needed to see why.

After watching it

I binged all 4 episodes in one night. And then again the next morning. And again today. I finished the first episode and thought “Yes, I understand why he wanted to do this.” (He also said in an interview that there was a moment in one scene that he’d never achieved before on film. Having watched this, I believe him.) Is this the kind of series I’d normally gravitate to? No. But I’m glad I watched it. Every single actor was incredible. The filming was beautiful. I just… don’t know where to start.

The story:

In my opinion “Obsession” is not about infidelity or sexual exploration -it’s about William and Anna’s experience with obsession and addiction. Anna isn’t just having an affair. She is addicted to being in control and to using sex as a means of asserting that control. (We learn that she had a brother who sexually abused her for years and committed suicide when she finally put a stop to it. And throughout the series, she reacts to strong emotions by initiating sex. Charlie Murphy described the character as a “dominant submissive” and that’s spot on, not just in the way that she sets the rules and boundaries of their sexual relationship, but in the way that, having been abused, asserts her control on the situation she had to submit to as a young girl by controlling when and how she submitted). William is not just having an affair. He is obsessed and addicted to Anna to the point that it completely deconstructs him as a person. He is the counterpoint to Anna’s character, in that he has no control. He doesn’t initiate, he doesn’t resist, he can’t or won’t control his reactions or his impulses and he completely loses control of his life as a result of his actions. In the final episode Jay, the son, discovers the affair and in shock, falls off a railing to his death. There is a scene where William faces his wife after everything is revealed and watching Richard Armitage convey all those emotions without saying a word is some of the best acting I’ve seen in my life. I don’t know what part of himself RA drew from to act the guilt and grief and absolute devastation in that scene but it was… amazing and heartbreaking. Even then, the obsession wins. When Jay dies, we see Anna walking away while William cradles the body of his son, paying her very little attention. I completely believe that he is broken in the scenes that follow. But after a few days the addiction takes over and he still seeks out Anna, convinced they can now be together (“there’s no version of this with just you,” she’d told him earlier on, but he clearly thinks otherwise). And we get the following:

W: … I let uncertainty in. (NB: What is uncertainty but lack of control?)

A: And look what happened. I don’t think… we can ever separate who we are from what we’ve done.

W: But… we can’t let it all be for nothing either (NB: William’s voice breaks here. He’s lost everything he ever cared about, she’s the only thing left. Does this phrase mean he thinks there was depth in their affair? Or does it mean that he is looking for meaning and depth so that he can cope with the fact that he sacrificed everything for an obsession and an addiction?)

A: Jay died because of us.

W: Still I wouldn’t change it (TNB: THIS! This phrase upset so many viewers! And of course it did, it was supposed to. The acting is, again, amazing. This isn’t said to Anna, this is introspection. William is looking inside himself, realises he wouldn’t change it, realises how much of himself he’s lost.)

A: You don’t regret it?

W: How can I?

A: We caused so much pain

W: But it’s done now.

A: I am so sorry for what happened. But I wish we’d never met. (She walks away, leaving William sobbing. Because there. is. nothing. left.)

The sex:

I hate that this was marketed as a sexy series because it created all sorts of hype and expectations that were misplaced imo. The story was never about the sex. Morgan Lloyd Malcolm said a couple of days ago on Twitter that it’s about “sitting in the discomfort of human behaviours” and that is spot on. Like I said above, this is a story of addiction. Anna is not addicted to the sex -she is addicted to using sex for control. That’s why Anna and William never kiss (she is the one controlling their physical interactions. William leans in to kiss her in many scenes, she never lets him.) That’s why the music is so jarring in all the sex scenes. That’s why there’s no foreplay, that’s why William never lasts long. That’s why they only ever have sex on the floor or in public, never in a safe, comfortable place like a bed. They are not comfortable. This is not a comfortable situation. We, as viewers, are supposed to be uncomfortable. The infamous hotel pillow scene was meant to demonstrate the turning point in William’s addiction, the complete loss of control, I think. It was never supposed to be funny or sexy -it was meant to disturb us because this intelligent, cultured, previously collected man becomes completely animalistic. Which is why he sobs afterwards -I think this is the point when William realises that (as Ingrid puts it later) “he is lost to her”. William’s face after their first sexual encounter is the face of a man under the influence. When she gets up to leave he makes this movement with his fingers like he is trying to hold on to her, but only grabs air. It’s just a twitch -but it’s Richard Armitage and we know how detailed he is in his acting, and I am sure it was a gesture with meaning.

The intimate scenes in Obsession are sometimes sensual, sometimes uncomfortable, sometimes genuinely hard to watch but never gratuitous.

Why a fan of Richard Armitage or anyone writing for his characters should watch it:

Again, you do you, but hear me out: This series is a veritable treasure trove of body language, voice/cadence, facial expressions that you can then apply to your favourite RA character. The longing. The conflict. The loss of control. The vulnerability. The eye contact. The fact that the lover’s name is Anna, which is also my name. Also, I’m being completely serious when I say that this is some of the best acting I’ve seen him do *ever*. If you can only bring yourself to watch parts of it, do that. There were some scenes that genuinely made me tear up. Look after yourself, respect your boundaries, but sample what you can because it’s a veritable banquet.

PS: I am focusing on Richard Armitage for this review because I came to Obsession from that fandom. But every single actor gives an amazing performance. I especially adored Charlie Murphy as Anna, Indira Varma being astounding as Ingrid and the criminally underrated Marion Bailey as Anna’s mother, Elizabeth, who packs SO MUCH into so few scenes.

[queer-geordie-nerd]

I talk about Mira a lot, and I’m doing so again 🤷🏻‍♀️

She was a beautiful woman, and a powerful and talented actor and writer, no doubt, but much more importantly, I feel, she was also a woman of vast and deep integrity - she fought against injustice and nationalism/racism all of her life and her principled and public stance against the war and ethnic divisions in Yugoslavia cost her dearly and yet, it was a position she never ever moved away from and believed in profoundly. It is very easy to have principles when they are not being tested, and another thing entirely to stake your very life on those principles.

Even when her stance cost her her home, her career, and her friendships, and the enormous amount of threats against her life forced her to leave her country, she never once backed down from her belief in unity and cooperation.

The anti war essay she wrote and published as she fled is still one of the most powerful pieces of writing I’ve ever read and I am going to post it here in its entirety because it is fierce and amazing:

Letter to my co-citizens

I hereby wish to thank my co-citizens who have joined so unreservedly in this small, marginal, and apparently not particularly significant campaign against me. Although marginal, it will change and mark my whole life. Which is, of course, totally irrelevant in the context of the death, destruction, devastation, and blood-chilling crimes within which our life now goes on.

This is happening, however, to the one and only life I have. It seems that I’ve been chosen for some reason to be the filthy rag everyone uses to wipe the mud off their shoes. I am far too desperate to embark on a series of public polemics in the papers. I do, however, feel that I owe myself and my city at least a few words. Like at the end of some clumsy, painful love story, when you keep wanting, wrongly, to explain something more, even though you know at the bottom of your heart that words are wasted; there is no one left to hear them. It is over.

Listening to my answering machine, to the incredible quantities of indescribably disgusting messages from my co-citizens, I longed to hear at least one message from a friend. Or not even a friend, a mere acquaintance, a colleague. But there was none. Not a single familiar voice, not a single friend. Nevertheless, I am grateful to them, to those noble patriots who kindly promise me a “massacre the Serbian way”; and to those colleagues, friends, and acquaintances who, by remaining silent, are letting me know that I cannot count on them any more.

I am grateful also to all my colleagues in the theatre with whom I played Drzic, Moliere, Turgenev, and Shaw, I am grateful to them for their silence, I am grateful to them for not even trying to understand, let alone attempting to vindicate, my statement concerning my appearance at the BITEF Festival in Belgrade, the statement in which I tried to explain that taking part in that production at that moment was for me a defense of our profession which must not and cannot put itself in the service of any political or national ideas, which must not and cannot be bound by political or national limits because it is simply against its nature, which must, even at the worst of times, establish bridges and ties. In its very essence it is a vocation which knows no boundaries.

I know that all this talk about the cosmopolitanism of art seems inappropriate at a moment like this. I know that it may seem out of place to swear to pacifism, to swear to love and to the brotherhood of all peoples while people are dying, while children are dying, while young men are returning home crippled and mangled forever.

How can I say anything which won’t sound like an ill-fitted nonsense at the moment when, for absolutely unfathomable reasons, Dubrovnik is being threatened, the city where I played my favorite role, Gloria?

But I have no other way of thinking. I cannot accept war as the only solution, I cannot force myself to hate, I cannot believe that weapons, killing, revenge, hatred, that such an accumulation of evil will ever solve anything. Each individual who personally accepts the war is in fact an accessory to the crime; must he not then take a part of the guilt for the war, a part of the responsibility?

In any case, I think, I know and I feel that it is my duty, the duty of our profession, to build bridges. To never give up on cooperation and community. Not the national community. The professional community.

The human community. And even when things are at their very worst, as they are now, we must insist to our last breath on building and sustaining bonds between people. This is how we pledge to the future.

And one day it will come. For my part, until recently I was willing to endure all manner of problems in transportation, communication, and finances to trek the 20 hours across Austria and Hungary between Zagreb and Belgrade. I was willing to use risky, even dangerous modes of travel, just to keep holding my performances in the two warring cities, to appear at precisely 7:30 on stage with my Zagreb or Belgrade colleagues and to alternate Corneille and Turgenev for the sake of professional continuity, for the sake of something that would outlive this war and this hatred which is so foreign to me. Time and time again I was willing to make my life a symbol of a pledge to the future which must be waiting for us, until that day when some ardent patriot finally does slaughter me as so many have promised to do.

I was willing and I would still be willing to undertake all and any efforts, if the hatred hadn’t suddenly overwhelmed me with its horrendous ferocity, hatred welling from the city I was born in. I am appalled by the force and magnitude of that hatred, by its perfect unanimity, by the fact that there was absolutely nobody who could see my gesture as my defense of the integrity of the profession, as my attempt to defend at least one excellent theatre performance. I had no intention of acting further in performances outside the BITEF Festival, as I stated in my letter. BITEF as an international theatre event attended by the English, Russians, French, Belgians, and even one Slovene seemed to me worth participating in, especially because any decision not to participate would have meant betraying a performance I had worked on under the most difficult circumstances during the March 9th Belgrade tanks, daily threats of a military coup, etc., etc.

It is terribly sad when one is forced to justification without having done anything wrong. There is nothing but despair, nausea, and horror.

I no longer have any decisions to make. Others have decided for me.

They have decided I must shut up, give up, vanish; they have abolished my right to do my job the way I feel it should be done, they have abolished my right to come home to my own city, they have abolished my right to return to my theatre and act in my performances. Someone decided that I should be fired from my job. Thank you, Croatian National Theatre; thank you, my colleague Dragan Milivojevic, who signed my dismissal slip. I know that lots of people are losing jobs, that I am just one of many, simply part of a surplus work force. I constantly ask myself whether I have any right, at this moment of communal horror, to make any demands of my own. One thing seems certain: I plan for quite some time (how long?) not to perform on any stage in this crumbling, mangled land. Perhaps they needn’t have hurried so in firing me. Perhaps this would have simply taken care of itself. With more decency. And dignity. Not so crudely. Of course, this is not a moment for tenderness. But won’t someone out there have to be ashamed of this? And will this someone necessarily be me, as my fellow actors try to convince me in their orthodox interviews? Can the horror of war be used as a justification for every single nasty bit of filth we commit against our fellow man? Are we allowed to remain silent in the face of injustice done to a friend or a colleague and justify our silence by the importance of the great bright national objective? I ask my friends in Zagreb, who are now silent, while at the same time they condemn Belgrade for its silence.

It is hard to write without bitterness. I would like to be able to do that, because we should “Love Our Enemy.” I wish we all could. Herein perhaps lies the solution for all of us. But I fear that we are very far from the ways of the Lord. His is the way of love. Not hatred.

To whom am I addressing this letter? Who will read it? Who will even care to read it? Everyone is so caught up by the great cause that small personal fates are not important any more. How many friends do you have to betray to keep from committing the only socially acknowledged betrayal, the betrayal of the nation? How many petty treacheries, how many pathetic little dirty tricks must one do to remain “clean in the eyes of the nation?”

I am sorry, my system of values is different. For me there have always existed, and always will exist, only human beings, individual people, and those human beings (God, how few of them there are !) will always be excepted from generalizations of any kind, regardless of events, however catastrophic. I, unfortunately, shall never be able to “hate all Serbs,” nor even understand what that really means. I shall always, perhaps until the moment the kind threats on the phone are finally carried out, hold my hand out to an anonymous person on the “other side,” a person who is as desperate and lost as I am, who is as sad, bewildered, and frightened. There are such people in this city where I write my letter, the city my love took me to, a feeling it seems almost indecent to mention these days. Nothing can provide an excuse any more, everything that does not directly serve the great objective has been trampled upon and appears despicable, and with it what love, what marriage, what friendship, what theatre performances!

I reject, I refuse to accept such a crippling of myself and my own life. I played those last performances in Belgrade for those anguished people who were not “Serbs”; but human beings, human beings like me, human beings who recoil before this monstrous Grand Guignol farce in which dead heads are flying. It is to these people, both here and there, that I am addressing my words. Perhaps someone will hear me.

The punishment meted me by my city, my only city and my theatre, my only theatre, the only theatre I felt was mine, is a punishment I feel I do not deserve. I was working in the way I have always felt I had to work, believing in people and our vocation which is supposed to bring people together, not tear them apart. I will never “give up my Belgrade friends”; as some of my colleagues have, because I do not feel that these friends have in any way brought about this catastrophe which has afflicted us, just as I will not turn my back on my Zagreb friends, not even those who have turned their backs on me. I will try in every way possible to understand their panic, their fear, their bitterness, even their hatred, but I plead for the same dose of understanding for me, that is, for a story which is different than many others, for a life which has deviated, due to the so-called destiny, from the expected and customary. Why must everything be the same, so frighteningly uniform, leveled, standardized? Haven’t we had enough of that? I know this is the time of uniforms and they are all the same, but I am no soldier and cannot be one. I haven’t got it in me to be a soldier, soldiering just isn’t my calling.

Regardless of whether we will be living in one, or five, or fifty states, let us not forget the people, each individual, regardless of which side of this Wall of ours the person happens to be on. We were born here by accident, we are this or that by accident, so there must be more than that, mustn’t there?

I am sending this letter into a void, into darkness, without an inkling of who will read it and how, or in how many different ways it will be misused or abused. Chances are it will serve as food for the eternally hungry propaganda beast. Perhaps someone with a pure heart will read it after all.

I will be grateful to that someone.

Mira Furlan,

From Belgrade and Zagreb, November 1, 1991.

[7grandmel]

Todays rip: 10/02/2024

Nostalgic Blood of the Gregg ~ Old Source

Season 5 Featured on: Bloodstained Bounties ~ The SiIvaGunner All​-​Star Summer Festival 2021 Collection [Event Side]

Ripped by minindo

Way early into the blog's life, on the 20th of July 2023, I covered the rip Everything Circus - a Season 2 rip featuring one of my all-time favorite channel memes, hhgregg. I didn't cover all too much on the guy back then beyond the basics: The source was sparingly used in Season 1, then gradually received an uptick in popularity until finally earning himself a full-on channel event in Season 5. Last, we covered a rip from before this uptick - now, I think its only fair we tackle one that shows the fruits of that initiative.

The hhgregg meme was one of many that I only discovered through SiIvaGunner, yet it was far from the first to actually popularize it: HydroDalek's "doin" YTPMV was uploaded a year prior to SiIvaGunner's premiere, and sits at a 1.5 million views as of writing, and is of course paired with the excellent remix "ReDoin" by JerryTerry, made two years later, sitting at 2.4 million. hhgregg's infamous attempt at creating a memorable mascot for their brand seemed to at first be met with nothing more than annoyance, only for a subset of internet users to slowly mutate feelings into feelings of...affection, I suppose. Either way, as someone entirely out of the loop on all things relating to American retailers, that affection definitely rubbed off on me - after just being exposed to a small handful of rips, and then later being led to the rabbithole of YTPMVs dating back to 2014, I was hooked on the guy.

And its not something I believe I can put quite so easily into words, either, beyond pointing you to a rip like Nostalgic Blood of the Gregg ~ Old Source for a direct demonstration. Wally Wingert is an excellent actor and performer in perhaps everything BUT his role as singing for hhgregg's Christmas sales of the summer season - yet YTPMVers throughout the last decade have been able to put those vocals, and vocals from the hhgregg mascot's entire television career, to incredible use. It's almost comparable to PSY in what I wrote about him in Korean Idiot - manipulation of hhgregg's distinctively nasally, yet self-assured voice has effectively become an instrument all of its own.

Pair that with the hyperactive yet constantly rhythmic and engaging flow of much of Touhou's music, Nostalgic Blood of the East ~ Old World not excluded, and you get something truly special. Yet the crazy thing is, Nostalgic Blood of the Gregg ~ Old Source was but one of several other incredible rips utilizing the source during Season 5. It was, after all, his long-overdue event - the long-awaited Christmas in July - and the amount of rips that went completely above and beyond just as Nostalgic Blood of the Gregg ~ Old Source did was absolutely remarkable. Speaking as someone who used to get hyped up back during the early days of seeing...what, the fourth or fifth ever hhgregg rip be uploaded? It did genuinely bring me so much excitement to finally see the most underrated SiIvaGunner source get the spotlight all to himself. hhgregg is, in all honesty, an oft-overlooked titan of recent YTPMV culture, a shining example of just how far some crazy cool people are able to take a series of voice clips that only initially spread online out of distaste.

Though I lack much knowledge on Touhou, and I wasn't really able to live through any prior attachment to the hhgregg character as a European myself - the sheer power of good ass YTPMV and minindo's undeniable talent in what he does carries Nostalgic Blood of the Gregg ~ Old Source through. It's an absolute banger using one of my all-time favorite SiIvaGunner sources, and I'm so happy it got to be part of the guy's big event. In a Season already defined by its various side events, hhgregg's long-awaited time in the spotlight is still one of the things I cherish most about Season 5, and the rips that came in tow with that day were absolutely worth the wait.

[beautifulgiants]

Oliver Jackson Cohen

Oliver Jackson Cohen: Hauntingly Talented

by Sam Spotswood

As one of the stars of Netflix’s hit horror series The Haunting of Hill House, Oliver Jackson Cohen knows firsthand the ups and downs that come with such a heavy project.  His dedication to the show is clear, as he taps into the deepest parts of himself as he plays Luke Crain.  While his acting chops have earned him a place alongside his costars Michiel Huisman of Game of Thrones and Carla Gugino of Spy Kids, and Elizabeth Ann Reiser of Grey’s Anatomy (just to name a few), Cohen remains completely down to earth, indulging in simple pleasures when the cameras aren’t rolling.  We got to talk to Cohen about his experience on The Haunting of Hill House, his style, his future goals, and more.

What has been your favorite part of working on The Haunting of Hill House?

That’s quite a hard question to answer, because there were so many things as it was a 9 month shoot! I think creatively, it was shooting episode 6, which is a one take episode. We rehearsed it like a play for over 3 weeks, and it was such a unique experience to be a part of.

What has it been like to be part of such a talented ensemble cast?

Incredible. Mike is very clever in his casting choices and he assembled a cast of exceptional people. Being in that environment is very enriching because you immediately can trust that the actor you are working with will push and elevate every scene you are a part of. Going back to episode 6, every actor understood the material and their characters so profoundly that I believe, ultimately, the ensemble added something quite special to the show as a whole on top of what was already there.

What is the most challenging part about playing your character, Luke Crain?

I think being in that headspace for that amount of time was quite hard. Luke is a very troubled young man and as an actor, you naturally tap into parts of yourself that probably shouldn’t be touched. Having that go on for such a prolonged amount of time was draining and quite painful, I think, for everyone. I also felt this huge pressure to do him justice and to all the people that struggle with addiction and trauma. He will always be a very special person to have played and I will always cherish him.

How would you describe your style?

Pretty simple. I love the whole Scandinavian neutral colour, oversized look. I love clothes and grew up with parents that worked in fashion in London, so I have always had a love and appreciation for clothes since a young age. My parents always said, “Clothes are there to make you feel comfortable and confident. So wear what makes you feel great.” I have kind of lived by that rule all my life.

Outside of acting, what do you enjoy doing in your free time?

Being incredibly normal! This job can be nuts so finding the complete opposite of that in my free time is crucial. Lots of sleeping and domestic life stuff!

What are some of your future goals?

I have absolutely no idea!! Just to keep trucking? That’s probably a quite boring answer, but it’s true!!

What is one piece of advice you would give to your past self? 

You are going to be okay. This will pass.

https://bellomag.com/ux-portfolio/oliver-jackson-cohen/

Photographer: Aria Emory @ariaemoryphotography

Creative Direction: Stephane Marquet @alekandsteph

Groomer: Jessica Chumua @jessicachumua (using MAC Cosmetics and Kevin Murphy)

Stylist: Sky Naval @sky_is_dlimit

Production @BELLOmediaGroup x @MaisonPriveePR_LA

[henshinwolf89]

Zeiram 1 Retrospective

When it comes to Tokusatsu, it can be somewhat tricky to initially get into. With such a long history and back catalog, and an often 50+ episode long commitment, it can be daunting to newcomers. That’s why I usually say to find what appeals to you and go from there. Maybe find something that’s on the shorter side of things before trying to tackle the bigger ones. Standalone Tokusatsu movies can be a good starting point.

That leads me to suggesting one such movie series as a potential starting point into the larger world of Tokusatsu, the Zeiram series, which consists of two feature-length films and a six episode OVA. Zeiram was created by the insanely talented Keita Amemiya, an absolute legend in the Tokusatsu industry. Having worked on almost every major Tokusatsu franchise in some form at one point before creating his own series, such as the incredible Garo franchise, he quickly established himself as a unique visionary of the business.

Zeiram is Amemiya’s second film after Mirai Ninja, his debut movie in 1988, and began its life as a sequel to it before evolving into its own thing. The first Zeiram movie was released on December 21, 1991, and reportedly had a smaller budget than Mirai Ninja, thirty million yen, which is roughly two hundred thousand dollars. The entire film’s budget is apparently the cost of just a single episode of Garo! However, just because it had a smaller budget doesn’t mean that they skimped on the special effects. The film deploys an impressive array of special effects, ranging from amazing suitmation, puppetry, pyrotechnics, wire work, fight choreography, and even stop-motion animation!

The film stars actress Yuko Moriyama as Iria, a tough as nails intergalactic bounty hunter. Moriyama was a relatively new actress, having her start on a contact lens commercial for Seed Contact Lenses and mostly doing TV work. Moriyama was initially hesitant to play Iria, as she had no prior experience playing action roles, but enjoyed her experience as Iria by the end and came out with a very positive outlook. She wasn’t used to using guns or gun props and was pretty surprised by the impact of the model gun the first time she used it. She got used to it eventually as she knew Iria was a professional and needed to act the part. Soon, she found firing the guns to be really fun. Moriyama also stated having difficulty with the suit Iria wore. It’s bulkyness making her feel like a robot and bruising up her body quite a bit. She got used to it after a month. However, the suit was very squeaky and noisy. You could always tell when she was nearby, much to the amusement of the rest of the cast and crew.

The other two major characters are the two average working Joe electricians, Teppei and Kamiya, played by Kunihiro Ida and Yukijiro Hotaru, respectfully. Ida was in Amemiya’s previous film, Mirai Ninja, and is a varied actor being in the original Japanese version of “Shall We Dance?” Hotaru, on the other hand, is an accomplished stage actor and should be a familiar face to Tokusatsu fans. He played The Evil Emperor Diable in Bishoujo Kamen Poitrine, had a cameo as the suicidal man in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack or GMK for short, and most famously played Tsutomu Osako in the Heisei Gamera trilogy, and Gonza Kurahashi in Garo. Hotaru and Amemiya are good friends, and they both have a tremendous amount of respect for each other.

Moriyama, Ida, and Hotaru all developed a great working chemistry with each other. Ida was very supportive of Moriyama, frequently psyching her up and giving her emotional support, while Hotaru often gave her acting advice. They did line readings together often and read through the script many times before shoots. They did this in advance as often as possible. Hotaru during shoots would hunch over to make himself look smaller in comparison to Moriyama, so Iria had a larger and more imposing presence.

Next up is Bob, Iria’s A.I. partner. Who is voiced by Masakazu Handa. He sadly died at the young age of 47 due to heart failure on August 26, 2014. Handa was a professional voice actor who also did a lot of narration work and announcement work at events like martial arts tournaments and sports games.

Finally, the titular monster, Zeiram, is played by suit actor Mizuho Yoshida, and the suit was made by famous sculptor and artist Takayuki Takeya. Yoshida’s first role was in Mirai Ninja, but he has played many Kaiju characters as well, such as Mother Legion in Gamera 2: Attack of Legion, Zedus in Gamera the Brave and Godzilla in GMK. In the Rebirth of Mothra movies, he played Desghidorah and Dagahra in the sequel. He has also provided motion capture work for video games such as the Tyrant from Resident Evil CODE: Veronica, Dylan in Dino Crisis 2, Dead Rising, and Onimusha. Most notably was the mo-cap actor for both Solid Snake and Naked Snake/Big Boss in Metal Gear Solid 1-3.

Amemiya drew many designs to find the look of Zeiram, an alien wearing a sedge hat. He settled on the look of a traveler from the Edo period, as he thought it would be scary to see someone like that in the streets in the middle of the night. The Zeiram costume was quite heavy, most of the weight being on the head with tension on the neck. According to Amemiya, Zeiram is female, but in the films, the characters use male pronouns, so I’ll be using gender neutral terms to refer to Zeiram. I mean, it’s a bio-mechanical alien. It probably doesn’t even fall into our human definitions of gender anyway.

But enough about the behind the scenes tidbits for now, let’s get into talking about the actual film!

The movie opens with an intense scene showing how dangerous Zeiram is. A group of armed men are brutally slaughtered by the ruthless alien. A bounty is placed on the capture of Zeiram, and Bob accepts the order and claims no one may interfere with Iria and Bob’s job. Next, we see Iria skulking through the streets of Tokyo, gathering supplies. Then we are introduced to Kamiya, who is elated to finally strike it big gambling on horse races. Kamiya is divorced, most likely due to his gambling habits. Teppei is next, trying to contact Kamiya about their next set of jobs. He wants to quickly get them done as he has a date with the company’s secretary, Yumi, something Kamiya teases him about.

I like Kamiya and Teppei. They’re just two average dudes that are about to find themselves in something extraordinary. They are the source of comic relief and provide a contrast to Iria’s stoic badass demeanor. Their hapless antics don’t distract or ruin Iria’s action scenes, and they even contribute tremendously to helping Iria. Honestly, they remind me of Val McKee and Earl Bassett, played by Kevin Bacon and Fred Ward from the movie Tremors.

Anyway, Iria and Bob’s base of operations are siphoning a lot of electricity, and so Kamiya and Teppei are called in to investigate. Iria and Bob are building a device to trap Zeiram in a place called the Zone. They need to use the Zone to capture Zeiram to avoid causing collateral damage to Earth’s environment and population. Bob says that they need this job to pay off debts racked up by Iria. After catching Zeiram in the Zone, the two electricians arrive, and Teppei accidentally stumbles into the Zone’s teleporter. Iria gives chase, and Kamiya invites himself along. This is where the movie primarily takes place in the Zone, where no other life is allowed in outside those permitted or teleported there.

Iria traps Kamiya in a protective barrier and goes off to pursue Teppei and find Zeiram. Unfortunately, Teppei encounters Zeiram first and is attacked. He flees, and Zeiram produces a creature called the Lilliput monster to give chase.

The smoke in the scene where Zeiram attacks Teppei with the Lilliput was created with oil at 2 o’clock in the morning. One of the first locations they shot according to interviews. People who hung their clothes out to dry had them covered in oil the next morning, Amemiya feels guilty for it and was sorry. The Lilliput monster was played by suit actresses Mayumi Aguni. Apparently, an early example of a woman playing a monster in Tokusatsu. It’s unfortunately difficult to find information online about female Kaiju actors. The only others I’m aware of are Yumi Kameyama as Super Gyaos in Gamera: The Guardian of the Universe and, of course, the popular and adorable Rie Ota as Baragon in GMK.

Back to the movie. Iria manages to track down Zeiram and lures it to a warehouse that she previously laid with booby-traps. She ensnares Zeiram in a wire trap and begins to gloat about her victory. Her confidence gets the best of her as Zeiram seizes the opportunity and surprises Iria with the parasite in it’s hat, and cutting itself free. Meanwhile, Teppei stumbles upon Kamiya frozen in the barrier. He attempts to free him. The fight between Iria and Zeiram rages on, as they exchange fire between each other. However, Bob warns that conventional weaponry is useless, so against Bob’s wishes, Iria reveals her battle armor and switches to hand-to-hand combat.

Iria’s armor proves effective as Zeiram’s payload of artillery is reflected. Zeiram chooses to fight with melee as well and begins to overpower Iria with shear might. Iria lures it to another trap, restraining it in place. Zeiram unleashes more Lilliput monsters to buy itself time to escape. Iria defeats the Lilliput monster, but Zeiram escapes its binding. Zeiram presses forward and corners Iria, but just before it can finish her off, she manages to finally trap it in the same confinement barrier she trapped Kamiya in.

With Zeiram in custody, Teppei finds Iria and requests she release Kamiya. Iria complies, and she explains the situation to the two men. Just as Bob is preparing to teleport everyone back, a Lilliput monster attacks the group. Iria defends the two but gets transported along with the monster, leaving the electricians behind with the frozen Zeiram. The scuffle with the monster damages the control panel, cutting off access to the Zone. Bob reveals it has also destabilized the Zone too, and not much time is left before it completely vanishes.

Waiting for Iria, Teppei rifles through Iria’s bags as Kamiya grows impatient. Another Lilliput monster attacks Kamiya, and Teppei uses Iria’s weapons to fight it off. In the struggle, Zeiram’s stasis pod gets damaged and releases it. The two electricians attempt to flee by hot wiring a truck. Unfortunately, Zeiram corners them and bites Kamiya’s arm with it’s parasite. They manage to shake off Zeiram and escape. It’s revealed that by consuming its victims’ DNA, Zeiram creates its clone monsters. It creates an imperfect clone of Kamiya, but it is unable to follow orders. In its rage, Zeiram kills the clone.

The scene where Kamiya gets attacked by Zeiram’s tentacle is one of the final scenes to be shot. The tentacle was controlled by wires, and the prop was quite short. They had to utilize camera tricks to make it look longer. After Zeiram removes its scarf, revealing its face, to make the Kamiya clone, its face seems reminiscent of the Predator. I wouldn’t be surprised if Predator played a role in inspiring Zeiram in some way.

The two electricians flee into a beer storage warehouse and attempt to defend themselves from Zeiram. The fight causes Teppei to get separated from Kamiya. Teppei is unable to locate Kamiya, escapes, and contacts Iria. Iria and Bob debate sending Teppei the Metis Cannon to fight Zeiram after Teppei resolves to make a last stand after he assumes Kamiya might be dead.

Teppei heads to the drop-off point on a motorcycle to retrieve the Metis Cannon, Zeiram intercepts, and corners Teppei. Suddenly, Kamiya returns to save Teppei with a construction crane. However, Zeiram overpowers it and knocks Kamiya out of the vehicle. Then Iria swoops into the rescue, armed with a bazooka. Iria unloads the bazooka’s only shot towards Zeiram, severely damaging its body. Zeiram discards its lower half, revealing its true body is the hat, and mutates into a more skeleton-like creature to continue pursuing our heroes.

The bike scene was shot in a plane hanger in Haneda Airport. Amemiya had no prior experience with shooting a scene with a stunt like this before and was worried about the safety of the actors. The wire connected to the stunt actor on the bike fortunately snapped off, had it not, Yoshida, in the Zeiram suit, would have been hit and seriously injured. The Zeiram skeleton showcases Amemiya and his teams talent at practical effects with an impressive display of both stop-motion animation and puppetry, bringing the creature to life.

The trio, with Zeiram in tow, flee through a maze-like web of rooms in search of the Metis Cannon to kill Zeiram. Iria stays behind to stall Zeiram, leading to her being flung out a window after damaging Zeiram with a grenade. Kamiya and Teppei find the Metis Cannon but struggle to put it together in time, Zeiram tracks them down and corners them. Iria locates them in the nick of time and quickly assembles the Metis Cannon and uses it to destroy Zeiram’s skeleton. She then captures Zeiram’s hat in a barrier.

Bob transports Kamiya and Teppei back to home base outside the Zone. Then, he brings back the captured Zeiram. Next, he attempts to bring back Iria. However, Zeiram breaks free, damages the transport device, and goes on the offensive once again mutating further. Iria is trapped within the Zone as it is collapsing. Bob instructs Kamiya on how to repair the transport device as Teppei attempts to hold Zeiram back with a makeshift wooden barricade. Zeiram breaks free and is poised to kill Teppei when Kamiya fixes the device, and Iria arrives to save the day by lighting Zeiram up with as many shots as it takes, finally killing it.

As the morning comes, the trio catch their breath and thank each other for everything. Iria cuts off two locks of her hair and gives it to Kamiya and Teppei as a way of saying thanks and for them to have something to remember her by. Bob then asks if the three could group up for a commemorative photo. As Bob snaps the picture, everyone smiles and credits roll.

Though Moriyama was inexperienced as an action actress, by the time of filming the final confrontation with Zeiram, she was completely in character. Amemiya found it easier to direct her, as she had become accustomed to fighting, and he had gained more experience as a director. Despite a few bumps in the road, the cast and crew had a pleasant experience with the movie. The only major problems were the weather, which seemed to be against them, according to Amemiya.

As for my thoughts on the film? I absolutely love it! I would wholeheartedly recommend it to anyone, whether you’re into Tokusatsu or just like monster movies or creature features, like Predator or Alien. I’d even recommend this movie to a Resident Evil fan! I couldn’t shake the feeling of being reminded of my love of the intense rivalry between Jill Valentine and Nemesis. I wouldn’t be surprised if this film played some role in inspiring Resident Evil 3, though I have zero evidence to back that claim. Zeiram even goes through several mutations, like a final boss from Resident Evil.

Even if you’ve never heard of Keita Amemiya’s work prior to this, chances are you’ve encountered his work vicariously through some games you may have played. Games like Hagane: The Final Conflict, Onimusha 2-3, Clock Tower 3, Genji: Days of the Blade, Final Fantasy 14, and Shin Megami Tensei IV. Like I said, he’s a legend of the industry, and he has fans all across the world.

If you’re interested, you can easily pick up a Blu-ray copy for a good price. It recently received a fantastic 30th Anniversary Edition re-release back in 2021 by Media Blasters. Go check it out! You won’t regret it!

[forcebookish]

Hi there! Just wanted to say that I LOVE ForceBook so much here. Like TopMew silent date? I was squilling like a baby goat the whole time. And the amount of acting from Force through the whole car scene… I was enjoying his acting all 3 episodes, but that was just WOW.

These two are the only ones from OF cast with whom I didn’t watch the series, and now I definitely need more of them. Like they gives me that soft type of chemistry like “stable couple who’s been together forever” even with this whole mess going on 😅

I’m interested if this is their usual style? From OF and interviews I kind of feel that way. Also maybe you have suggestion for me from which of their show I shoud start?

Sorry for ranting here about it ❤️

everyone in my asks keeps apologizing for ranting, have you seen my posts?? you're good, darling, you're giving me a taste of my own medicine and it is DELICIOUS. gather ye round, it's ranting time <3

and yes!! they absolutely are like that. they've been friends since kindergarten and since reuniting for this weird job they have, they've only grown closer - they're basically an old married couple by now😂 book has even referred to themselves as husband and wife😂

my foray into forcebook was kind of similar: i plummeted right into a boss and a babe halfway through its airing, binged half of it and then started following along weekly. between one of those weeks, i shot-gunned enchante because i was so desperate for more of them😅

you probably want to go the more sane route and watch them in order instead (but still binge them between only friends episodes i guess haha). from the start they've been great actors and have had amazing chemistry, and they keep improving. so if you watch in order, you can see the progression of their talent. they're very passionate about their work and have continued with acting classes to this day. book especially has incredibly expressive eyes and force can say so much with just a facial expression, just like in the car scene💔

or you could choose the story that's more interesting to you and start with that one to leave you wanting more! or save the best for last🤔 hm, i might not be helping😅

in enchante we've got pining childhood friends reuniting (sounds familiar, huh?), slow burn, mystery and intrigue, staaaaring into each other's eyes, and shenanigans. and it's even better on the rewatch! don't read any spoilers!! i mean, you might figure it out (i did) but still!

in a boss and a babe, we've got a scandalous office romance that has more to do with homophobia in the workplace and loving each other despite what anyone thinks, rather than any sort of "power imbalance." it's got instant attraction, sexual awakenings, (not-so) subtextual kink, silly sound effects, and dark backstories.

and its our skyy 2 sequel episodes have them acting even more like an old (kinky) married couple!

of the two, a boss and a babe is my favorite, and force's character gun is one of my favorite characters ever, but i find myself coming back to both of them all the time.

forcebook know how to make their characters come alive and their connection feel so real, through intensely emotional, comedic, sexy, and sweet scenes. they're the whole package!

and the constant throughout is: snuggling🧡💙

thank you for loving forcebook! they really deserve it <3

(you see what i meant about ranting??😅😂)

[msfbgraves]

A new, insidious anti wga take is "Minirooms are good, because group writing produces bad scripts."

I live in a film landscape with very few writing teams. And do you know why Hollywood dominates the worldwide film industry? Because they can produce good scripts incredibly fast, and cheaply. The only reason most European things even get made at all is that these productions are subsidised by tax money. It makes no financial sense to compete with the oiled machine that is Hollywood, they simply cannot sustain the amount of good writers that the Hollywood system can. Writer's rooms with well paid writers are a huge upfront cost, but they are the reason that near everybody in the world watches Hollywood productions. Minirooms can't work as fast, or as well, and that's why they're creaming their pants about AI, because that can work even faster. If that output stops, they're going to lose so much foreign revenue. It's cheaper to program American content, but if there isn't enough of that, it's suddenly cheaper to program other foreign content. Who cares what language they're dubbing from amirite? Maybe domestic movies start to fare better! Right now, Hollywood attracts all the best foreign talent, too - Brits, Irishmen, Germans, Dutchmen, Italians, Swedish, French, Australian, South African, Latin American, Indian, Chinese - the reason they all get cast is not because it's more convenient for the Yanks to hire foreigners they often simply are world class greats. And they can and do work anywhere the work is good.

So no, the US couldn't put out so much good stuff with minirooms only. And if they already hold a lot of foreign chains hostage, saying so much capacity must go to their product - and goodness that's often what it is - if it gets too bad you cannot compel enough people to go see it even then. AI could resolve the unsustainability of minirooms by being faster, but it can't sustain a minimum of quality and that was already hurting the box office.

And sure one good writer can write a very good movie or series but they cannot do it fast, not for long, and even the best showrunners are already understaffed. If Hollywood cannot supply the cheapest "content" for movie theatres, Latin America, China, Africa and Europe are going to program any other foreign stuff, while India, New Zealand and Australia are going to buy other English language fare. Or perhaps they'll dub. Simply put you need a lot of writers and the very best actors to supply the whole world. Minirooms aren't cutting it, even the execs know that, that's why they're hoping to exploit people with theft machines.

[rise-my-angel]

Hiii, i just recently got around to reading heart of the great wolf and i just wanted to say how amazing and beautifully written it is, your works are incredibly underrated and you’re a very talented writer. I don’t really have a question just wanted to show my appreciation <3333

This is incredibly sweet, thank you so much!

It's a series that I absolutely love writing, but I also know it was a big gamble to post on here since I was mostly a one actor character writer, and not with a big series as well. But I feel like Heart of the Great Wolf has helped challenge me on my writing skills and I really love everything I've done so far. I so far am about to start writing chapter 28 and still have more planned, so this is a massive undertaking for me to post as a not popular fic writer. But all I can hope is that I don't disappoint the people who have stuck with this story for 12 chapters now, because the later chapters are the ones I've been having the most fun outlining and writing.

Asoiaf/got also was an incredibly big influence on me that I rarley talked about before. I watched the shows pilot cold open and realized that it might be easier to understand if I read the books, only to read all the books and not have caught up on the show until half way through season 2. Meaning I blitzed through season 1 and most of season 2 in a short amount of time, and it's just a series I constantly go back too and I finally feel confident enough to write for it and hope I do it justice. Even though I know its alienated me as a pedro blog from a fandom I was very active in since late 2020.

But I understand why it's not popular. I'm an unknown who writes way too long chapters in a fandom I haven't been active in since 2013, after spending years being soley a pedro pascal blog. Like this is essentially what everyone who has followed me in the past 2 years is suddenly having to put up with every day:

[t-wanderer]

Do you do any writing or game design

I do! Thank you for asking!

I published a short story and a very small amount of poetry when I was in college.

I wrote my first play on a dare and was simply flabbergasted when it got performed by a local theater. During covid, a friend and I decided to produce a musical. We did fundraising and hired voice actors and then eventually put the whole thing online. You can still find it, just search for Vacant Arcadia anywhere you get your podcasts. It was my first full length play, but I wrote all of the dialogue and half of the songs. I got to work with some absolutely incredible people.

After that we entered a short film into a festival, and one of my actors from that film had a dream to write a lesbian space opera. Last year we took that play on the road. Tithonia: A Lesbian Space Opera, we played a few fringe festivals, won a few awards. Honestly the most fun I've ever had. Again, I am incredibly lucky to be able to work with such amazing and talented people.

Our theatre, Skysail, is on instagram. (skysailtheatre)

As far as game design goes, I've been making campaign settings for my personal ttrpgs for decades. I've written dialogue for a few game mods, nothing major. I've got a lot of designs, but nothing I've released. This year I started programming in unity, so that might change soon.

I've got a lot of projects in the works, including a bizarre web series I plan to release later this year. I make queer art and collage zines. I'm writing fanfiction of the I Ching.

tl/dr: I love this question, thank you for asking it. It's always hard not to infodump when someone asks you about your projects. My business cards say, Artist, Writer and Game Designer. I'm not famous and I haven't made a ton of money, but I love what I do and I'm never going to stop. <3

[redwhale]

The curtains have closed on The Marvelous Mrs. Maisel, and I’ve been basking in the warm glow of relief since it aired that they not only stuck the landing with the finale, but created one of my favorite final episodes of all time. And that final scene-! Episode 9 ticked every box I needed: the right amount of resolution and ambiguity, of catharsis and the bittersweet. From beginning to end, Midge knew exactly what she wanted, with all the positives and negatives that happened along the way. I loved that the finale gave me the satisfaction of not just Midge’s arc coming full circle, but for Susie, Joel, Abe, and Rose as well – not only their relationship to Midge, but their growth as people. I also thought Lenny’s character was handled with grace and respect, which was also extremely important. The show didn’t shy away from reality of what he went through, but didn’t indulge, either. I loved seeing the thank you card in the end credits to Kitty Bruce, too. I hadn’t realized that any of Lenny's stand-up material used on the show had to be approved by her, which was great to know.

I was so wary leading up to the finale, as I wondered how it affect the show retroactively. Would it be like American Gods, Westworld, or Killing Eve, where I can still enjoy and recommend the earlier seasons even though I didn’t love the direction that the shows ultimately took? Or would it be like Game of Thrones where the finale was so poor that it retroactively made the earlier seasons unwatchable because everything felt pointless? Thankfully, the end of TMMM didn’t quite end up being either, with S5 being an improvement over S4, and then brought the show to a close with a brilliant finale that made everything worth it.

What a void TMMM leaves behind, too: there’s nothing else quite like it. The rhythmic quality to the dialogue. Those insanely long takes with rapid fire back and forth banter. The lavish and outstanding set, costume design, and hair and make-up. The incredible cinematography. The pitch perfect licensed music.

I'll really miss the show's excellent cast. The show wouldn’t have worked if not for core of Rachel Brosnahan as Midge, who was superb from beginning to end. It was incredible discovering that Alex Borstein was not only a brilliant comedian and writer, but a heart shatteringly good dramatic actor was well. The endless joy of the titan that is Tony Shalhoub, always having incredibly chemistry with every scene partner. Kevin Pollak and Caroline Aaron playing characters that have you tearing your hair out in one moment in frustration and howling with laughter in the next. TMMM was my introduction to Marin Hinkle and Stephanie Hsu, who both always absolutely astonished and captivated. Listening to either of them in a scene was music to the ears with impeccable timing of delivering dialogue. There’s also Luke Kirby being so damn good he took a character that was potentially going to be a one-off for a scene and became a series staple. Kudos Michael Zegen as Joel, who brought sincerity and warmth to a complicated character from beginning to end. And that’s only the main cast, not counting the breadth of talented actors who were recurring or in one-off scenes.

And of course, no one has anything to work without a talented team of writers, led by Amy Sherman-Palladino and Dan Palladino. I had my frustrations with S4 and aspects S5, but I'm still grateful for it all, and for ending the show on a high. (…though can someone just let ASP do a musical? For everyone’s sakes. Said with affection.) Finding out TMMM got one less season from Amazon than planned definitely made a few aspects of S5 make more sense. I’m curious what the original six season plan was, but I ultimately feel like five seasons is the perfect amount for a such a character driven show as TMMM.

On a personal note, it wasn’t until the last few episodes were airing that I realized how big a loss TMMM ending was going to be for me. I can’t remember the last show that has been so near and dear to me for so many years. I can't believe it started in 2017! It's rare I catch a show from when the first episode airs to the end. Watching S1 feels like a lifetime ago, and so much has changed in my life since. To compound this, TMMM was a special show I got to enjoy with family as well – a rare case of our tastes aligning, with the joy of sometimes getting to watch it together if life and timing worked out. I’ll always have extremely fond memories of savoring S2 and the hilarity of the Catskills with my mother. It was a brief moment of respite in an otherwise extremely stressful year.

With S5 coming to a close, I can comfortably say The Marvelous Mrs. Maisel is one of my all-time favorite television series. It wasn’t a flawless run, but few shows are -- and the highs are incredible and rarely matched. I’m very spoiled that three of my favorite shows in recent years ended with stellar finales that beautifully encapsulated the show: Black Sails, Better Call Saul, and now The Marvelous Mrs. Maisel. Now that I've contentedly seen Midge give her curtain call, I’m off to watch the Succession finale and catch up on Barry.

It's still crazy to me that The Marvelous Mrs. Maisel, Ted Lasso, Succession, and Barry will end within a week of each other. Goddamn.